News of Linotype’s latest typeface offering, Neue Haas Grotesk has swept the typosphere since its release on June 7th. The story goes that the famous digital sans-serif typeface we know today as Helvetica, was originally designed by Max Miedinger in the ’50s as Neue Haas Grotesk. The conversion from metal type to digital resulted in a one-size-fits-all solution with “unfortunate compromises” to the integrity and character of Helvetica’s predecessor.
NYC based type designer Christian Schwartz has now restored this typeface to its former glory and released it comercially. A common perception in the design fraternity is that “you don’t mess with Helvetica”, so I find it quite interesting that the initial reception in typography circles appears to be positive.
Neue Haas Grotesk does not come without any credentials, the typeface has been put through its paces by Bloomberg Businessweek’s print publication since their redesign last year.
My favourite part is that Schwartz has included some of Miedinger’s alternate characters which have never formed part of Helvetica. Take a look at the flat-legged R:
Read more about the revival of this legendary typeface at:
i first used aksidenze* grotesque way back in 1974 at the london college of printing where they had the original hot metal, i designed my grad poster in neon green with dayglo magenta typography in 72pt ranged left, lc, a radical and unconventional approach, (then).
it was not well received, however, little did i know then!
onward helvetica and i am looking forward to further developmental re-draws.
trans-parent
love and peace
*sorry about the typo
It would be really interesting to see your poster today in light of all our modern “advances”. Just proves that the more things keep changing, the more they stay the same 🙂