![]() Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage. ![]() Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, solid appearance.ĭeveloped by the Haas'sche Schriftgiesserei ( Haas Type Foundry) of Münchenstein ( Basel), Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of Univers by Adrian Frutiger the same year. Over the years, a wide range of variants have been released in different weights, widths, and sizes, as well as matching designs for a range of non-Latin alphabets. ![]() ![]() Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 1960s, becoming one of the most popular typefaces of the mid-20th century. Helvetica is a neo-grotesque design, one influenced by the famous 19th century (1890s) typeface Akzidenz-Grotesk and other German and Swiss designs. While you can sometimes use two contrasting typefaces in the same family, it’s usually best (and easier) to create contrast by using two typefaces from two different families.Helvetica, also known by its original name Neue Haas Grotesk, is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann. If you use two typefaces from two families that look too similar (like, say, Times New Roman and Book Antiqua), it will look like you made an error. You can quickly see the similarities between typefaces and the differences between the families here:Īs you look at these typeface families, note the characteristics that make them similar and different. For most intents and purposes in professional documents, you separate typefaces into four familes: serif, sans-serif, script, and decorative (technically, you can break those down further into a dozen or more sub-families, but these are the basic four). This usually means that the typefaces need to come from two entirely different families-or styles-of typefaces. To create contrast between two typefaces, choose two that look significantly different from each other. Using two or more fonts can create visual appeal and, in most cases, I would recommend that you apply more than one typeface in a document, but not more than three (two is usually best). Because Contrast Rule #2 addresses contrasting with highlighting like boldness and italics and Contrast Rule #3 addresses contrasting weight (like boldness)-both characteristics of fonts-it’s important to clarify here that we want to contrast typefaces in a document. So why does this matter? When we’re talking about creating contrast, you can technically contrast both the typeface and the font. Most often, non-designers will mistakenly say “font” when really referring to a “typeface.” Unfortunately, as people have become accustomed to using and modifying typefaces, the terms have become blurred and many people use the two terms interchangeably. ![]() These are still the Calibri typeface, just different fonts. You can change the Calibri font to 12-point bold or to 10-point italic. For the sake of brevity, though, it’s mostly important to recognize that “typeface” was originally conceived to mean a collection of related letterforms under a given name like “Garamond” or “Palatino Linotype.” “Font,” on the other hand, referred to specific characteristics of the typeface, like point size and boldness.įor example, the default typeface for Microsoft Word is currently Calibri. There is a long-established history between the two words that dates back to Gutenberg and his 15th-Century moveable type printing system. But first, a word on terminology: what’s the difference between a “font” and a “typeface,” anyway? It actually does matter when you’re trying to create contrast (and you’re wanting to talk intelligently to a designer or a printing press). When it comes to contrasting visual elements to look significantly different from each other (see Contrast Rule #1: Make Things Different), typefaces are no exception. ![]()
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