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词条 Helvetica
释义

  1. History

      Characteristics  

  2. Usage examples

  3. Media coverage

  4. Variants

     Helvetica Light  Helvetica Inserat  Helvetica Compressed (1966)  Helvetica Rounded (1978)  Helvetica Narrow  Helvetica Textbook  Language variants 

  5. Neue Helvetica (1983)

      Neue Helvetica Georgian (1983?)    Helvetica World    Neue Helvetica W1G (2009)    Neue Helvetica Arabic (2009)    (Neue) Helvetica Thai (2012)    Neue Helvetica World (2017)    Neue Helvetica eText (2011)  

  6. Neue Haas Grotesk (2010)

  7. Helvetica clones

     Nimbus Sans  Arial and MS Sans Serif  Free Helvetica substitute fonts 

  8. Derivative designs

     Sowjietische Haas Grotesk   Forma (1968)  Helvetica Flair and others  Shatter LET (1973)  Unica  Chalet  Coolvetica  Local Gothic  Sans forgetica 

  9. Popular culture

  10. Notes

  11. References

  12. External links

{{Distinguish|Helvetia}}{{other uses}}{{Infobox typeface
| name = Helvetica
| style = Sans-serif
| classifications = Neo-grotesque sans-serif[1]
| image = HelveticaSpecimenCH.svg
| based_on = Akzidenz-Grotesk
| aka =
| releasedate = 1957
| creator = Max Miedinger, Eduard Hoffmann
| foundry = Haas Type Foundry|Haas’sche Schriftgießerei
| foundries = Mergenthaler Linotype Company
}}

Helvetica or Neue Haas Grotesk is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann.

Helvetica is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs.[2] Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century.[3] 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. 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, compact appearance.

Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of Münchenstein, 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.[4][5][6] 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.[7]

Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.[7] Originally named Neue Haas Grotesk (New Haas Grotesque), it was rapidly licensed by Linotype and renamed Helvetica in 1960, being similar to the Latin adjective for Switzerland, Helvetia.[8] A feature-length film directed by Gary Hustwit was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957.[9]

History

The main influence on Helvetica was the popular Akzidenz-Grotesk from Berthold; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.[11] Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.[4][11][10] Wolfgang Homola comments that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced" than in its influences.[11]

Attracting considerable attention on its release as Neue Haas Grotesk (Nouvelle Antique Haas in French-speaking countries),{{efn|"Antique" is a term used in French for sans-serifs (for instance Antique Olive), although in English it traditionally historically referred to slab-serifs.[12]}} Stempel and Linotype adopted Neue Haas Grotesk for release in hot metal composition, the standard typesetting method at the time for body text, and on the international market.[13]

In 1960, its name was changed by Haas' German parent company Stempel to Helvetica (meaning Swiss in Latin) in order to make it more marketable internationally. It comes from the Latin name for the pre-Roman tribes of what became Switzerland. Intending to match the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.[14][15] The design was popular: Paul Shaw suggests that Helvetica "began to muscle out" Akzidenz-Grotesk in New York City from around summer 1965, when Amsterdam Continental, which imported European typefaces, stopped pushing Akzidenz-Grotesk in its marketing and began to focus on Helvetica instead.[16][17] It was also made available for phototypesetting systems, as well as in other formats such as Letraset dry transfers[18] and plastic letters,[19] and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies.[24][20]

In the late 1970s and 1980s, Linotype licensed Helvetica to Xerox, Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.[26][21] This has led to a version being included on Macintosh computers and a metrically-compatible clone, Arial, on Windows computers. The rights to Helvetica are now held by Monotype Imaging, which acquired Linotype; the Neue Haas Grotesk digitisation (discussed below) was co-released with Font Bureau.[4]

Characteristics

  • tall x-height, which makes it easier to read at distance
  • quite tight spacing between letters
  • An oblique rather than italic style, a common feature of almost all grotesque and neo-grotesque typefaces.
  • Wide capitals of rather uniform width, particular obvious in the wide 'E' and 'F'
  • square-looking 's'.
  • bracketed top flag of '1'.
  • rounded off square tail of 'R'.
  • concave curved stem of '7'
  • two-storied 'a' (with curves of bowl and of stem), a standard neo-grotesque feature, and single-storey 'g'
{{Quote box
|quote = Helvetica can’t do everything...it can be really weak in small sizes. Shapes like ‘C’ and ‘S’ curl back into themselves, leaving tight "apertures"—the channels of white between a letter’s interior and exterior... The lowercase ‘e,' the most common letter in English and many other languages, takes an especially unobliging form. These and other letters can be a pixel away from being some other letter.
|source = Tobias Frere-Jones[22]
|width = 30%
|align = right
}}

Like many neo-grotesque designs, Helvetica has narrow apertures, which limit its legibility onscreen and at small print sizes. It also has no visible difference between upper-case 'i' and lower-case 'L', although the number 1 is quite identifiable with its flag at top left.[23][24] Its tight, display-oriented spacing may also pose problems for legibility.[25] In situations where this matters, other designs intended for legibility at small sizes above all, such as Verdana, Meta or Trebuchet or a monospace font such as Courier, which makes all letters quite wide, may be more appropriate.[26]

Usage examples

Helvetica is among the most widely used sans-serif typefaces.[27] Versions exist for Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer, and Vietnamese alphabets. Chinese faces have been developed to complement Helvetica.

Helvetica is a popular choice for commercial wordmarks, including those for 3M (including Scotch Tape), American Apparel, BASF, Behance, Blaupunkt, BMW, Diaspora, ECM, Funimation, General Motors, J. C. Penney, Jeep, Kawasaki, Knoll, Kroger, Lufthansa, Motorola, Nestlé, Oath Inc., Panasonic, Parmalat, Philippine Airlines, Sears, Seiko Epson, Skype, Target, Texaco, Tupperware, Viceland, and Verizon.[28][29] Apple used Helvetica as the system typeface of iOS until 2015.[30][31]

Helvetica has been widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA used the type on the Space Shuttle orbiter.[32] Helvetica is also used in the United States television rating system. The Canadian government also uses Helvetica as its identifying typeface, with three variants being used in its corporate identity program, and encourages its use in all federal agencies and websites.[33]

In the European Union, Helvetica is legally required to be used for health warnings on tobacco products such as e.g. cigarettes.[35]

Helvetica is commonly used in transportation settings.[36] New York City's Metropolitan Transportation Authority (MTA) adopted Helvetica for use in signage in 1989. From 1970 to 1989, the standard font was Standard Medium, an American release of Akzidenz-Grotesk, as defined by Unimark's New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial, in addition to some old signs in Medium Standard, and a few anomalous signs in Helvetica Narrow.[37][38][39] Helvetica is also used in the Washington Metro, the Chicago 'L', Philadelphia's SEPTA, and the Madrid Metro.[40] Amtrak used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company DSB for a time period.[41] In addition, the former state-owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority.[42]

The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital desktop publishing systems, and criticism from type designers including Erik Spiekermann and Martin Majoor, both of whom have criticised the design for its omnipresence and overuse.[4][43] Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.[44]

IBM used Helvetica Neue as its corporate typeface until 2017, spending over $1m annually on licensing fees.[53] It switched in 2017 to the custom IBM Plex family, concluding that a custom open-source typeface would be more distinctive and practical, as it could be freely distributed and installed without rights issues.[45][46]

Media coverage

An early essay on Helvetica's public image as a font used by business and government was written in 1976 by Leslie Savan, a writer on advertising at the Village Voice.[47] It was later republished in her book The Sponsored Life.[48]

In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.[49][50] Winners were announced in the January 2008 issue of the LinoLetter.

In 2007, director Gary Hustwit released a documentary film, Helvetica (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer Wim Crouwel said, "Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface." The documentary also presented other designers who associated Helvetica with authority and corporate dominance, and whose rebellion from Helvetica's ubiquity created new styles.

From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called "50 Years of Helvetica".[51] In 2011 the Disseny Hub Barcelona displayed an exhibit called Helvetica. A New Typeface?. The exhibition included a timeline of Helvetica over the last fifty years, its antecedents and its subsequent influence, including in the local area.[52]

Variants

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A large number of variants of Helvetica were rapidly released to expand on its popularity, including new weights and languages. Linotype confessed by the time of a 1976 advertorial that things had become somewhat confused: "the series was not planned as a whole from its conception...the series is not as uniform as Univers".[53][54]

Helvetica Light

Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel.[55]

Helvetica Inserat

Helvetica Inserat (German for advertisement) is a version designed primarily for use in the advertising industry: this is a narrow variant that is tighter than Helvetica Black Condensed. It gives the glyphs an even larger x-height and a more squared appearance, similar to Schmalfette Grotesk. Adobe's release notes date it to 1966 and state that it originated with Stempel.[56]

Helvetica Compressed (1966)

Designed by Matthew Carter and Hans-Jürg Hunziker for cold type.[57] It shares some design elements with Helvetica Inserat, but uses a curved tail in Q, downward pointing branch in r, and tilde bottom £. Carter has said that in practice it was designed to be similar to Schmalfette Grotesk and to compete in this role with British designs Impact and Compacta, as this style was popular at the time.[58] Carter, who also later designed Helvetica Greek had designed a modernised version of Akzidenz-Grotesk for signage at Heathrow in 1961, and commented later "if we'd known about [Helvetica] I'm sure we would have used it, since it's a much better typeface than the one I drew. But the typesetting trade was very conservative then, and new type designs traveled slowly."[31][59] The family consists of Helvetica Compressed, Helvetica Extra Compressed and Helvetica Ultra Compressed fonts. It has been digitised, for instance in the Adobe Helvetica release.

Helvetica Rounded (1978)

Helvetica Rounded is a version containing rounded stroke terminators, released for bold weights. Linotype's release notes date it to 1978.[60]

Helvetica Narrow

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica to 82% of the original width, resulting in distorted letterforms, with vertical strokes narrowed but horizontals unchanged.[61] Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead.[62]

Helvetica Textbook

Helvetica Textbook is an alternate design of the typeface, which uses 'schoolbook' stylistic alternates to increase distinguishability: a seriffed capital 'i' and 'j' to increase distinguishability, a 'q' with a flick upwards and other differences. The 'a', 't' and 'u' are replaced with designs similar to those in geometric sans-serifs such as those found in Futura and Akzidenz-Grotesk Schulbuch.[63] FontShop's FF Schulbuch is similar.[64][65]

Language variants

Matthew Carter designed a Helvetica Greek (1971).[66][67][58][68] The Cyrillic version was designed in-house in the 1970s at D Stempel AG, then critiqued and redesigned in 1992 under the advice of Jovica Veljović, although a pirated version had already been created in 1963 by Russian designers Maxim Zhukov and Yuri Kurbatov.[69][70][71]

Neue Helvetica (1983)

Helvetica Neue ({{IPA-de|ˈnɔʏə}}) is a reworking of the typeface with a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers.

Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including nine weights in three widths (8 in normal weight, 9 in condensed, and 8 in extended width variants) as well as an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD.[72] Helvetica Neue also comes in variants for Central European and Cyrillic text.

It was developed at D. Stempel AG, a Linotype subsidiary. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was René Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983.[73][74] Figures were widened and some condensed weights changed from having nearly flat-sided verticals to a more continuous curve throughout the entire height.[86]

Designer Christian Schwartz, who would later release his own digitisation of the original Helvetica designs (see below), expressed disappointment with this and other digital releases of Helvetica: "digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises...the spacing has ended up much looser than Miedinger's wonderfully tight original at display sizes but much too tight for comfortable reading at text sizes."[75]

iOS used first Helvetica then Helvetica Neue[76] as its system font. All releases of macOS prior to OS X Yosemite used Lucida Grande as the system font. The version of Helvetica Neue used as the system font in OS X 10.10 is specially optimised; Apple's intention is to provide a consistent experience for people who use both iOS and OS X.[77][78] Apple replaced Helvetica Neue with San Francisco in iOS 9 and OS X El Capitan.[79]

Neue Helvetica Georgian (1983?)

It is a version with Georgian script support. Only OpenType CFF and TTF font formats were released.

The family includes eight fonts in eight weights and one width, without italics (25, 35, 45, 55, 65, 75, 85, 95).

Helvetica World

Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts.[80]

The family consists of four fonts in two weights and one width, with complementary italics.

The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing.[81]

John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family,[82] as well as the Cyrillic, and Greek letters.[83]

Neue Helvetica W1G (2009)

It is a version with Latin Extended, Greek, Cyrillic scripts support. Only OpenType CFF font format was released.

The family includes the fonts from the older Neue Helvetica counterparts, except Neue Helvetica 75 Bold Outline. Additional OpenType features include subscript/superscript.

Neue Helvetica Arabic (2009)

Designed by Lebanese designer Nadine Chahine,[84] it is a version with Arabic script support. Only OpenType TTF font format was released.[85]

The family includes three fonts in three weights and one width, without italics (45, 55, 65).

(Neue) Helvetica Thai (2012)

Thai font designer Anuthin Wongsunkakon of Cadson Demak Co. created Thai versions of Helvetica and Neue Helvetica fonts.[86][87] The design uses loopless terminals in Thai glyphs,[88][89] which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop).[90]

Neue Helvetica World (2017)

Designed by Nadine Chahine, Linotype Design Studio, Monotype Design Studio and Edik Ghabuzyan, it is a version of Neue Helvetica with support of Latin, Cyrillic, Greek, Arabic, Hebrew, Thai, Armenian, Georgian and Vietnamese scripts for total 181 languages, and complete support of Unicode block u+0400.[91][92][93][94] Published in November 2017 by Linotype, it was released in Truetype and OpenType CFF formats.

Neue Helvetica eText (2011)

It is a version of Neue Helvetica optimised for on-screen use, designed by Akira Kobayashi of Monotype Imaging. Changes from Neue Helvetica include more open spacing.[95] Unlike Helvetica, the capitals are reduced in size so the lower-case ascenders rise above them, a common feature associated with text typefaces.[96][109]

The family includes eight fonts in four weights and one width, with complementary italics (45, 46, 55, 56, 65, 66, 75, 76). OpenType features include numerators/denominators, fractions, ligatures, scientific inferiors, subscript/superscript.[97]

Neue Haas Grotesk (2010)

Christian Schwartz's digitisation for Font Bureau is based on the original Helvetica drawings and uses the typeface's original name.[98][99][100][101] It was released with an article on the history of Helvetica by Professor Indra Kupferschmid.[102]

Unlike earlier digitisations, Schwartz created two different optical sizes for body text and display sizes, which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in text. The release includes a number of features not present on digitisations branded as Helvetica, stylistic alternates such as separate punctuation sets for upper- and lower-case text, "modernist" cedilla designs styled to match the comma and reduced-height numbers to blend into extended text.[103]{{efn|This feature was also included in Robert Slimbach's neogrotesque Acumin (2014) for Adobe.[104]}} Three weights of the text optical size are bundled with Windows 10 in the user-downloadable "Pan-European Supplemental Fonts" package.[105]

Writing for Typographica, Matthew Butterick described the release as better than any previous digital release of Helvetica:

{{quote |text="As someone who’s worked with cold-metal Helvetica, I can vouch for the fact that it’s never looked better...My sole criticism of the face [is] its ungainly name, which I’m regrettably certain will limit its visibility and hence its uptake. "Neue Haas Grotesk" makes it sound like a second cousin of Akzidenz Grotesk that’s just stumbled in from the hinterlands. But no, it is the rightful heir to the Helvetica throne. It should carry the Helvetica name.[106]}}

Users include Bloomberg Businessweek and the Whitney Museum.[107][108] It originated from an abandoned redesign plan for the Guardian newspaper. The release does not include condensed weights or Greek and Cyrillic support.

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Helvetica clones

As one of the most iconic typefaces of the twentieth century, derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the phototypesetting font market of the 1960s and 70s onwards.[109][110] Some of these were straight clones, simply intended to be direct substitutes.[111] Many of these are almost indistinguishable from Helvetica, while some add subtle differences.

Substitute Helvetica designs that have survived into or originated during the digital period have included Monotype's Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, Bitstream's Swiss 721, URW++'s Nimbus Sans and Scangraphic's Europa Grotesk.[109][112] Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone.[113][114][115][116] Besides Helvetica imitations, Helvetica was available in custom derivatives with unusual special-order characters for many years, notably a straight-legged 'R' and round-topped 'A'.[102] CNN uses a custom derivative, "CNN Sans", which has a '1' with a base.[117][118][119]

Nimbus Sans

URW (later URW++) under the leadership of Peter Karow produced a modification of Helvetica called Nimbus Sans.[113] This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles.[120] Florian Hardwig has described its display-oriented styles, with tight spacing, as more reminiscent of Helvetica as used in the 1970s from cold type than any official Helvetica digitisation.[121][122]

Arial and MS Sans Serif

Monotype's Arial, created for IBM and also used by Microsoft, is indistinguishable by most non-specialists.[123] Matthew Carter, who was a consultant for IBM during its design process, describes it as "a Helvetica clone, based ostensibly on their Grots 215 and 216" (Monotype's old 1920s sans-serif family, popular in British trade printing in the metal type period, and itself based on the Bauer Venus-Grotesk family).[26] Differences include:

  • Helvetica's strokes are typically cut either horizontally or vertically. This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts, following Monotype Grotesque.
  • Helvetica's G has a spur at bottom right; Arial does not.
  • The tail of Helvetica's R is more upright whereas Arial's R is more diagonal.
  • The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve.
  • The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight curve.

The design was created to substitute for Helvetica: Arial (and many other clones of the period) are metrically identical to the PostScript version of Helvetica, so that a document designed in Helvetica could be displayed and printed correctly without IBM having to pay Linotype for a Helvetica license on its printers.[124][125][126]

Microsoft's "Helv" design, later known as "MS Sans Serif", is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more-uniform stroke widths within a glyph.

Free Helvetica substitute fonts

Nimbus Sans L, a version of URW's Nimbus Sans spaced to match the standard Linotype/PostScript version of Helvetica, was released under the GNU General Public License in 1996, and donated to the Ghostscript project to create a free PostScript alternative.[127][128] It (or a derivative) is used by much open-source software such as R as a system font.[129][130] A derivative of this family known as "TeX Gyre Heros" has been prepared for use in the TeX scientific document preparation software.[131]

FreeSans, a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.[132] It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002.

Liberation Sans is a metrically equivalent font to Arial developed by Steve Matteson at Ascender and published by Red Hat under the SIL Open Font License.[133][134] It is used in some GNU/Linux distributions as default font replacement for Arial.[135] Oracle funded the additional development of Liberation Sans Narrow in 2010.[136][137] Google commissioned a variation named Arimo for Chrome OS.

Much more loosely, Roboto was developed by Christian Robertson of Google as the system font for its Android operating system; this has a more condensed design with the influence of straight-sided geometric designs like DIN 1451.

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Derivative designs

Some fonts based on Helvetica are intended for different purposes and have clearly different designs. Digital-period font designer Ray Larabie has commented that in the 1970s "everyone was modifying Helvetica with funky curls, mixed-case and effects".[138] Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.[156]

Sowjietische Haas Grotesk

Designed in 1963, Sowjietische Haas Grotesk (Soviet Helvetica) was one of the first attempts to adapt Helvetica to the Cyrillic script. It was designed by two students at the Moscow Print Institute, one of whom, Maxim Zhukov, would become one of the Soviet Union's most prominent typographers. Zhukov and his partner Yuri Kurbatov used upright cursive forms for several of the lowercase letters, which allowed for several of the Helvetica forms to be transferred more directly into Cyrillic.

Sowjietische Haas Grotesk received widespread use in phototypesetting, especially among other students at the Moscow Print Institute, despite never being commercially released. Zhukov and Kurbatov attempted to publish the typeface in 1964 but were rejected on account that the font was too closely associated with capitalism; this was one of the major factors as to why an official Cyrillic Helvetica, Pragmatica, would not be released in the Soviet bloc until perestroika in 1989.[71]

The lowercase forms of Sowjietische Haas Grotesk were digitized as "Soyuz Grotesk" and released into the public domain by The Temporary State. Soyuz Grotesk added a Latin script, which it reconstructed in the same way Sowjietische Haas Grotesk had been constructed from Helvetica but in reverse, by using the Cyrillic forms and adapting them to Latin.[71]

Forma (1968)

Created by Aldo Novarese at the Italian type foundry Nebiolo, Forma was a geometric-influenced derivative of Helvetica with a 'single-storey' 'a' and extremely tight spacing in the style of the period.[139][140][141] It was offered with 'request' stylistic alternates imitating Helvetica more closely.[139][142] Forma has been digitised by SoftMaker as "Formula" and (in a much more complete version with optical sizes) as Forma DJR by David Jonathan Ross at Font Bureau for Tatler magazine.[143]

Helvetica Flair and others

Designed by Phil Martin at Alphabet Innovations, Helvetica Flair is an unauthorised phototype-period redesign of Helvetica adding swashes and unicase-inspired capitals with a lower-case design. Considered a hallmark of 1970s design, it has never been issued digitally. It is considered to be a highly conflicted design, as Helvetica is seen as a spare and rational typeface and swashes are ostentatious: font designer Mark Simonson described it as "almost sacrilegious". Martin would later claim to have been accused of "typographic incest" by one German writer for creating it.

Helvetica Flair was one of several derivative fonts created by Martin in the 1970s (and a particularly legally questionable one, since it was directly named 'Helvetica').[144][145] Martin also drew 'Heldustry', a fusion of Helvetica with Eurostile,[146] and 'Helserif', a redesign of Helvetica with serifs,[147] and these have both been digitised.[111][148][149]

Shatter LET (1973)

Designed by Vic Carless, Shatter assembles together slices of Helvetica to make a typeface that seems to be in motion, or broken and in pieces.[150] It was published by Letraset after jointly winning their 1973 competition to design new fonts.[151]

Writing in 2014, Tim Spencer praised the design for its ominous effect, writing that it offered "glitch-like mechanical aggression [and] cold, machine-induced paranoia. It attacked the Establishment’s preferred information typography style with a sharp edge and recomposed it in a jarring manner that still makes your eyes skitter and your brain tick trying to recompose it. Shatter literally sliced up Swiss modernist authority."[152]

Unica

Unica by Team ’77 (André Gürtler, Christian Mengelt and Erich Gschwind) is as a hybrid of Helvetica, Univers and Akzidenz-Grotesk. It was developed in the 1970s for electronic on-screen phototypesetting and released in 1980. As phototypesetting was soon replaced by desktop publishing and because of a legal dispute, the typeface rapidly disappeared from the market. In 2012 the Swiss foundry Lineto released a digital edition with input from Christian Mengelt.

Chalet

House Industries’ Chalet family is a series of fonts based on Helvetica inspired by its many derivatives and adaptations in post-war design, organised by “date” to '1960' (conventional), '1970' and '1980' (both more radically altered and “science fiction” in feel).[153] House Industries, who are known for outlandish font marketing methods, promoted Chalet through presenting it as inspired by the branding and career progression of a fictitious Swiss haute couture designer, “Renè Chalet” (Chalet being French for 'House').[154][155][156]

Coolvetica

In the digital period, Canadian type designer Ray Larabie has released several digital fonts based upon Helvetica. The most widely known and distributed of these is Coolvetica, which Larabie introduced in 1999; Larabie has stated he was inspired by Helvetica Flair, Chalet and similar variants in creating some of Coolvetica's distinguishing glyphs (most strikingly a swash on capital G, a lowercase y based on the letterforms of g and u, and a fully curled lowercase t), and chose to use set a tight default spacing optimised for use in display type.[157] Larabie's company Typodermic offers Coolvetica in a wide variety of weights as a commercial release, with the semi-bold as freeware taster; as of 2017, the semi-bold remains Larabie's most popular font.[158][159]

Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88.[160][161]

Local Gothic

Inspired by noticeboards using stencilled or plastic letters from a variety of sources, Christian Schwartz created the font 'Local Gothic', which randomly mixes capitals in the loose style of several popular American display capital fonts, Helvetica Bold among them.[162]

Sans forgetica

Sans forgetica is an unofficial version of Helvetica sans-serif intended as a learning aid [163].

Popular culture

In 2011, one of Google's April Fools' Day jokes centered on the use of Helvetica. If a user attempted to search for the term "Helvetica" using the search engine, the results would be displayed in the font Comic Sans.[164]

{{Clear}}

Notes

{{notelist|30em}}

References

1. ^{{cite web|last1=Kupferschmid|first1=Indra|title=Combining Type With Helvetica|url=http://www.fontshop.com/blog/?cat=92|archive-url=https://web.archive.org/web/20100430093419/http://www.fontshop.com/blog/?cat=92|dead-url=yes|archive-date=30 April 2010|website=FontShop (archived)|accessdate=29 April 2018}}
2. ^{{cite web|last1=Berry|first1=John|title=A Neo-Grotesque Heritage|url=http://acumin.typekit.com/history/|publisher=Adobe Systems|accessdate=15 October 2015}}
3. ^{{cite web|last1=Shinn|first1=Nick|title=Uniformity|url=http://shinntype.com/wp-content/uploads/Uniformity.pdf|website=Nick Shinn|publisher=Graphic Exchange|accessdate=1 July 2015}}
4. ^1 2 3 {{cite web|last1=Kupferschmid|first1=Indra|title=I had never loved Helvetica|url=http://kupferschrift.de/cms/2014/10/i-had-never-loved-helvetica/|accessdate=5 October 2015}}
5. ^{{cite journal|last1=Gerstner|first1=Karl|authorlink1=Karl Gerstner|title=A new basis for the old Akzidenz-Grotesk (English translation by Forgotten Shapes)|journal=Der Druckspiegel|date=1963|url=http://forgotten-shapes.com/wordpress/wp-content/uploads/2017/01/a-new-basis-for-akzidenz-grotesk-english-translation.pdf|accessdate=15 October 2017|archive-url=https://web.archive.org/web/20171015202441/http://forgotten-shapes.com/wordpress/wp-content/uploads/2017/01/a-new-basis-for-akzidenz-grotesk-english-translation.pdf|archive-date=2017-10-15|dead-url=yes|df=}}
6. ^{{cite journal|last1=Gerstner|first1=Karl|authorlink1=Karl Gerstner|title=Die alte Akzidenz-Grotesk auf neuer Basis|journal=Der Druckspiegel|date=1963|url=http://forgotten-shapes.com/wordpress/wp-content/uploads/2017/01/akzidenz-grotesk-auf-neuer-basis-german-original.pdf|accessdate=15 October 2017|archive-url=https://web.archive.org/web/20171015202204/http://forgotten-shapes.com/wordpress/wp-content/uploads/2017/01/akzidenz-grotesk-auf-neuer-basis-german-original.pdf|archive-date=2017-10-15|dead-url=yes|df=}}
7. ^1 {{cite video |date= 2007-09-12 |title= Helvetica |medium= Documentary }}
8. ^{{cite web|last1=Shaw|first1=Paul|title=Helvetica and Univers addendum|url=http://www.paulshawletterdesign.com/2011/12/from-the-archives-no-26%E2%80%94helvetica-and-univers-addendum/|website=Blue Pencil|accessdate=1 July 2015}}
9. ^{{cite web|last1=Shaw|first1=Paul|title=The Univers of Helvetica: A Tale of Two Typefaces|url=http://www.printmag.com/typography/univers-of-helvetica-history/|website=Print|accessdate=26 June 2016}}
10. ^{{cite web|last1=Langer|first1=Axel|title=One Typeface, Two Fathers|url=http://www.helveticaforever.com/en/html/1t2f.html|website=Helvetica Forever|publisher=University of Applied Sciences Düsseldorf|accessdate=29 April 2018}}
11. ^{{cite web|last1=Homola|first1=Wolfgang|title=Type design in the age of the machine. The ‘Breite Grotesk’ by J. G. Schelter & Giesecke|url=http://www.typefacedesign.org/resources/dissertation/2004/WolfgangHomola_dissertation.pdf|archive-url=https://web.archive.org/web/20110112014111/http://www.typefacedesign.org/resources/dissertation/2004/WolfgangHomola_dissertation.pdf|dead-url=yes|archive-date=12 January 2011|publisher=University of Reading (archived)|accessdate=17 January 2018}}
12. ^{{cite web|title=“Nouvelle Antique Haas” aka “Neue Haas Grotesk” aka “Helvetica” promotional, by Fritz Büler, Walter Bosshardt, 1959|url=https://www.flickr.com/photos/54000959@N06/5988909618|website=Flickr|publisher=Herb Lubalin Study Center|accessdate=29 April 2018}}
13. ^{{cite web|last1=Montrose-Helker|first1=William|title=Post-War Type Marketing: A comparative study of three European type foundries during the 1950s and 1960s|url=https://www.academia.edu/4624122/Post-War_Type_Marketing_A_comparative_study_of_three_European_type_foundries_during_the_1950s_and_1960s|publisher=University of Reading|accessdate=29 April 2018}}
14. ^{{cite web|url=http://new.myfonts.com/person/ritzel/arthur/overview.html |title=myfonts: Arthur Ritzel |publisher=New.myfonts.com |date=1999-02-22 |accessdate=2009-06-08}}
15. ^{{cite web|last1=Shaw|first1=Paul|title=Helvetica & Univers|url=http://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26%E2%80%94helvetica-and-univers/|website=Blue Pencil|accessdate=1 July 2015}}
16. ^{{cite web|last1=Shaw|first1=Paul|title=From the Archives no. 15—Helvetica and Standard|url=http://www.paulshawletterdesign.com/2011/03/from-the-archives-no-15%E2%80%94helvetica-and-standard/|website=Paul Shaw Letter Design (blog)|accessdate=27 December 2017}}
17. ^{{cite web|last1=Shaw|first1=Paul|title=From the Archives no. 17—More on Helvetica in the United States|url=http://www.paulshawletterdesign.com/2011/03/from-the-archives-no-17—more-on-helvetica-in-the-united-states/|website=Paul Shaw Letter Design|accessdate=29 April 2018}}
18. ^{{cite book|last1=Müller|first1=Lars|last2=Malsy|first2=Victor|last3=Langer|first3=Axel|last4=Kupferschmid|first4=Indra|title=Helvetica Forever: Story of a Typeface|date=2009|publisher=Lars Müller|location=Baden, Switzerland|isbn=978-3037781210}}
19. ^{{cite web|last1=Shaw|first1=Paul|title=Blue Pencil no. 19—Helvetica and the New York City Subway System|url=http://www.paulshawletterdesign.com/2012/03/blue-pencil-no-19—helvetica-and-the-new-york-city-subway-system/|website=Paul Shaw Letter Design|accessdate=29 April 2018}}
20. ^{{cite book|last1=Craig|first1=James|last2=Malmstrom|first2=Margit|title=Phototypesetting: a design manual.|date=1978|publisher=Watson-Guptill|location=New York|isbn=9780823040117|page=35|quote=Helvetica is, without a doubt, the most widely used sans serif typeface.|edition= 1st}}
21. ^{{cite web|last1=Simonson|first1=Mark|title=Monotype's Other Arials|url=http://www.marksimonson.com/notebook/view/monotypes-other-arials|publisher=Mark Simonson Studio|accessdate=14 July 2015}}
22. ^{{cite web|last1=Covert|first1=Adrian|title=Why Apple's New Font Won't Work On Your Desktop|url=http://www.fastcodesign.com/3031432/why-apples-new-font-wont-work-on-your-desktop|website=FastCoDesign|accessdate=28 November 2014}}
23. ^{{cite web|last1=Spiekermann|first1=Erik|title=Helvetica Sucks|url=http://spiekermann.com/en/helvetica-sucks/|website=Spiekermann blog|accessdate=15 July 2015}}
24. ^{{cite web|last1=Spiekermann|first1=Erik|title=Distinct lettershapes are important. Or can you work out this code? 1, I or l?|url=https://twitter.com/espiekermann/status/608914001070845952|website=Twitter|accessdate=14 June 2015}}
25. ^{{cite web|last1=Spolsky|first1=Joel|title=User Interface Design For Programmers|url=http://www.joelonsoftware.com/uibook/fog0000000249.html|website=Joel On Software|accessdate=15 July 2015}}
26. ^{{cite web|last1=Herrmann|first1=Ralf|title=The Design of a Signage Typeface|url=http://ilovetypography.com/2012/04/19/the-design-of-a-signage-typeface/|website=i love typography|accessdate=27 July 2015}}
27. ^{{cite web |url=http://fontsinuse.com/typefaces/44/helvetica |title=Uses of Helvetica |publisher=Fonts In Use}}
28. ^{{cite news|url = http://news.bbc.co.uk/1/hi/magazine/6638423.stm|title = BBC News - Helvetica at 50|accessdate = 2009-02-20|date = 2007-05-09}}
29. ^{{cite web|last1=Ferguson|first1=Brad|title=Helvetica: The Backlash|url=http://www.printmag.com/typography/helvetica-the-backlash/|website=Print|accessdate=29 April 2018}}
30. ^{{cite web |url = http://daringfireball.net/2010/06/4|title = Daring Fireball: 4|publisher = John Gruber}}
31. ^1 {{cite web|last1=Rawsthorn|first1=Alice|title=Helvetica: The little typeface that leaves a big mark|url=https://www.nytimes.com/2007/03/30/style/30iht-design2.1.5085303.html|work=The New York Times|accessdate=11 January 2016}}
32. ^{{cite video |date = 2007-09-12|title = Helvetica|medium = Documentary}}
33. ^{{cite web |url = http://www.tbs-sct.gc.ca/fip-pcim/man_1_1-eng.asp#a1|title = Federal Identity Program Manual - 1.1 Design|publisher = Treasury Board of Canada Secretariat|date = |accessdate = 2015-06-19|quote = A consistent typography is fundamental to corporate identity, and three faces from the Helvetica type family have been adopted for purposes of the FIP. They were chosen for their versatility, excellent legibility and contemporary design.}}
34. ^{{cite web|last1=Campbell-Dollaghan|first1=Kelsey|title=Six Beautiful Artefacts From The Dawn Of Digital Typography|url=https://www.gizmodo.com.au/2013/05/six-beautiful-artefacts-from-the-dawn-of-digital-typography/|website=Gizmodo|accessdate=30 April 2017}}
35. ^Article 9(4)(a) of Directive 2014/40/EU.
36. ^{{Cite web|url = http://www.livewellcollaborative.org/uc/images/stories/U10_Urban_Transportation_Studio/Branding/History%20of%20Fonts%20in%20Transit.pdf|title = A Brief History of Fonts in Transit|date = |accessdate = 2015-06-22|website =livewellcollaborative.org/|publisher = |last = |first = }}
37. ^{{cite web|last1=Shaw|first1=Paul|author-link=Paul Shaw (design historian)|title=The (Mostly) True Story of Helvetica and the New York City Subway|url=http://www.aiga.org/the-mostly-true-story-of-helvetica-and-the-new-york-city-subway/|website=AIGA|accessdate=6 November 2016}}
38. ^{{cite web|last1=Bierut|first1=Michael|authorlink1=Michael Bierut|title=When in Helvetica|url=https://www.wsj.com/articles/SB10001424052748703858404576214492061190946|website=Wall Street Journal|accessdate=6 November 2016}}
39. ^{{cite web|last1=Lee|first1=Jennifer|author-link=Jennifer 8. Lee|title=How Helvetica Took Over the Subway|url=http://cityroom.blogs.nytimes.com/2008/12/04/how-helvetica-took-over-the-subway/?_r=0±|website=New York Times|accessdate=6 November 2016}}
40. ^{{Cite web|url = https://www.metromadrid.es/export/sites/metro/comun/documentos/Identidad_corporativa/IdentidadMetroMadrid.pdf|title = Elementos Básicos de Identidad Corporativa de Metro de Madrid|date = |accessdate = 2015-06-23|website = metromadrid.es|publisher = Metro de Madrid|last = |first = |trans-title = Basic Elements of the Corporate Identity of the Metro of Madrid|language = Spanish}}
41. ^{{cite web|url = http://blog.eyemagazine.com/?p=189|title = Eye blog » Rue Britanica.Typeface name changes after Eye magazine goes to press|publisher = Blog.eyemagazine.com|date = 2009-04-20|accessdate = 2013-09-21}}
42. ^{{cite web|last1=Walters|first1=John|title=New Rail Alphabet|url=http://www.eyemagazine.com/feature/article/britains-signature±|website=Eye Magazine|accessdate=29 April 2018}}{{Dead link|date=November 2018 |bot=InternetArchiveBot |fix-attempted=yes }}
43. ^{{cite journal|last1=Spiekermann|first1=Erik|title=Post Mortem or how I once designed a typeface for Europe's biggest company|journal=Baseline|date=1987|issue=9|pages=6–9|url=http://spiekermann.com/en/wp-content/uploads/2005/05/baseline0785_meta3.pdf|accessdate=20 March 2016}}
44. ^{{cite magazine|last1=Majoor|first1=Martin|title=Inclined to be dull|url=http://www.eyemagazine.com/feature/article/inclined-to-be-dull|date=Spring 2007|website=Eye|accessdate=3 August 2015|volume=16|issue=63|pages=33–7}}
45. ^1 {{cite web|last1=Quito|first1=Anne|title=IBM has freed itself from the tyranny of Helvetica|url=https://qz.com/1124664/ibm-plex-with-its-first-ever-custom-corporate-font-ibm-is-freeing-itself-from-the-tyranny-of-helvetica/|website=Quartz|accessdate=1 May 2018}}
46. ^{{cite web|last1=Czarnecki|first1=Lucas|title=Can IBM Plex topple Helvetica?|url=https://www.typemag.org/home/2017/12/1/will-ibm-plex-topple-helvetica|website=Type|accessdate=1 May 2018|archive-url=https://web.archive.org/web/20180501225301/https://www.typemag.org/home/2017/12/1/will-ibm-plex-topple-helvetica|archive-date=2018-05-01|dead-url=yes|df=}}
47. ^{{cite web|last1=Lupton|first1=Ellen|title=Forever Helvetica|url=http://www.metropolismag.com/June-2007/Forever-Helvetica/|website=Metropolis Magazine|accessdate=4 July 2016|deadurl=yes|archiveurl=https://web.archive.org/web/20161007062611/http://www.metropolismag.com/June-2007/Forever-Helvetica/|archivedate=7 October 2016|df=}}
48. ^{{cite book|last1=Savan|first1=Leslie|title=The Sponsored Life: Ads, TV, and American Culture|date=1994|publisher=Temple University Press|location=Philadelphia|isbn=9781439904909}}
49. ^{{cite web|url=http://www.creativepro.com/article/linotype-announces-helvetica-now-poster-contest |title=Linotype Announces Helvetica NOW Poster Contest |publisher=Creativepro.com |date= |accessdate=2009-06-08}}
50. ^{{cite web|url=http://www.linotype.com/helveticaNOW |title=Helvetica NOW Poster Contest |publisher=Linotype.com |date=2008-08-19 |accessdate=2009-06-08}}
51. ^{{cite web| url=http://www.moma.org/visit/calendar/exhibitions/38|title=Exhibitions 2007: 50 Years of Helvetica| publisher=Museum of Modern Art, New York|accessdate=2008-11-16}}
52. ^Helvetica. A New Typeface? {{webarchive|url=https://web.archive.org/web/20120828125711/http://dhub-bcn.cat/en/exhibition/helvetica-new-typeface |date=2012-08-28 }} at Disseny Hub Barcelona
53. ^{{cite web|last1=Shaw|first1=Paul|title=From the Archives no. 26—Helvetica and Univers|url=http://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26—helvetica-and-univers/|website=Paul Shaw Letter Design|accessdate=28 April 2018}}
54. ^{{cite journal|title=Everything you ever wanted to know about Helvetica – but were afraid to ask|journal=Upper & Lower Case|volume=3|issue=1|pages=43–6|url=https://issuu.com/csisson/docs/u_lc_vol.3-1|accessdate=28 April 2018}}
55. ^{{cite web|url=http://www.thamesandhudson.com/books/Creative_Type/9780500512296.mxs/20/11/ |first1=Cees W |last1=de Jong |first2=Alston W |last2=Purvis |first3=Friedrich |last3=Friedl |title=Creative Type: A Sourcebook of Classic and Contemporary Letterforms |publisher=Thames & Hudson |ISBN=978-0-50051229-6 |accessdate=2009-06-08 |deadurl=yes |archiveurl=https://web.archive.org/web/20090422194033/http://www.thamesandhudson.com/books/Creative_Type/9780500512296.mxs/20/11/ |archivedate=April 22, 2009 }}
56. ^{{cite web|title=Helvetica Inserat|url=https://www.myfonts.com/fonts/adobe/helvetica-inserat/|website=MyFonts|publisher=Adobe|accessdate=29 April 2018}}
57. ^{{cite web|last1=Sherman|first1=Nick|last2=Carter|first2=Matthew|title=Helvetica Compressed|url=https://www.flickr.com/photos/nicksherman/16656369014/in/photolist-rnSfd7-7pDNRB-3yHxz-2a1L5E-78Bq7N-5CTt6h|website=Flickr|accessdate=30 April 2018|quote=Helvetica Compressed was planned as a three-part family [to fit into] the Linofilm’s unit system…I designed Helvetica Compressed and Helvetica Extra Compressed, on my own before Hans-Jürg joined the company. They were released in 1966. Hans-Jürg designed the Ultra Compressed under my eye. It was released in 1968…part of a craze for condensed grots in Europe in the ’60s that encouraged me to propose to Mike Parker that I should design a series when I joined Merg[enthaler] in 1965. There was no client in mind for Helvetica Compressed when we did it.}}
58. ^1 {{cite book|last1=Drucker|first1=Margaret Re ; essays by Johanna|last2=Mosley|first2=James|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural|location=New York|isbn=9781568984278|pages=41, 53 etc.|url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA41|edition= 2.}}
59. ^{{cite web|last1=Webster|first1=Garrick|title=Matthew Carter|url=https://www.creativebloq.com/computer-arts/matthew-carter-1118715|website=Computer Arts|quote=We did a sans-serif typeface, which, if you look at it today, you'd think was a rip-off of Helvetica. But we'd never seen Helvetica in 1961 in London, although it had been produced in Switzerland near Basle at the Haas foundry in 1957. Even if we had seen it, and wanted to have it typeset in London, we'd have had to get on a plane and fly to Basle and have it typeset there, because the British typesetting trade was so conservative that typefaces like that were simply unobtainable. |accessdate=28 April 2018}}
60. ^{{cite web |title=Helvetica rounded – the rounded version of the classic Helvetica |url=https://www.linotype.com/8023/helvetica-rounded.html |website=Linotype.com |publisher=Linotype |accessdate=7 October 2018}}
61. ^{{cite web|last1=Felici|first1=James|title=The Call of the Wide|url=https://creativepro.com/call-wide/|website=Creative Pro|accessdate=29 April 2018}}
62. ^{{cite web|url=https://www.adobe.com/type/opentype/T1_to_OTF_FAQ.htm |title=Type 1 ("PostScript") to OpenType font conversion |publisher=Adobe |accessdate= 2009-06-08}}
63. ^{{cite web|title=Helvetica Textbook|url=https://www.fontshop.com/families/helvetica-textbook|website=FontShop|accessdate=20 March 2016}}
64. ^{{cite web|last1=Coles|first1=Stephen|title=Wikipedia Redefined|url=http://fontsinuse.com/uses/2013/wikipedia-redefined|website=Fonts In Use|accessdate=13 July 2016}}
65. ^{{cite web|last1=Coles|first1=Stephen|title=Design Museum|url=http://fontsinuse.com/uses/11997/design-museum-identity-2003-2016|website=Fonts In Use|accessdate=13 July 2016}}
66. ^{{cite journal|last1=Re|first1=Margaret|title=A Typographic Jubilee for Matthew Carter|journal=Typo|date=2005|url=http://storage.svettisku.cz/TYPO_2005_18.pdf|archive-url=https://web.archive.org/web/20090319104747/http://storage.svettisku.cz/TYPO_2005_18.pdf|dead-url=yes|archive-date=2009-03-19|accessdate=29 April 2018}}
67. ^{{cite web|url=http://storage.svettisku.cz/TYPO_2005_18.pdf |type=magazine |title=TYPO.18 |date=December 2005 |publisher=Svettisku |place=CZ |deadurl=yes |archiveurl=https://web.archive.org/web/20090319104747/http://storage.svettisku.cz/TYPO_2005_18.pdf |archivedate=2009-03-19 |df= }}
68. ^{{cite book|last1=Carter|first1=Matthew|editor1-last=Macrakis|editor1-first=Michael|title=Greek Letters: From Tablets to Pixels|date=1996|publisher=Oak Knoll Press|location=New Castle, Del.|isbn=9781884718274|page=175|edition= 1st}}
69. ^{{cite web|url= http://store1.adobe.com/cfusion/store/html/index.cfm?store=OLS-US&event=displayFontPackage&code=361 | work = Fonts | title = Helvetica Cyrillic |publisher= Adobe |accessdate = 2009-06-08}}
70. ^{{cite web |last1=Samarskaya |first1=Ksenya |title=Soyuz Grotesk |url=https://typographica.org/typeface-reviews/soyuz-grotesk/ |website=Typographica |accessdate=18 November 2018}}
71. ^1 2 {{cite web |last1=Gornitsky |first1=Roman |title=Soyuz Grotesk: release notes |url=http://letters.temporarystate.net/entry/1/|website=The Temporary State |accessdate=18 November 2018}}
72. ^{{cite web|url=http://www.linotype.com/en/2876/linotypepresentsentirenewhelveticafamilyonasinglecd.html |title=Linotype Library presents entire New Helvetica family on a single CD |publisher=Linotype.com |date= |accessdate=2009-06-08}}
73. ^"Who Made Helvetica Neue?" {{webarchive |url=https://web.archive.org/web/20150608060851/http://typophile.com/node/37855#comment-232223 |date=June 8, 2015 }}, typophile.com
74. ^{{cite web|last1=Kupferschmid|first1=Indra|title=Neue Helvetica Entdeckung!|url=http://kupferschrift.de/cms/2007/08/neue-helvetica-entdeckung/|website=Kupferschrift|accessdate=29 April 2018}}
75. ^{{cite web|last1=Schwartz|first1=Christian|author-link=Christian Schwartz|title=Neue Haas Grotesk|url=http://www.christianschwartz.com/haasgrotesk.shtml|accessdate=28 November 2014}}
76. ^{{cite web |url= http://daringfireball.net/2010/06/4 |title=Daring Fireball: 4 |first=John |last=Gruber |work=daringfireball.net |date=29 June 2010 |accessdate=May 25, 2015 |quote=It’s a subtle change, but Apple has changed the system font for the iPhone 4, from Helvetica to Helvetica Neue. The change is specific to the iPhone 4 hardware (or more specifically, the Retina Display), not iOS 4.}}
77. ^{{cite web|title=OS X Human Interface Guidelines: Designing for Yosemite|url=https://developer.apple.com/library/mac/documentation/UserExperience/Conceptual/OSXHIGuidelines/index.html#//apple_ref/doc/uid/20000957-CH3-SW1|website=Apple Developer|publisher=Apple, Inc.|accessdate=18 October 2014|date=2014-10-16|quote=The use of Helvetica Neue also gives users a consistent experience when they switch between iOS and OS X.}}
78. ^{{cite web |last1=Bigelow |first1=Charles |last2=Holmes |first2=Kris |title=What's the Difference between Lucida Grande and Helvetica Neue? |url=http://bigelowandholmes.typepad.com/bigelow-holmes/2014/11/whats-the-difference-between-lucida-grande-and-helvetica-neue.html |publisher=Bigelow & Holmes |accessdate=4 September 2018}}
79. ^{{Cite web|last=Stinson|first=Liz|website=Wired|publisher=Condé Nast|title = Why Apple Abandoned the World’s Most Beloved Typeface|url = https://www.wired.com/2015/06/apple-abandoned-worlds-beloved-typeface/|date=2015-06-09|accessdate = 2015-07-24}}
80. ^{{cite web|url=http://www.linotype.com/en/1824-18303/thelanguagewhizhelveticalinotype.html |title=The Language Whiz — Helvetica Linotype |website=Linotype.com |date=2007-10-16 |accessdate=2009-06-08}}
81. ^{{cite web|url=http://typographica.org/000652.php |title=Linotype Releases 1100+ OpenType Fonts: Release a Significant Step Towards Format's Acceptance |publisher=Typographica.org |date=August 6, 2003 |archiveurl = https://web.archive.org/web/20080704110031/http://typographica.org/000652.php |archivedate = 2008-07-04 |accessdate=2009-06-08 |quote=In the Comments Section: The biggest differences are the new Greek, Cyrillic and Hebrew designs, and the presence of Arabic support based on the radically redesigned Yakout Linotype (not a perfect match for the Helvetica, but the most appropriate in the Linotype Library; this is 'core font' Arabic support: not for fine typography). There is also a large maths and symbol set in each font (not complete maths typesetting support, but more than you'll get in most fonts). The only big change in the Latin is that the whole thing has been respaced. The old Helvetica Std Type 1 and TT fonts inherited, via phototype, the unit metrics of the original hot metal type. This led to all sorts of oddities in the sidebearings, which were cleaned up during development of Helvetica Linotype. It is still quite a tightly spaced typeface by today's standards, but the spacing is now consistent. It was also re-kerned. Helvetica Linotype has also been extensively hinted for screen. -- John Hudson }}
82. ^{{cite web|url=http://typographica.org/000484.php |archive-url=https://archive.is/20070607201825/http://typographica.org/000484.php |dead-url=yes |archive-date=2007-06-07 |title=Experimental Arabic Type |publisher=Typographica.org |date= |accessdate=2009-06-08}}
83. ^Macmillan, Neil. An A–Z of Type Designers. Yale University Press: 2006. {{ISBN|0-300-11151-7}}.
84. ^{{cite web|url=http://www.linotype.com/670004/neuehelveticaarabic-family.html |title=Download Neue Helvetica® Arabic font family |publisher=Linotype.com |date= |accessdate=2013-09-21}}
85. ^Linotype veröffentlicht Neue Helvetica Arabic - Design von Nadine Chahine übersetzt eine der populärsten Schriften ins Arabische
86. ^{{cite web | url = http://blog.linotype.com/2012/03/helvetica-now-available-in-thai/ | title = Helvetica now available in Thai |date=Mar 2003 | publisher = Linotype | type = World Wide Web log}}
87. ^{{cite web | url = http://www.linotype.com/en/6743/2012_03_20.html | language = German | title = Helvetica jetzt auch in Thai – Eine der beliebtesten Schriften ab sofort in neuer Sprachversion bei Linotype erhältlich | date = 2012-03-20}}
88. ^{{cite web |url= http://anuthin.org/2012/03/02/note-on-helvetica-thai/ |title=Note on Helvetica Thai |first=Anuthin |last=Wongsunkakon |work=anuthin.org |date=2 March 2012 |accessdate=25 May 2015}}
89. ^{{cite web | url = http://www.linotype.com/en/1824-32659/helveticathai.html | title = Helvetica Thai | publisher = Linotype}}
90. ^{{cite web |url=http://www.anuthin.com/2009/12/manop-mai.html |archive-url=https://web.archive.org/web/20100322235854/http://www.anuthin.com/2009/12/manop-mai.html |dead-url=yes |archive-date=2010-03-22 |publisher=Anuthin + Cadson Demak |type=distribution |title=Manop Mai |date=Dec 2009 |df= }}
91. ^Linotype released Neue Helvetica World.
92. ^Neue Helvetica World: the standard in sans serif design for international corporate communications!
93. ^Neue Helvetica World
94. ^[https://www.fontshop.com/families/neue-helvetica Neue Helvetica Super Family]
95. ^{{cite web|last1=Strizver|first1=Ilene|title=Good Looking Helvetica at Any Size|url=https://creativepro.com/typetalk-good-looking-helvetica-size/|website=Creative Pro|accessdate=1 May 2018}}
96. ^1 {{cite web |last1=Strizver |first1=Ilene |title=Helvetica vs. Neue Helvetica: The Same but Different |url=https://creativepro.com/helvetica-vs-neue-helvetica-same-but-different/ |website=Creative Pro |accessdate=4 September 2018}}
97. ^{{cite web|url=http://www.linotype.com/903066/NeueHelveticaeText-family.html |title=Download Neue Helvetica® eText font family |publisher=Linotype.com |date= |accessdate=2013-09-21}}
98. ^{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/|publisher=The Font Bureau, Inc.|page=Introduction}}
99. ^{{cite web|url=http://www.linotype.com/6598/neuehaasgrotesk.html |title=Neue Haas Grotesk - Font News |publisher=Linotype.com |date= |accessdate=2013-09-21}}
100. ^{{cite web|url=http://www.christianschwartz.com/haasgrotesk.shtml |title=Schwartzco Inc |publisher=Christianschwartz.com |date= |accessdate=2013-09-21}}
101. ^{{cite book|last1=Shaw|first1=Paul|title=Revival Type: Digital Typefaces Inspired by the Past|isbn=0300219296|url=https://books.google.com/books?id=n7e0DgAAQBAJ&pg=PA204|pages=204–5}}
102. ^1 2 3 {{cite web|last1=Kupferschmid|first1=Indra|title=Neue Haas Grotesk - History|url=http://www.fontbureau.com/nhg/history/|publisher=Font Bureau|accessdate=4 August 2017}}
103. ^{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/features/|publisher=The Font Bureau, Inc.|accessdate=23 December 2013}}
104. ^1 {{cite web|last1=Slimbach|first1=Robert|title=Using Acumin|url=http://acumin.typekit.com/usage/|website=Acumin microsite|publisher=Adobe Systems|accessdate=6 January 2016}}
105. ^{{cite web|last1=Ding|first1=Frederick|title=New fonts in Windows 10|url=http://www.frederickding.com/posts/2015/07/new-fonts-in-windows-10-082445/|website=Frederick's Timelog|accessdate=26 December 2017}}
106. ^{{cite web|last1=Butterick|first1=Matthew|title=Neue Haas Grotesk|url=http://typographica.org/typeface-reviews/neue-haas-grotesk/|website=Typographica|accessdate=22 October 2014}}
107. ^{{cite web|title=Whitney rebranding|url=http://www.experimentaljetset.nl/archive/whitney-museum-identity|publisher=EJS|accessdate=16 July 2015}}
108. ^{{cite web |url=http://www.spd.org/2010/11/bloomberg-business-week.php |title=Bloomberg Businessweek redesign interviews |publisher=SPD |accessdate=16 July 2015 |archive-url=https://web.archive.org/web/20150716070402/http://www.spd.org/2010/11/bloomberg-business-week.php |archive-date=2015-07-16 |dead-url=yes |df= }}
109. ^1 2 {{cite web|last1=Simonson|first1=Mark|title=The Scourge of Arial|url=http://www.marksimonson.com/notebook/view/the-scourge-of-arial|website=Mark Simonson Studio Notebook|accessdate=19 March 2016|quote=Many type manufacturers in the past have done knock-offs of Helvetica that were indistinguishable or nearly so. For better or worse, in many countries—particularly the U.S.—while typeface names can be protected legally, typeface designs themselves are difficult to protect. So, if you wanted to buy a typesetting machine and wanted the real Helvetica, you had to buy Linotype. If you opted to purchase Compugraphic, AM, or Alphatype typesetting equipment, you couldn’t get Helvetica. Instead you got Triumvirate, or Helios, or Megaron, or Newton, or whatever. Every typesetting manufacturer had its own Helvetica look-alike. It’s quite possible that most of the “Helvetica” seen in the ’70s was actually not Helvetica.}}
110. ^{{cite web|last1=Downer|first1=John|title=Call It What It Is|author-link=John Downer (signpainter)|url=http://www.emigre.com/Editorial.php?sect=2&id=1|publisher=Emigre|accessdate=20 March 2016}}
111. ^1 {{cite web|last1=Loxley|first1=Simon|title=Font Wars: A Story On Rivalry Between Type Foundries|url=https://www.smashingmagazine.com/2012/05/font-wars-story-on-rivalry-between-type-foundries/|website=Smashing Magazine|accessdate=20 March 2016}}
112. ^{{cite web|last1=Devroye|first1=Luc|author-link=Luc Devroye|title=Helvetica clones|url=http://luc.devroye.org/fonts-46693.html|website=Type Design Information|accessdate=20 March 2016}}
113. ^1 {{cite book|author=Peter Karow|title=Font Technology: Methods and Tools|url=https://books.google.com/books?id=5MeoCAAAQBAJ|date=6 December 2012|publisher=Springer Science & Business Media|isbn=978-3-642-78505-4|pages=225–8, 235–40}}
114. ^{{cite web|last1=Spiekermann|first1=Eric|authorlink1=Erik Spiekermann|title=Twitter post|url=https://twitter.com/espiekermann/status/580497573800255488|website=Twitter|accessdate=21 July 2016|quote=AG Buch war GGL’s Antwort auf Helvetica, für die Berthold keine Lizenz kriegte von Linotype.}}
115. ^{{cite web|title=AG Book Pro|url=https://www.bertholdtypes.com/font/ag-book/proplus/|publisher=Berthold|accessdate=1 October 2017}}
116. ^{{cite web|title=AG Book Rounded Pro|url=https://www.bertholdtypes.com/font/ag-book-rounded/proplus/|publisher=Berthold|accessdate=1 October 2017}}
117. ^{{Cite web|url=http://www.newscaststudio.com/2016/04/22/cnn-now-has-its-own-font/|title=CNN now has its own font … for some reason|last=|first=|date=22 April 2016|website=NewscastStudio|publisher=|access-date=29 April 2016}}
118. ^{{Cite web|url=http://www.promaxbda.org/brief/content/cnn-customizes-new-company-wide-font#!|title=CNN Customizes New Company-Wide Font|date=2016-05-02|access-date=2016-08-30}}
119. ^{{Cite web|url=https://vimeo.com/163429840|title=CNN Sans|website=Vimeo|access-date=2016-09-28}}
120. ^{{cite web|title=Nimbus Sans|url=https://www.myfonts.com/fonts/urw/nimbus-sans/|website=MyFonts|publisher=URW++|accessdate=30 April 2018}}
121. ^{{cite web|last1=Hardwig|first1=Florian|title=National Trust Tree Appeal Poster|url=http://fontsinuse.com/uses/4873/national-trust-tree-appeal-poster|website=Fonts In Use|accessdate=20 March 2016}}
122. ^{{cite web|last1=Freeman|first1=Luke|last2=Hardwig|first2=Florian|title="London’s Fastest" poster campaign by Nike|url=https://fontsinuse.com/uses/18106/london-s-fastest-poster-campaign-by-nike|website=Fonts in Use|accessdate=1 May 2018}}
123. ^How to Spot Arial at Mark Simonson Studio
124. ^{{cite web|last1=Shaw|first1=Paul|title=Arial Addendum no. 3|url=http://www.paulshawletterdesign.com/2011/10/blue-pencil-no-18%E2%80%94arial-addendum-no-3/|website=Blue Pencil|accessdate=1 July 2015}}
125. ^{{cite web|last1=Shaw (& Nicholas)|title=Arial addendum no. 4|url=http://www.paulshawletterdesign.com/2011/11/blue-pencil-no-18%E2%80%94arial-addendum-no-4/|website=Blue Pencil|accessdate=1 July 2015}}
126. ^1 2 {{cite web|last1=Shaw|first1=Paul|last2=Carter|first2=Matthew|last3=McDonald|first3=Rod|title=Blue Pencil no. 18—Some history about Arial|url=http://www.paulshawletterdesign.com/2011/09/blue-pencil-no-18%E2%80%94some-history-about-arial/||website=Paul Shaw Letter Design|accessdate=30 April 2018}}
127. ^{{cite web |url=http://www.tug.org/fonts/deutsch-urw.txt |title=Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts. |format=TXT |accessdate=2010-05-06 |postscript=}}
128. ^{{cite web|url=http://mirror.cs.wisc.edu/pub/mirrors/ghost/aladdin/fonts/ghostscript-fonts-std-4.0.tar.gz |title=ghostscript-fonts-std-4.0.tar.gz - GhostScript 4.0 standard fonts - AFPL license |format=TAR.GZ |date=1996-06-28 |accessdate=2010-05-06 |postscript= |deadurl=yes |archiveurl=https://web.archive.org/web/20110424032316/http://mirror.cs.wisc.edu/pub/mirrors/ghost/aladdin/fonts/ghostscript-fonts-std-4.0.tar.gz |archivedate=2011-04-24 |df= }}
129. ^{{cite web|title=Fonts|url=http://www.cookbook-r.com/Graphs/Fonts/|website=R Cookbook|accessdate=7 April 2016}}
130. ^{{cite web|last1=Horton|first1=Nicholas|title=Specifying fonts in graphics|url=http://sas-and-r.blogspot.co.uk/2010/04/example-733-specifying-fonts-in.html|website=SAS & R|accessdate=7 April 2016}}
131. ^{{cite web|title=TeX Gyre Heros|url=http://www.tug.dk/FontCatalogue/texgyreheros/|website=The LaTeX font catalogue|publisher=TeX Users Group Denmark|accessdate=2 August 2017}}
132. ^{{cite web |url=https://www.gnu.org/software/freefont/design-notes.html |title=GNU FreeFont - Design notes |date=2009-10-04 |accessdate=2010-07-02}}
133. ^{{citation |url=https://fedoraproject.org/wiki/Licensing/LiberationFontLicense |title=LiberationFontLicense – License Agreement and Limited Product Warranty, Liberation Font Software |accessdate=2012-12-19}}
134. ^{{citation|url=https://fedorahosted.org/liberation-fonts/browser/LICENSE |title=LICENSE - liberation-fonts |accessdate=2012-12-19 }}{{dead link|date=March 2017 |bot=InternetArchiveBot |fix-attempted=yes }}
135. ^{{citation |url=http://wiki.mandriva.com/en/Releases/Mandriva/2008.0/What%27s_New#Liberation_font_set |title=Mandriva Linux 2008 Release Tour |quote=integrated into Mandriva Linux 2008 |accessdate=2010-04-04 |deadurl=yes |archiveurl=https://web.archive.org/web/20100619073124/http://wiki.mandriva.com/en/Releases/Mandriva/2008.0/What%27s_New#Liberation_font_set |archivedate=2010-06-19 |df= }}
136. ^{{cite web |url=http://www.openoffice.org/dev_docs/features/3.3/index.html#New_Narrow_Font_Family |title=OpenOffice.org 3.3 New Features }}
137. ^{{Citation | url = https://fedorahosted.org/liberation-fonts/ | title = Liberation Fonts | publisher = Fedora}}
138. ^{{cite web|last1=Larabie|first1=Ray|title=Coolvetica|url=http://typodermicfonts.com/coolvetica/|publisher=Typodermic Fonts|accessdate=19 March 2016}}
139. ^1 {{cite web|last1=Kupferschmid|first1=Indra|title=Finding Forma|url=http://www.fontbureau.com/blog/finding-forma/|publisher=Font Bureau|accessdate=20 March 2016}}
140. ^{{cite web|last1=Colizzi|first1=Alessandro|title=Forma, Dattilo, Modulo: Nebiolo’s last efforts to produce a universal typeface|website=academia.edu|url=https://www.academia.edu/7610026/Forma_Dattilo_Modulo_Nebiolo_s_last_efforts_to_produce_a_universal_typeface|accessdate=20 March 2016}}
141. ^{{cite web|last1=Colizzi|first1=Alessandro|title=Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface|url=http://www.atypi.org/conferences/amsterdam-2013/amsterdam-programme/activity?a=305|website=ATypI conference 2013|accessdate=20 March 2016}}
142. ^{{cite web|last1=Miklavčič |first1=Mitja |title=Forma: a typeface designed by a committee |url=http://mitja-m.com/writings/forma_nebiolo.htm |website=Mitja-M |accessdate=20 March 2016 |deadurl=yes |archiveurl=https://web.archive.org/web/20110822061811/http://mitja-m.com/writings/forma_nebiolo.htm |archivedate=August 22, 2011 }}
143. ^{{cite web|title=Formula Serial|url=https://www.myfonts.com/fonts/softmaker/formula-serial/|website=MyFonts|accessdate=3 July 2016}}
144. ^{{cite web|last1=Simonson|first1=Mark|title=Interview with Phil Martin|url=http://typographica.org/on-typography/interview-phil-martin/|website=Typographica|accessdate=30 August 2014}}
145. ^{{cite web|last1=Puckett|first1=James|title=Helvetica Flair (photo of specimen book)|url=https://www.flickr.com/photos/28813954@N02/6863179740/|website=Flickr}}
146. ^{{cite web|title=Heldustry|url=https://www.myfonts.com/fonts/urw/heldustry/|website=MyFonts|publisher=URW++|accessdate=19 March 2016}}
147. ^{{cite web|title=Helserif|url=https://www.myfonts.com/fonts/urw/helserif/|website=MyFonts|publisher=URW++|accessdate=19 March 2016}}
148. ^{{cite web|last1=Coles|first1=Stephen|title=Twitter post|url=https://twitter.com/typographica/status/667307107457200128|website=Twitter|accessdate=20 March 2016|quote=[From a Helserif ad:] "Look what happened to Helvetica. It grew wings."}}
149. ^{{cite web|last1=Budrick|first1=Callie|title=Vintage Fonts: 35 Adverts From the Past|url=http://www.printmag.com/typography/vintage-fonts-35-adverts-from-the-past/|website=Print|accessdate=20 March 2016}}
150. ^{{cite web|last1=Winch|first1=Andrew|title=Vic Carless Obituary|url=https://www.theguardian.com/artanddesign/2011/oct/02/vic-carless-obituary|publisher=The Guardian|accessdate=19 October 2014}}
151. ^1 {{cite web|last1=Purcell|first1=Chris|title=Letraset International Typeface Competition Winners 1973|url=http://fontsinuse.com/uses/9531/letraset-international-typeface-competition-w|website=Fonts in Use|accessdate=8 June 2016}}
152. ^{{cite web|last1=Spencer|first1=Tim|title=Kern Your Enthusiasm: Shatter|url=http://hilobrow.com/2014/08/21/kern-your-enthusiasm-21/|website=HiLoBrow|accessdate=19 October 2014}}
153. ^{{cite web|last1=Carney|first1=Rob|title=Greatest fonts countdown: 92 - Chalet|url=http://www.creativebloq.com/typography/greatest-fonts-92-chalet-81412558|website=CreativeBloq|accessdate=29 August 2017}}
154. ^{{cite web|last1=Gruppe|first1=Sabine|title=House Industries: Le Must de Chalet Font|url=http://www.fontblog.de/house-industries-le-must-de-chalet/|website=FontBlog|accessdate=29 August 2017}}
155. ^{{cite book|last1=Berry|first1=John D.|title=Dot-font: Talking About Fonts|date=2006|publisher=Mark Batty Publisher|location=New York|isbn=0-9772827-0-8|pages=117–121|edition= 1st}}
156. ^{{cite web|last1=VanderLans|first1=Rudy|authorlink1=Rudy VanderLans|title=It’s a thin line: A Review of House Industries|url=http://www.underconsideration.com/speakup/archives/002170.html|website=Speak Up|accessdate=29 August 2017}}
157. ^{{cite web|url=http://typodermicfonts.com/coolvetica/|last1=Larabie|first1=Ray|publisher=Typodermic Fonts|title=Coolvetica|accessdate=November 16, 2017}}
158. ^{{cite web|url=http://www.howdesign.com/design-creativity/typodermic-fonts-raymond-larabie-type-technology-sci-fi-fonts/|title=Typodermic’s Raymond Larabie Talks Type, Technology & Science Fiction|first=Jason|last=Tselentis|date=August 28, 2017|work=How|accessdate=October 29, 2017|quote=Q: What are your most frequently downloaded free fonts? A: Coolvetica. It’s downloaded almost twice as much as the next one down the list.}}
159. ^{{cite web|title=Coolvetica|url=https://www.myfonts.com/fonts/typodermic/coolvetica/|website=MyFonts|publisher=Typodermic|accessdate=17 November 2017}}
160. ^{{cite web|last1=Larabie|first1=Ray|title=Movatif|url=http://typodermicfonts.com/movatif/|publisher=Typodermic Fonts|accessdate=19 March 2016}}
161. ^{{cite web|last1=Larabie|first1=Ray|title=GGX88|url=http://typodermicfonts.com/ggx88/|publisher=Typodermic Fonts|accessdate=19 March 2016}}
162. ^{{cite web|last1=Schwartz|first1=Christian|title=Local Gothic|url=http://www.christianschwartz.com/local.shtml|publisher=Schwartzco/Commercial Type|accessdate=19 March 2016}}
163. ^[https://www.rmit.edu.au/news/all-news/2018/oct/sans-forgetica-news-story RMIT News release 2018/10/03: Sans Forgetica: new typeface designed to help students study]
164. ^{{cite news|last=Pickel|first=Janet|title=April Fool's Day: Helvetica becomes Comic Sans and Gmail Motion is on the move|url=http://www.pennlive.com/midstate/index.ssf/2011/04/april_fools_day_joke_for_type.html|accessdate=1 April 2011|newspaper=The (Harrisburg, PA) Patriot-News|date=1 April 2011}}

External links

  • [https://web.archive.org/web/20060812192727/http://www.helveticafilm.com/ Helvetica documentary site]
  • Alternatives to Helvetica: two overlapping articles by Stephen Coles at [https://web.archive.org/web/20080921081307/http://fontfeed.com/archives/helvetica-and-alternatives-to-helvetica/ fontfeed.com] (archived) and [https://www.fontshop.com/people/stephen-coles/fontlists/helvetica-alternatives fontshop.com].
  • [https://magazines.iaddb.org/issue/GG/1962-02-01/edition/null/page/83 1962 Stempel advertisement for Breite halbfette Helvetica and Helvetica Kursiv] (German)
  • Fonts in Use: [https://fontsinuse.com/typefaces/44/helvetica Helvetica], [https://fontsinuse.com/typefaces/3483/neue-helvetica Helvetica Neue]
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