The digital revival of the Neue Haas Grotesk typeface by Christian Schwartz
The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger. The typeface was later revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original.
Christian Schwartz says “Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises.” Schwartz’s digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk’s transition to the digital Helvetica of today, has been resurrected in this faithful digital revival.
The new Neue Haas Grotesk, comes complete with a number of Max Miedinger’s alternates, including a flat-legged R. With eights weights, from a refined extra thin to a robust black, the Neue Haas Grotesk family is highly versatile. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms.
Adrian Frutiger designed Avenir™ in 1988, after years of having an interest in sans serif typefaces. Avenir means ‘future’ in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2004 Adrian Frutiger and the type director of Linotype GmbH Akira Kobayashi reworked the Avenir and created the Avenir Next for the Platinum Collection.
Avenir™ Next is a major improvement and extension to the existing Avenir. It includes new small caps, newly designed true italics, and a complete new range of condensed weights. The wide variety of possibilities for accentuation means users can now implement Avenir Next for complex typographical tasks needed in such areas as Corporate Design or in the creation of business reports.
A new form of an old friend: Avenir Next Rounded
In 2012, Linotype decided to issue some of the variants of Avenir® Next in Rounded versions. Working in consultation with Adrian Frutiger, Linotype’s Type Director Akira Kobayashi and the designer Sandra Winter have produced four basic weights Regular, Medium, Demi and Bold of Avenir Next Rounded with the corresponding italic versions.
The Sans™ typeface family is a humanist sans serif font that is part of a larger family of fonts designed by Berlin, Germany based designer Lucas de Groot. Since its inception in 1994, The Sans design has grown to have a large following, and is thought to be one of the most widely used sans serif typefaces on the planet.
The Sans design is part of the Thesis family, which is regarded by many people as the most comprehensive typeface family ever produced. Along with two counterparts – The Serif™ and The Mix™, the Thesis typeface family is made up of 144 separate fonts, each family in the trilogy has eight weights and each weight has six variants.
TheSans, TheMix and TheSerif.
TheSans Features- Symbols
TheSans Features: Arrows
The Sans typeface family is ideal for use both in print and digitally, on-screen. From corporate print and design to national ad campaigns, this font is adaptable to a large number of media applications, including websites and mobile text for a number of handheld devices. It has been adopted by large corporations and organizations around the world such as AOL (America Online), Spain’s major cell phone provider Movistar, North American mobile phone provider Sprint Nextel. The Dutch roadside assistance organization ANWB also uses The Sans design as its official corporate typeface.
To order The Sans, The Serif or The Mix fonts, please email firstname.lastname@example.org
MUSEO … it all started with Dutch designer Jos Buivenga’s love for U. One day this uppercase letter U just came to him as an image in a daydream. He saw the top of both stems bended into semi-slab serifs, and from that principle, he worked out the rest of the uppercase letters.
His first intention was to make it an all-caps display font but after a few months he changed his mind. He wanted it to be a bit more versatile and added lowercase, adjusted spacing and kerning to increase legibility. The end result is a contemporary semi-slab serif font family with five weights, designated as 100,300,500,700,900. After creating the original Museo, Jos Buivenga went on to create Museo Sans, Museo Slab and Museo Rounded.
The diversity of styles within the Museo family ensures that the typeface has a wide range of potential applications.
A coloured honeycomb from a beehive is seen in Ribeauville near Colmar Eastern France Photographer: REUTERS/Vincent Kessler
French apiarist Frieh holds a sample of green colored honey at his home in Ribeauville. Photographer: REUTERS/Vincent Kessler
A coloured honeycomb from a beehive is seen in Ribeauville near Colmar Eastern France, October 5, 2012. Bees at a cluster of bee hives in northeastern France have been producing honey in mysterious shades of blue and green, alarming their keepers who now believe residue from containers of M&M’s candy processed at a nearby biogas plant is the cause. Since August, beekeepers around the town of Ribeauville in the region of Alsace have seen bees returning to their hives carrying unidentified colourful substances that have turned their honey unnatural shades.
The English designer Sebastian Lester created the Neo® Sans and Neo Tech typeface families for Monotype Imaging in 2004. Later in 2005, Intel commissioned the creation of a custom Neo font, Neo Sans Intel, for its rebranding. The British Labour Party has also used the font in branding and advertising, as have Kia Motors, Virgin Trains and the UK ITV network. The sleek Neo design also appealed to the Valve Corp., which used the typeface for its 2010 Alien Swarm freeware game. In 2010, Neo Sans was selected as the official typeface for the 2010 Vancouver Winter Olympics because of its timeless, modern quality.
Both the Neo Sans and the Neo Tech families are available in six weights, ranging from Light to Ultra. Each weight has a companion Italic, and Neo Tech offers a suite of alternate characters. Neo Sans is the more conventional design, whereas Neo Tech is intended to look futuristic. Lester describes as Neo Sans as “legible without being neutral, nuanced without being fussy, and expressive without being distracting.”