CE 57 Condensed Arts in Zurich, He Created the Univers Type Family

Total Page：16

File Type：pdf, Size：1020Kb

CE 57 Condensed Arts in Zurich, He Created the Univers Type Family

Typography Primary typeface: Univers Condensed The font family Univers™ is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above Univers all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied CE 57 Condensed Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in Univers CE 57 Condensed 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. abcdefghijklmnoprstuvwxyz čćžšđ In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely ABCDEFGHIJKLMNOPRSTUVWXYZ ČĆŽŠĐ re-designing and updating the Univers family. The result: Linotype Univers - available with 0123456789!”#$%&’()=?*_:;,.-<>“ 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers [email protected] can facilitate an expression of cool elegance and rational competence. 17.

Copy Link

Recommended publications

FONT-CLOCK Sebatian-Wrong
Introduction With this design for Established & Sons, designer Sebastian Wrong has transformed a timeless masterpiece into a contemporary classic. The ‘Font Clock’ is based on a simple idea: to take the iconic calendar clock with its distinctive form and mechanism, and to introduce a variety of typefaces to create an ever-changing display. This reinvented timepiece is both at once instantly recognisable and similarly curious. Its form and function is familiar, yet the addition of the new typefaces adds a bold contemporary edge to the design. The ‘Font Clock’ uses an eclectic selection of 12 typefaces, with a focus on contemporary, 20th century and modern renditions of classic type families, such as Heinrich Jost’s 1926 version of Bodoni, timeless 20th century classics such as Franklin Gothic or Helvetica, as well as type families re-appropriated or uniquely designed for the ‘Font Clock’. True to our philosophy of working with and promoting the very best in British design and manufacturing, Established & Sons has chosen to work with the Grayson Time Management System. Grayson are internationally recognised as one of the leading companies in this field. Minutes: 00 – 04 Minutes: 30 – 34 Hours: 00, 12 Hours: 6, 18 * Day: Monday * Day: Friday * Month: January Bauer Bodoni * Month: July Reporter * Date: 1, 13, 25 * Date: 7, 19, 31 Minutes: 05 – 09 Minutes: 35 – 39 Hours: 1, 13 Hours: 7, 19 * Month: February * Month: August * Date: 2, 14, 26 English Script * Date: 8, 20 Brush Script Minutes: 10 –14 Minutes: 40 – 44 Hours: 2, 14 Hours: 8, 20
[Show full text]
Max Meidinger, 1957
Helvetica Max Meidinger, 1957 elvetica was developed in 1957 by Max Miedinger with Eduard Helvetica is among the most widely Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of used sans-serif typefaces. Versions Variations Münchenstein, Switzerland. Haas set out to design a new sans-serif exist for the following alphabets/scripts: typeface that could compete with Akzidenz-Grotesk in the Swiss Latin, Cyrillic, Hebrew, Greek, Japa- market. Originally called Die Neue Haas Grotesk, it was created based on Schel- nese, Korean, Hindi, Urdu, Khmer and Hter-Grotesk. The aim of the new design was to create a neutral typeface that had Vietnamese. Chinese faces have been great clarity, had no intrinsic meaning in its form, and could be used on a wide developed to complement Helvetica. variety of signage. When Linotype adopted the Neue Haas Grotesk (which was never planned to be Helvetica is a popular choice for com- a full range of mechanical and hot-metal typefaces) its design was reworked. After mercial wordmarks, including those for Wordmarks the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk 3M, American Airlines, American Ap- into a larger family. parel, AT&T, BMW, Jeep, JCPenney, Lufthansa, Microsoft, Orange, Toyota, Panasonic, Motorola, Kawasaki and Verizon Wireless. A neutral typeface with Apple Inc. has used Helvetica widely in Mac OS X, the iPhone OS, and the iPod. Helvetica is widely used by the U.S. government; for example, federal no intrinsic meaning. income tax forms are set in Helvetica, and NASA uses the type on the Space In 1960, the typeface’s name was changed by Haas’ German parent company Shuttle orbiter.
[Show full text]
Helvetica Neue Free Font Family Download Please Wait, the Helvetica Neue Font Is Downloading
helvetica neue free font family download Please wait, the Helvetica Neue font is downloading. Please share the link with friends, it will greatly help the development of this project. Fonts categories. All rights to the fonts posted on the site belong to their respective owners. We do not sell fonts and, in most cases, do not know where to buy them. For all questions regarding the purchase and use of fonts in your projects, please contact their respective owners. If you notice an error on the site, we kindly ask you to inform us by mail. [email protected]. Please share the link with friends, it will greatly help the development of this project. Suggest Font. Could not find the right font? Offer it to us! We will add it. If we find, of course :) Everything You Wanted to Know About Helvetica. A bona fide celebrity of the type world, the divisive Helvetica typeface has been set on world domination since the 1950s. Possibly the most widely used typeface worldwide, the Helvetica font has been liberally splashed across logos, signage, posters, and clothing, with its neutral, impassive style inciting both fervent fandom and outright hatred. Brush up on your Helvetica history, and discover why the Helvetica font family continues to dominate urban areas and how its popularity inspired Helvetica shirts and even a Helvetica documentary. A still taken from the 2007 documentary Helvetica . Looking for fonts similar to Helvetica? Discover a range of Helvetica alternatives on Envato Elements and GraphicRiver. What Is Helvetica? Helvetica is a ‘Grotesque’ sans serif typeface.
[Show full text]
Helvetica Neue LT 75 Bdoutline a B C D E F G H I J K L M N O P Q R S T U V W X Y Z a B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Authors of Helvetica..................................6-7 History of Helvetica......................................8 Font Family of Helvetica...........................9-13 . created for Haas the Neue Haas Grotesk. Horizontal, in 1965, was the third and final typeface he and shortly thereafter commissioned him to design a new sans serif typeface, Eduard Hoffmann, head of the Haas Typefoundry, was convinced of his talent consultant and graphic designer, like his brother, Gérard, younger by two years. serif. In 1956 Miedinger returned to Zurich to become a freelance advertising In 1954 he created his first typeface design: Pro Arte, a condensed slab Haas Typefoundry in Münchenstein. chain of department stores. In 1946 he started a new position as salesman at as a typographer in the advertising department at Globus, Zurich’s renowned and also took evening courses at the art school in Zurich. From 1936 he worked From 1930 to 1936 he worked as a typesetter for various companies office in Zurich. father to complete an apprenticeship in typesetting at Jacques Bollmann printing 1980 in Zurich. After finishing school in 1926, Max Miedinger was urged by his M ax was born on December 24, 1910 in Zurich, and died March 8, Max Alfons Miedinger Eduard Hoffmann Eduard was born May 26, 1892 in Zurich, and died September 17, 1980 in Basel. After finishing college, Eduard Hoffman, who was fascinated by the beginnings of aviation, completed study trips and internships in Zurich, Berlin, and Munich to learn more about technology and engineering. In 1917 he took on a position at the Hass Typefoundry, which was under the management of his uncle Max Krayer.
[Show full text]
True Or False the Modernist Designers Believe That Helvetica Is a Wonderful Typeface
True or false the modernist designers believe that helvetica is a wonderful typeface Continue Other values are Helvetica(values). 1957 sans-serif typeface created by Max Miedinger HelveticaCategorySans-serifClassificationNeo-grotesque sans-serif[1]Designer(s)Max Miedinger, Eduard HoffmannFoundryHaas Type FoundryDate released1957Re-issuing foundryMergenthaler Linotype CompanyDesign basedAkenzzid GroteskVariationsHelvetica InseratHelvetica CompressedNeue HelveticaHelvetica Nowothers (see Annex II). Also known as Neue Haas Grotesk Helvetica or Neue Haas Grotesk is widely used sans-serif typeface created in 1957 by Swiss font designer Max Miedinger with input from Eduard Hmannoff. Helvetica is a neo-grotesque design, one influenced by the famous 19th century font Akzidenz-Grotesk and other German and Swiss designs. [2] Its use has become a feature of the international typographical style, which originated from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular fonts of the 20th century. [3] Over the years, various variants have been released, with different weight, width and sizes, as well as non-Latin alphabet designs. The memorable features of Helvetica, as originally developed, are high x height, the cessation of strokes in horizontal or vertical lines and an unusually close space between the letters that connect to give it a dense, firm appearance. Developed by Haas'sche Schriftgiesserei (Haas Type Foundry) in Münchenstein, Switzerland, its release was planned to match the trend: interest in turn-of-the-century grotesque sans-serifs among European graphic designers that also saw the release of Univers by Adrian Frutiger in the same year. [4] Hoffmann was president of Haas Type Foundry, while Miedinger was a freelance graphic designer who previously worked as a Haas salesman and designer.
[Show full text]
Logotypes & Typefaces by Kimber A. Mcdevitt
24 Logotypes & Typefaces by Kimber A. McDevitt 24 Logotypes & Typefaces 24 Copyright © 2017 by Kimber A. McDevitt Logotypes & Version 1.0 All rights reserved. Typefaces Cover photo credit: Public Domain Pictures http://www.publicdomainpictures.net/view- image.php?image=106887&picture=geology Leader page photos credit: Geoscience News and Information geology.com Essays provided by students in by Kimber A. the Summer 1 Type 1 Course at Northeastern University and Isabella Mordini, a prior student of Mark McDevitt Laughlin, our instructor. A primary source is Wikipedia.org Contents Serif San Serif 1 Baskerville 8 Minion 13 Akzidenz Grotesk Book 20 Gotham John Baskerville . 1750 Robert Slimbach . 1989 H Berthold AG . 1898 Tobias Frere-Jones . 2000 Quartz, p7 Malachite, p35 Zicron, p55 Amethyst, p83 2 Bembo 9 Palatino 14 DIN 21 Helvetica Francesco Griffo . 1495 Herman Zapf . 1950 Deutsches Institut für Max Meidinger & Lapis, p11 Diorite, p39 Normung . 1931 Eduard Hoffman . 1957 Granite, p59 Jade, p87 3 Bodoni 10 Rockwell Giambattista Bodoni Frank Hinman Pierpont 15 Franklin Gothic 22 Myriad 1999 1934 Morris Fuller Benton Robert Slimbach & Talc, p15 Novaculite, p43 1902 Carol Twombly . 1992 Volcanic Rock, p63 Unakite, p91 4 Caslon 11 Sabon William Caslon . 1722 Jan Tschichold . 1964 16 Frutiger 23 Optima Chalk, p19 Flint, p47 Adrian Frutiger . 1976 Hermann Zapf . 1950 Wollastonite, p67 Hematite, p95 5 Clarendon 12 Times New Roman Robert Beasley . 1845 Stanely Morison & 17 Futura 24 Univers Nephelinite, p23 Victor Lardent . 1932 Paul Renner . 1928 Adrian Frutiger . 1957 Sand, p51 Ovaline Basalt, p71 Iron Pyrite, p99 6 Didot Firman Didot . 1784 18 Gill Sans Bold Jaspilite, p27 Eric Gill .
[Show full text]
Helvetica Helvetica By: Brittanie N
Garamond & Garamond Today & Helvetica Helvetica By: Brittanie N. White GRD 3000: Intro to Typography Today, Helvetica and Garamond can Gregg Bernstein be found in more places than just your average text book and graphic design class. Advertisers have been using these typefaces and their revisions in logos, on billboards and in ad-campaigns for years. You’d be surprised how many times you’ve read a magazine or walked in a store and read a heading, and sim- ply not realized you were staring at Garamond’s letterforms convey a sense RI ÁXLGLW\DQGFRQVLVWHQF\6RPHXQLTXH characteristics in his letters are the small Helvetica or Garamond. bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. A direct relationship between Garamond’s letterforms and contemporary type can be found in the While the more current versions of Roman versions of the typefaces Adobe *DUDPRQG*UDQMRQ6DERQDQG6WHPSHO the typefaces are used today, such as Fig 1-8 The Tiffany and Co. Logo which utilizes the Garamond #3 Garamond. Adobe Garamond Pro and ITC Gara- version of the Garamond typeface. mond for Garamond and Helvetica Neue and Helvetica World for Helvetica, they are everywhere. Helvetica is so popular Garamond it has inspired paraphernalia and has a A little about Garamond IXOOOHQJWK¿OPGRFXPHQWLQJLWVLQFHS- Garamond is the name given to a group of old-style serif typefaces named for the tion and it’s impact on the typography punch-cutter Claude Garamond. Most of the Garamond faces are more closely related to the work of a later punch- world as we know it today.
[Show full text]
Helvetica Bodoni Futura Garamond
o what are the top a graphic designer should Shave? This list by no means is definitive. In fact, if you search for the top fonts of all time, or top favorite fonts, you will probably see about 20 fonts, out of the 73 billion available, showing up over and over. Not that you can’t grab something off the wall once in a while, but by and large the problem of good typography has been solved over and over, so there is no need to reinvent the wheel or look too hard in strange places for great fonts for regular daily work. Helvetica Helvetica Bodoni Helvetica Bodoni was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schrift- giesserei (Haas type foundry) of München- Bodoni stein, Switzerland. Haas set out to design a new sans-serif typeface that could compete is a series of serif typefaces first designed Garamond with Akzidenz-Grotesk in the Swiss market. by Giambattista Bodoni (1740–1813) in Originally called Die Neue Haas Grotesk, it 1798. The typeface is classified as didone Garamond was created based on Schelter-Grotesk. The modern. Bodoni followed the ideas of John aim of the new design was to create a neutral Baskerville, as found in the printing type Futura typeface that had great clarity, had no intrin- Baskerville, that of increased stroke contrast sic meaning in its form, and could be used on and a more vertical, slightly condensed, Garamond Futura a wide variety of signage. upper case, but taking them to a more ex- treme conclusion.
[Show full text]
(Mostly) True Story of Helvetica and the New York City Subway the (MOSTLY) TRUE STORY of HELVETICA and the NEW YORK CITY SUBWAY
2/10/2015 AIGA | The (Mostly) True Story of Helvetica and the New York City Subway THE (MOSTLY) TRUE STORY OF HELVETICA AND THE NEW YORK CITY SUBWAY Article by Paul Shaw November 18, 2008 Filed Under: Inspiration, history, Voice, information design, graphic design, typography, signage, design educators, students There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit's popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together, over nine pages, to tell a story that ultimately transcends the simple issue of Helvetica and the subway. The Labyrinth As any New Yorker—or visitor to the city—knows, the subway system is a labyrinth. This is because it is an amalgamation of three separate systems, two of which incorporated earlier urban railway lines. The current New York subway system was formed in 1940 when the IRT (Interborough Rapid Transit), the BMT (BrooklynManhattan Transit) and the IND (Independent) lines were merged.
[Show full text]
General Type Studio Since the Early 19Th Century and the Appearance Of
General Type Studio Mier Aa Aa Aa Aa Designed by Stéphane Elbaz, Since the early 19th century and the appearance of latin sans serifs, structure Released in 2018. and proportion were explored and combined in many ways before being solidified into canon. The immediate and lasting success of Helvetica¹ and Univers² — two visions of the Moderns’ alphabet — established the contours of what have since been called Neo-grotesques. Alphabets such as Recta³ or Neuzeit-S ⁴ could then be perceived as reactions to this success while still being genuine attempts to combine a modern grotesque and a geometric roman. This represents the starting point of the Mier project. Its shape, structure, and contrast relate equally to both geometric and grotesque canons. A few key glyphs vary (J, M, a, j, t, u, 6, 9, &), forming Mier A and Mier B, in order to highlight this duality. 1. Max Miedinger, Eduard Hoffmann, 3. Alessandro Butti, Aldo Novarese, Haas Type Foundry, Switzerland, Nebiolo, Italy, 1958 1957 4. Arthur Ritzel, Linotype, Germany, 2. Adrian Frutiger, Deberny & Peignot, 1959 France, 1957 Informational purposes only. ©2018, generaltypestudio.com Mier 2 ● Styles overview Mier A Hair Mier B Hair Mier A Hair Italic Mier B Hair Italic Mier A Thin Mier B Thin Mier A Thin Italic Mier B Thin Italic Mier A Light Mier B Light Mier A Light Italic Mier B Light Italic Mier A Regular Mier B Regular Mier A Italic Mier B Italic Mier A Book Mier B Book Mier A Book Italic Mier B Book Italic Mier A Demi Mier B Demi Mier A Demi Italic Mier B Demi Italic Mier A Bold Mier B Bold Mier A Bold Italic Mier B Bold Italic Mier A ExtraBold Mier B ExtraBold Mier A ExtraBold Italic Mier B ExtraBold Italic Mier A Heavy Mier B Heavy Mier A Heavy Italic Mier B Heavy Italic Mier A Black Mier B Black Mier A Black Italic Mier B Black Italic General Type Studio Informational purposes only.
[Show full text]
Fullinventory.Pdf
A - Z Index | School of Medicine Quick Links DONATE Find a Health Care Provider | Contact Us | Maps and Parking ucdenver.edu/academics/colleges/ HOME | OUR TEAM | FOR PATIENTS | FOR PHYSICIANS | RESEARCH | DBS SURGERY | DONATE | RESOURCES | CONTACT US University of Colorado Movement Disorders Center EVENTS SUPPORT GROUPS Movement Disorders Center Home University of Colorado LECTURES Movement Disorders Center FELLOWSHIP PROVIDE FEEDBACK SUBSCRIBE OUR MISSION is to be a leading OUR MISSION provider of internationally recognized is to be a leading provider of movement disorder research, interdis- ciplinary clinical care, education, and internationally recognized community empowerment. movement disorder research, interdisciplinary clinical care, education, and community OUR APPROACH empowerment. CLINICAL RESEARCH University of Colorado Movement Disorders Center Movement Disorders Center Movement Disorders Center COMMUNITY RESOURCES OUR APPROACH Movement Disorders are a group of The University of Colorado has a long and Our Mission is to be a leading provider of internationally recognized movement disorder neurological illnesses that affect one’s ability distinguished history of excellence in this area research, interdisciplinary clinical care, education, DONATE to move normally and include Parkinson’s including the ﬁrst and largest trial of cell DONATE and community empowerment. DEEP BRAIN STIMULATION disease, tremors, Tourette’s syndrome, transplantation for Parkinson’s disease, CLINICAL RESEARCH Huntington’s disease, dystonia, restless
[Show full text]
BRIAN MILLER Helvetica
Helvetica Max Miedinger 1 9 5 7 Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas Type Foundry in Münchenstein, Switzerland. Marketed as a symbol of cutting-edge Swiss technology, Helvetica went global at once. Helvetica is a neutral sans-serif typeface that has great clarity, no intrinsic meaning in its form, and is used on a wide variety of signage Max Miedinger was born December 24, 1910 in Zurich, Switzerland and died March 8, 1980, in Zurich, Switzerland. Between 1926 and 1930, Max was trained as a typesetter in Zurich, after which he attended evening classes at the Kunstgewerbeschule in Zurich. Later, he became a typographer for Globus department store's advertising studio in Zurich, and became a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle, until 1956, where he became a freelance graphic artist in Zurich. Originally called Die Neue Haas Grotesk, it was created based on Schelter-Grotesk. In 1960, the typeface's name was changed to Helvetica (derived from Confoederatio Helvetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called 'Helvetsia' which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn't be appropriate to name a type after a country. He then decided on 'Helvetica' as this meant 'Swiss' as opposed to 'Switzerland'. Helvetica is the most common font used in signage and wordmarks. Public signage: Chicago CTA, New York City MTA Technology: Apple’s OSX, iPod, iPhone Commercial wordmarks: 3M, American Airlines, American Apparel, AT&T, BMW, Jeep, JCPenney, , Kawasaki, Lufthansa, Microsoft, Motorola, Panasonic, Toyota, and Verizon Wireless..
[Show full text]