The old king is dead long live the new king. But no, it is the rightful heir to the Helvetica throne. “Neue Haas Grotesk” makes it sound like a second cousin of Akzidenz Grotesk that’s just stumbled in from the hinterlands. So if I have to look at Helvetica another 50 years, I’d rather look at the best version of it.Īnd that brings me to my sole criticism of the face – its ungainly name, which I’m regrettably certain will limit its visibility and hence its uptake. (As someone who’s worked with cold-metal Helvetica, I can vouch for the fact that it’s never looked better.) Second, love it or hate it, Helvetica will be part of our visual culture for the foreseeable future. Christian has restored the layers of subtlety and balance that have gone missing. First, we’ve been looking at digital Helvetica for so long that we’ve forgotten it embodies decades of compromises. To those who would scoff and say, “Why do we need more Helvetica?” Grant me two points. Why? It successfully bridges all the tensions that great typefaces are made of: conceptual yet concrete, rigorous yet loose, respectful yet daring, fashionable yet practical. It is a flat-out wonderful work of type design. That’s how I feel about Neue Haas Grotesk. Christian Schwartz has gone deep into a typeface we all think we know – fucking Helvetica! – and come back with something beautiful and fresh. The design may be protected in certain jurisdictions.Art critic Jerry Saltz said of a recent exhibition that the artist had “done what an artist ought to: open the floor beneath my feet, and take me places I didn’t know were there.” This typeface is original artwork of Christian Schwartz. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. Neue Haas Grotesk is a trademark of Linotype Corp. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype Corp. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at Lizenzbedingungen und Nutzungsrechte finden Sie unter plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web GmbH can be contacted at:Tel.: +49(0)6172 484-418Ĭopyright 2011 - 2012 Linotype Corp., All rights reserved. You may not copy or distribute this font software. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Thinnest weight designed by Berton Hasebe. Completed in 2010 for Richard Turley at Bloomberg Businessweek. Revival originally commissioned in 2004 by Mark Porter at The Guardian. Released as Neue Haas Grotesk by the Haas'sche Schriftgiesserei, and then revised and released as Helvetica by Linotype AG. Originally designed 1957-1961 by Max Miedinger with art direction by Eduard Hoffmann. or its licensee Linotype GmbH.ĭesigned by Christian Schwartz 2004-2010. ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz Haas Grotesk is a trademark of Linotype Corp.
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