Helvetica: Difference between revisions

Helvetica Now
Category	Sans-serif
Classification	Neo-grotesque sans-serif
Designer(s)	Jan Hendrik Weber and Charles Nix
Foundry	Monotype
Date released	2019
Design based on	Neue Helvetica

Helvetica
Category	Sans-serif
Classification	Neo-grotesque
Designer(s)	Max Miedinger; Eduard Hoffmann
Foundry	Haas'sche Schriftgiesserei (Basel)
Date released	1957
Re-issuing foundries	Mergenthaler Linotype Company
Design based on	Akzidenz-Grotesk
Variations	Helvetica Inserat; Helvetica Compressed; Neue Helvetica; Helvetica Now; Others (see below)
Also known as	Neue Haas Grotesk
Shown here	Neue Helvetica
Metrically compatible with	Arial; Arimo; Liberation Sans;

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Helvetica, also known by its original name Neue Haas Grotesk, is a widely-used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann. ^[2]

Helvetica is a neo-grotesque design, one influenced by the famous 19th-century (1890s) typeface Akzidenz-Grotesk and other German and Swiss designs.^[3] Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 1960s, becoming one of the most popular typefaces of the mid-20th century.^[4] 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, solid appearance.

Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of Münchenstein (Basel), Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of Univers by Adrian Frutiger the same year.^[5]^[6]^[7] 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.^[8]

Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.^[8] Originally named Neue Haas Grotesk (New Haas Grotesque), it was soon licensed by Linotype and renamed Helvetica in 1960, which in Latin means 'Swiss', from Helvetia]], capitalising on Switzerland's reputation as a centre of ultra-modern graphic design.^[9]

History

The first version of the typeface (which later became known as Helvetica) was created in 1957 by Swiss type designer Max Miedinger. His goal was to design a new sans serif font that could compete in the Swiss market as a neutral font that should not be given any additional meaning. The main influence on Helvetica was Akzidenz-Grotesk from Berthold; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.^[10] Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.^[5]^[10]^[11] 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.^[12]

Attracting considerable attention on its release as Neue Haas Grotesk (Nouvelle Antique Haas in French-speaking countries),^[a] 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.^[14]

In 1960, its name was changed by Haas' German parent company Stempel to Helvetica 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.^[15]^[16] 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.^[17]^[18] It was also made available for phototypesetting systems, as well as in other formats such as Letraset dry transfers^[19] and plastic letters,^[20] and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies.^[21]^[22]

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.^[23]^[24] This led to a version being included on Macintosh computers and a clone compatible metrically, 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.^[5]

Characteristics

Tall x-height, which makes it easier to read at distance.
Tight spacing between letters.
An oblique rather than italic style, a common feature of almost all grotesque and neo-grotesque typefaces.
Wide capitals of uniform width, particularly 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 stem), a standard neo-grotesque feature, and single-storey 'g'

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.

Tobias Frere-Jones^[25]

Like many neo-grotesque designs, Helvetica has narrow apertures, which limits 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.^[26]^[27] Its tight, display-oriented spacing may also pose problems for legibility.^[28] Other fonts intended for legibility at small sizes such as Verdana, Meta, Trebuchet, or a monospace font such as Courier, which makes all letters quite wide, may be more appropriate than Helvetica.

Usage examples

Helvetica is among the most widely used sans-serif typefaces.^[29] 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 common choice for commercial wordmarks: in 2007, the BBC remarked that a list of users "would fill this page".^[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]

Helvetica is commonly used in transportation settings.^[35] 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.^[36]^[37]^[38] Helvetica is also used in the Washington Metro, the Chicago 'L', Philadelphia's SEPTA, and the Madrid Metro.^[39] Amtrak used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company DSB for a time period.^[40] 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.^[41] The Helvetica 77 variation is used in street and house signage in Riga and other municipalities in Latvia, although common road signage in the country uses a version of DIN 1451.^[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.^[5]^[43] Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.^[44]

IBM used Neue Helvetica as its corporate typeface until 2017, spending over $1m annually on licensing fees.^[45] 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]

In 2019, the Switzerland national football team began using Helvetica for its kit, which it wore for the UEFA Euro 2020 tournament.^[47]

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.^[48] It was later republished in her book The Sponsored Life.^[49]

In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.^[50]^[51] 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.^[52] 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".^[53] 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.^[54]

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.^[55]

Variants

Comparison of distinguishing characters in Akzidenz-Grotesk, Folio, Helvetica, and Univers 55

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".^[56]^[57]

Helvetica Light

Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel.^[58]

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.^[59]

Helvetica Compressed (1966)

Designed by Matthew Carter and Hans-Jürg Hunziker for cold type.^[60] 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.^[61] 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."^[62]^[63] 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.^[64]

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.^[65] Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead.^[66]

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, such as the digits '1' and '4' similar to how handwritten digits are. The letters 'a', 't', 'u', and the digits '6' and '9' are replaced with designs similar to those in geometric sans-serifs such as those found in Futura, Akzidenz-Grotesk Schulbuch, and Avant Garde (except for 'u').^[67] FontShop's FF Schulbuch is similar.^[68]^[69]

Language variants

Helvetica Greek has gone through several versions. Letraset designed a semi-official version for their dry transfer lettering system, available by 1970, which sold well but was considered unidiomatic by Linotype.^[70] Linotype published a 1971 version designed by Matthew Carter which was available for phototypesetting and so for general purpose printing such as extended text.^[70]^[71]^[61]^[72]^[73]^[74] Carter felt in 1974 that the Letraset version was "a poor thing" and Linotype's version was "the real one" but that Letraset's was well-enough accepted in Greece that he felt it had "caused resistance to our version".^[70] Linotype published a new version in 2001 designed by John Hudson at Tiro Typeworks.^[70]^[71]

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.^[75]^[76]^[77]

Helvetica World

Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts.^[78]

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.^[79] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family,^[80] as well as the Cyrillic, and Greek letters.^[81]

Neue Helvetica (1983)

Neue Helvetica (German pronunciation: [ˈnɔʏə] ^ⓘ), sometimes Helvetica Neue in some digital files,^[82] 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 width, 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.^[83] Neue Helvetica 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.^[84]^[85] 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."^[87]

iOS used first Helvetica then Neue Helvetica^[88] as its system font. All releases of macOS prior to OS X Yosemite (10.10) used Lucida Grande as the system font. The version of Neue Helvetica 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.^[89]^[82] Apple replaced Neue Helvetica with the similarly looking San Francisco in iOS 9 and OS X El Capitan (10.11),^[90] meaning OS X 10.10 was the only macOS version to use Neue Helvetica as the system font.

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,^[91] it is a version with Arabic script support. Only OpenType TTF font format was released.^[92]

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

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.^[93] Unlike Helvetica, the capitals are reduced in size so the lower-case ascenders rise above them, a common feature associated with text typefaces.^[86]^[94]

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.^[95]

(Neue) Helvetica Thai (2012)

Thai font designer Anuthin Wongsunkakon of Cadson Demak Co. created Thai versions of Helvetica and Neue Helvetica fonts.^[96]^[97] The design uses loopless terminals in Thai glyphs,^[98]^[99] which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop).^[100]

Neue Helvetica Georgian (2015)

It is a version with Georgian script support. Designed by Akaki Razmadze at Monotype Bad Homburg.^[101]

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).

Neue Helvetica Armenian (2016)

Designed by Edik Ghabuzyan, it is a version of Neue Helvetica supporting Armenian language.^[102]

The family includes 16 fonts in 8 weights (ultra light, thin, light, regular, medium, bold, heavy, black) with complementary italics.

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.^[103]^[104]^[105]^[106] Published in November 2017 by Linotype, it was released in Truetype and OpenType CFF formats.

The family includes 6 fonts in 3 weights (45 Light, 55 Roman, 75 Bold), with complimentary italic. Roman fonts include 1,708 glyphs and 1,285 glyphs for italics.

For working with other languages, the publisher also recommended following complementary fonts:

Devanagari: Saral Devanagari
Japanese: Tazugane Gothic, Yu Gothic
Korean: YD Gothic 100, YD Gothic 700
Simplified Chinese: M Ying Hei PRC, M Hei PRC
Traditional Chinese: M Ying Hei HK, M Hei HK

Neue Haas Grotesk (2010)

Christian Schwartz's digitisation is based on original settings of the metal type and uses the typeface's original name.^[107]^[108]^[109]^[110] It was released by Linotype (later Monotype Imaging), Commercial Type, and Font Bureau with an article on the history of Helvetica by Professor Indra Kupferschmid.^[10]

Unlike earlier digitisations, Schwartz created two different optical sizes (labelled Text and Display), which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in body 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.^[111]^[b] Both optical sizes provide stylistic alternates for a straight-legged upper case "R", while the Display variant additionally provides stylistic alternates for a lower case "a" without tail.^[112]^[113] It originated from an abandoned redesign plan for The Guardian newspaper. Writing for Typographica, Matthew Butterick described the release as better than any previous digital release of Helvetica "it's never looked better".^[114] Users include Bloomberg Businessweek, the Whitney Museum, and for the album Midnights, Taylor Swift.^[115]^[116]^[117] Schwartz's company Commercial Type have additionally developed a companion monospaced version, agate version for small sizes and stencil font.^[118] The release does not include condensed weights or support for Greek and Cyrillic.

Variable Font Version

The Text optical size of Neue Haas Grotesk is available on Windows 11 via "Pan-European Supplemental Fonts" optional feature. ^[119] This version is a variable font and provides weights ranging from Ultra Thin to Black. ^[120] ^[121] As of 2023, the variable font version of Neue Haas Grotesk is not yet otherwise available.

Neue Haas Grotesk Text is also available on Windows 10 via "Pan-European Supplemental Fonts", ^[122] but this release includes static fonts instead of variable fonts.

Helvetica Now (2019)

In April 2019, Monotype announced an update of Neue Helvetica called "Helvetica Now", designed by Jan Hendrik Weber and Charles Nix of Monotype Imaging.^[123]^[124]^[125] The family has one width in three optical sizes, Text, Micro and Display in 8, 6, and 10 weights respectively.^[126] The condensed version corresponding to these optical sizes and weights was published later in 2021, along with Helvetica Now Variable.^[127]

A key difference between the three optical sizes is the terminal design: Display retains the horizontal terminals in previous digital releases of Helvetica; Micro features diagonal terminals for many characters (e.g., lowercase "e" and "c"); while the design of Text is somewhere in between Display and Micro.^[128] ^[129]

Features include circled figures and redesigned arrow and @ glyphs.^[130] It also includes a number of alternate characters including curled lower-case "L", spurless rounded "G", a straight-legged "R" (found in Neue Haas Grotesk), single-story "a" (found in Helvetica Textbook) and lowercase "u" without a spur.^[131]^[132]

Helvetica Now Variable (2021)

Helvetica Now was also released as a variable font, which has two styles (Regular and Italic) and three adjustable axes (weight, width, and optical size). Supported weight ranges include hairline to extra black, optical sizes include four point to infinity, widths include compressed and condensed.^[133]^[134]^[135]

Helvetica clones

Derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the phototypesetting font market of the 1960s onward.^[21]^[136] Some of these were straight clones, simply intended to be direct substitutes.^[137] 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.^[21]^[138] Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone.^[139]^[140]^[141]^[142] 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'.^[10] CNN uses a custom derivative, "CNN Sans", which has a '1' with a base and larger x-height.^[143]^[144]^[145]

Nimbus Sans

URW (later URW++) under the leadership of Peter Karow produced a modification of Helvetica called Nimbus Sans.^[139] This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles.^[146] 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.^[147]^[148]

Arial and MS Sans Serif

Monotype's Arial, created for IBM and also used by Microsoft, is indistinguishable by most non-specialists.^[149] 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).^[23] 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, but instead has a vertical stroke connecting the curved portion to the crossbar.
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.^[23]^[150]^[151]

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.^[152]

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.^[153]^[154] It (or a derivative) is used by much open-source software such as R as a system font.^[155]^[156]
TeX Gyre Heros^[157] – a derivative of Nimbus Sans L with enhanced letter forms and metrics – has been prepared for use in the TeX scientific document preparation software, and since 2009 general under the GUST font license.^[158]^[159]
FreeSans is a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.^[160] It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002.

Other such typefaces take creative liberties from Helvetica and its basic letter shapes.

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.^[161]^[162] It is used in some Linux distributions as default font replacement for Arial.^[163] Oracle funded the additional development of Liberation Sans Narrow in 2010.^[164]^[165] Google commissioned a variation named Arimo for ChromeOS.
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.
Inter (originally Inter UI) is a fork of Roboto that resembles Apple's San Francisco typeface.^[166]
Mona Sans, a GitHub variable font released under SIL Open Font License, stands out from the above examples with its 'single-storey' lowercase a.^[167]

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".^[168] Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.^[169]

Zhukov and Kurbatov version

In 1963, two students at the Moscow Print Institute designed their own version of Helvetica, 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.

Their version 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 due to the font's being 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.^[77]^[170]^[c]

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.^[171]^[172]^[173] It was offered with 'request' stylistic alternates imitating Helvetica more closely.^[171]^[174] 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.^[175]

Manoptica

Manoptica (1973) was an early effort to adapt Helvetica to the Thai script. It is named after and designed by Manop Srisomporn, who designed several typefaces for Thai using the same innovations he used for Manoptica (such as an adaptation of Eurostile). It was highly influential in Thai typography in that it popularized the removal of the small loops and other flourishes that had theretofore been distinguishing marks on Thai characters and adopted letter forms that bore strong resemblance to Latin letters. It became a widely popular style in advertising and influenced other simplified typefaces for Thai in the following decades.^[176] The adoption of loopless typefaces remains a source of controversy in Thai typography.^[177]

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').^[178]^[179] Martin also drew 'Heldustry', a fusion of Helvetica with Eurostile,^[180] and 'Helserif', a redesign of Helvetica with serifs,^[181] and these have both been digitised.^[137]^[182]^[183]

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.^[184] It was published by Letraset after jointly winning their 1973 competition to design new fonts.^[169]

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."^[185]

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 mid 2010s, two digital versions were released: the Swiss foundry Lineto released LL Unica77 with input from Christian Mengelt,^[186]^[187] while Linotype released Neue Haas Unica.^[188]

Chalet

House Industries' Chalet family is a series of fonts based on Helvetica, inspired by its many derivatives and adaptations in post-war design, and organised by "date" to '1960' (conventional), '1970' and '1980' (both more radically altered and "science fiction" in feel).^[189] 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, "René Chalet" (Chalet being French for a small wooden house, so a play on the design company's name).^[190]^[191]^[192]

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 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', lowercase 'y' based on the letterforms of 'g' and 'u,' and a fully curled lowercase 't'), and chose to set a tight default spacing optimised for use in display type.^[193] 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.^[194]^[195]^[196] Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88.^[197]^[198]

Notes

^ "Antique" is a term used in French for sans-serifs (for instance Antique Olive), although in English it traditionally historically referred to slab-serifs.^[13]
^ This feature was also included in Robert Slimbach's neogrotesque Acumin (2014) for Adobe.^[94]
^ The lowercase forms of Sowjietische Haas Grotesk were digitized as "Soyuz Grotesk" by Roman Goritsky and released into the public domain by The Temporary State. Goritsky added a Latin script, which he 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.^[76]^[77]

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[14] "Antique" is a term used in French for sans-serifs (for instance Antique Olive), although in English it traditionally historically referred to slab-serifs.^[13]

[113] This feature was also included in Robert Slimbach's neogrotesque Acumin (2014) for Adobe.^[94]

[173] The lowercase forms of Sowjietische Haas Grotesk were digitized as "Soyuz Grotesk" by Roman Goritsky and released into the public domain by The Temporary State. Goritsky added a Latin script, which he 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.^[76]^[77]

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@@ Line 5: / Line 5: @@
 | name = Helvetica
 | style = [[Sans-serif]]
-| classifications = [[Sans-serif#Neo-grotesque|Neo-grotesque]]<ref name="Combining Type With Helvetica">{{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|url-status=dead|archive-date=30 April 2010|website=FontShop (archived)|access-date=29 April 2018}}</ref>
+| classifications = [[Sans-serif#Neo-grotesque|Neo-grotesque]]<ref>{{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|url-status=dead|archive-date=30 April 2010|website=FontShop (archived)|access-date=29 April 2018}}</ref>
 | image = HelveticaSpecimenCH.svg
 | based_on = [[Akzidenz-Grotesk]]
@@ Line 19: / Line 19: @@
 '''Helvetica''', also known by its original name '''Neue Haas Grotesk''', is a widely-used [[sans-serif]] [[typeface]] developed in 1957 by Swiss [[Type design#Profession|typeface designer]] [[Max Miedinger]] and Eduard Hoffmann. <ref>{{cite web |title=The story of the world's most famous font |url=https://www.designandpaper.com/the-story-of-the-worlds-most-famous-font-helvetica/ |website= Design and paper}}</ref>
-Helvetica is a [[Sans-serif#Neo-grotesque|neo-grotesque]] design, one influenced by the famous 19th-century (1890s) typeface [[Akzidenz-Grotesk]] and other German and Swiss designs.<ref name="A Neo-Grotesque Heritage">{{cite web|last1=Berry|first1=John|title=A Neo-Grotesque Heritage|url=http://acumin.typekit.com/history/|publisher=Adobe Systems|access-date=15 October 2015|archive-date=16 October 2015|archive-url=https://web.archive.org/web/20151016002936/http://acumin.typekit.com/history/|url-status=live}}</ref> Its use became a hallmark of the [[International Typographic Style]] that emerged from the work of Swiss designers in the 1950s and 1960s, becoming one of the most popular typefaces of the mid-20th century.<ref name="Shinn Uniformity">{{cite journal |last1=Shinn |first1=Nick |author-link1=Nick Shinn |title=The Face of Uniformity |journal=Graphic Exchange |date=2003 |url=https://shinntype.com/wp-content/uploads/2022/06/Uniformity.pdf |access-date=18 July 2022 |archive-date=18 November 2016 |archive-url=https://web.archive.org/web/20161118134053/http://shinntype.com/wp-content/uploads/Uniformity.pdf |url-status=dead }}</ref> 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, solid appearance.
+Helvetica is a [[Sans-serif#Neo-grotesque|neo-grotesque]] design, one influenced by the famous 19th-century (1890s) typeface [[Akzidenz-Grotesk]] and other German and Swiss designs.<ref>{{cite web|last1=Berry|first1=John|title=A Neo-Grotesque Heritage|url=http://acumin.typekit.com/history/|publisher=Adobe Systems|access-date=15 October 2015|archive-date=16 October 2015|archive-url=https://web.archive.org/web/20151016002936/http://acumin.typekit.com/history/|url-status=live}}</ref> Its use became a hallmark of the [[International Typographic Style]] that emerged from the work of Swiss designers in the 1950s and 1960s, becoming one of the most popular typefaces of the mid-20th century.<ref>{{cite journal |last1=Shinn |first1=Nick |author-link1=Nick Shinn |title=The Face of Uniformity |journal=Graphic Exchange |date=2003 |url=https://shinntype.com/wp-content/uploads/2022/06/Uniformity.pdf |access-date=18 July 2022 |archive-date=18 November 2016 |archive-url=https://web.archive.org/web/20161118134053/http://shinntype.com/wp-content/uploads/Uniformity.pdf |url-status=dead }}</ref> 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, solid appearance.
-Developed by the ''Haas'sche Schriftgiesserei'' ([[Haas Type Foundry]]) of [[Münchenstein]] ([[Basel]]), [[Switzerland]], its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of [[Univers]] by [[Adrian Frutiger]] the same year.<ref name="I had never loved Helvetica">{{cite web|last1=Kupferschmid|first1=Indra|title=I had never loved Helvetica|date=14 October 2014|url=http://kupferschrift.de/cms/2014/10/i-had-never-loved-helvetica/|access-date=5 October 2015|archive-date=25 October 2018|archive-url=https://web.archive.org/web/20181025011820/http://kupferschrift.de/cms/2014/10/i-had-never-loved-helvetica/|url-status=live}}</ref><ref name="Gerstner English">{{cite journal|last1=Gerstner|first1=Karl|author-link1=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|access-date=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|url-status=dead}}</ref><ref name="Gerstner German">{{cite journal|last1=Gerstner|first1=Karl|author-link1=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|access-date=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|url-status=dead}}</ref> 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.<ref name="film">{{cite video |date= 2007-09-12 |title= [[Helvetica (film)|Helvetica]] |medium= Documentary }}</ref>
+Developed by the ''Haas'sche Schriftgiesserei'' ([[Haas Type Foundry]]) of [[Münchenstein]] ([[Basel]]), [[Switzerland]], its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of [[Univers]] by [[Adrian Frutiger]] the same year.<ref name="I had never loved Helvetica">{{cite web|last1=Kupferschmid|first1=Indra|title=I had never loved Helvetica|date=14 October 2014|url=http://kupferschrift.de/cms/2014/10/i-had-never-loved-helvetica/|access-date=5 October 2015|archive-date=25 October 2018|archive-url=https://web.archive.org/web/20181025011820/http://kupferschrift.de/cms/2014/10/i-had-never-loved-helvetica/|url-status=live}}</ref><ref>{{cite journal|last1=Gerstner|first1=Karl|author-link1=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|access-date=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|url-status=dead}}</ref><ref>{{cite journal|last1=Gerstner|first1=Karl|author-link1=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|access-date=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|url-status=dead}}</ref> 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.<ref name="film">{{cite video |date= 2007-09-12 |title= [[Helvetica (film)|Helvetica]] |medium= Documentary }}</ref>
 Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.<ref name="film"/> Originally named Neue Haas Grotesk (New Haas Grotesque), it was soon licensed by Linotype and renamed Helvetica in 1960, which in [[Latin]] means {{gloss|Swiss}}, from {{lang|la|Helvetia]]}}, capitalising on Switzerland's reputation as a centre of ultra-modern graphic design.<ref>{{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|access-date=1 July 2015|archive-date=24 September 2015|archive-url=https://web.archive.org/web/20150924065342/http://www.paulshawletterdesign.com/2011/12/from-the-archives-no-26%E2%80%94helvetica-and-univers-addendum/|url-status=live}}</ref>
 ==History==
-[[File:Geisser Plakat Mohrenball 1969.jpg|thumb|A 1969 poster by Robert Geisser exemplifying the "Swiss" style of the 1950s and 60s: solid red colour, simple images and neo-grotesque sans-serif type, all in lower case. This design appears to use Helvetica or a close imitation.]]The first version of the typeface (which later became known as Helvetica) was created in {{year|1957}} by Swiss type designer Max Miedinger. His goal was to design a new sans serif font that could compete in the Swiss market as a neutral font that should not be given any additional meaning. The main influence on Helvetica was Akzidenz-Grotesk from [[Berthold Type Foundry|Berthold]]; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.<ref name="NHG Kupferschmid" /> Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.<ref name="I had never loved Helvetica" /><ref name="NHG Kupferschmid" /><ref name="One Typeface, Two Fathers">{{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|access-date=29 April 2018|archive-date=24 October 2017|archive-url=https://web.archive.org/web/20171024171603/http://www.helveticaforever.com/en/html/1t2f.html|url-status=live}}</ref> 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.<ref name="Homola Schelter">{{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|url-status=dead|archive-date=12 January 2011|publisher=University of Reading (archived)|access-date=17 January 2018}}</ref>
+[[File:Geisser Plakat Mohrenball 1969.jpg|thumb|A 1969 poster by Robert Geisser exemplifying the "Swiss" style of the 1950s and 60s: solid red colour, simple images and neo-grotesque sans-serif type, all in lower case. This design appears to use Helvetica or a close imitation.]]The first version of the typeface (which later became known as Helvetica) was created in {{year|1957}} by Swiss type designer Max Miedinger. His goal was to design a new sans serif font that could compete in the Swiss market as a neutral font that should not be given any additional meaning. The main influence on Helvetica was Akzidenz-Grotesk from [[Berthold Type Foundry|Berthold]]; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.<ref name="NHG Kupferschmid" /> Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.<ref name="I had never loved Helvetica" /><ref name="NHG Kupferschmid" /><ref>{{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|access-date=29 April 2018|archive-date=24 October 2017|archive-url=https://web.archive.org/web/20171024171603/http://www.helveticaforever.com/en/html/1t2f.html|url-status=live}}</ref> 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.<ref>{{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|url-status=dead|archive-date=12 January 2011|publisher=University of Reading (archived)|access-date=17 January 2018}}</ref>
-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-serif]]s.<ref name="Nouvelle Antique Haas HLSC Flickr">{{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|date=29 July 2011|publisher=Herb Lubalin Study Center|access-date=29 April 2018|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063116/https://www.flickr.com/photos/54000959@N06/5988909618|url-status=live}}</ref>}} Stempel and [[Mergenthaler Linotype Company|Linotype]] adopted Neue Haas Grotesk for release in [[Hot metal typesetting|hot metal composition]], the standard typesetting method at the time for [[body text]], and on the international market.<ref name="Post-War Type Marketing">{{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|publisher=University of Reading|access-date=29 April 2018|archive-date=3 May 2022|archive-url=https://web.archive.org/web/20220503150104/https://www.academia.edu/4624122|url-status=live}}</ref>
+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-serif]]s.<ref>{{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|date=29 July 2011|publisher=Herb Lubalin Study Center|access-date=29 April 2018|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063116/https://www.flickr.com/photos/54000959@N06/5988909618|url-status=live}}</ref>}} Stempel and [[Mergenthaler Linotype Company|Linotype]] adopted Neue Haas Grotesk for release in [[Hot metal typesetting|hot metal composition]], the standard typesetting method at the time for [[body text]], and on the international market.<ref>{{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|publisher=University of Reading|access-date=29 April 2018|archive-date=3 May 2022|archive-url=https://web.archive.org/web/20220503150104/https://www.academia.edu/4624122|url-status=live}}</ref>
-In {{year|1960}}, its name was changed by Haas' German parent company [[Stempel]] to ''Helvetica'' in order to make it more marketable internationally; it comes from the [[Latin name]] for the [[Helvetii|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.<ref>{{cite web |url=http://new.myfonts.com/person/ritzel/arthur/overview.html |archive-url=https://archive.today/20120527052248/http://new.myfonts.com/person/ritzel/arthur/overview.html |url-status=dead |archive-date=May 27, 2012 |title=myfonts: Arthur Ritzel |publisher=New.myfonts.com |date=1999-02-22 |access-date=2009-06-08 }}</ref><ref>{{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|access-date=1 July 2015|archive-date=3 May 2021|archive-url=https://web.archive.org/web/20210503071716/https://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26%E2%80%94helvetica-and-univers/|url-status=live}}</ref> The design was popular: [[Paul Shaw (design historian)|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.<ref name="Helvetica and Standard Shaw">{{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)|access-date=27 December 2017|archive-date=22 April 2021|archive-url=https://web.archive.org/web/20210422132348/https://www.paulshawletterdesign.com/2011/03/from-the-archives-no-15%E2%80%94helvetica-and-standard/|url-status=live}}</ref><ref name="From the Archives no. 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%E2%80%94more-on-helvetica-in-the-united-states/|website=Paul Shaw Letter Design|access-date=29 April 2018|archive-date=5 June 2021|archive-url=https://web.archive.org/web/20210605152649/https://www.paulshawletterdesign.com/2011/03/from-the-archives-no-17%e2%80%94more-on-helvetica-in-the-united-states/|url-status=live}}</ref> It was also made available for [[phototypesetting]] systems, as well as in other formats such as [[Letraset]] dry transfers<ref>{{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=978-3-03778-121-0}}</ref> and plastic letters,<ref name="Blue Pencil no. 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%E2%80%94helvetica-and-the-new-york-city-subway-system/|website=Paul Shaw Letter Design|access-date=29 April 2018|archive-date=30 April 2018|archive-url=https://web.archive.org/web/20180430114609/http://www.paulshawletterdesign.com/2012/03/blue-pencil-no-19%e2%80%94helvetica-and-the-new-york-city-subway-system/|url-status=live}}</ref> and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies.<ref name="The Scourge of Arial" /><ref name="CM Phototypesetting">{{cite book|last1=Craig|first1=James|last2=Malmstrom|first2=Margit|title=Phototypesetting: a design manual.|date=1978|publisher=Watson-Guptill|location=New York|isbn=978-0-8230-4011-7|page=[https://archive.org/details/phototypesetting0000crai/page/35 35]|quote=Helvetica is, without a doubt, the most widely used sans serif typeface.|edition=1st|url=https://archive.org/details/phototypesetting0000crai/page/35}}</ref>
+In {{year|1960}}, its name was changed by Haas' German parent company [[Stempel]] to ''Helvetica'' in order to make it more marketable internationally; it comes from the [[Latin name]] for the [[Helvetii|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.<ref>{{cite web |url=http://new.myfonts.com/person/ritzel/arthur/overview.html |archive-url=https://archive.today/20120527052248/http://new.myfonts.com/person/ritzel/arthur/overview.html |url-status=dead |archive-date=May 27, 2012 |title=myfonts: Arthur Ritzel |publisher=New.myfonts.com |date=1999-02-22 |access-date=2009-06-08 }}</ref><ref>{{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|access-date=1 July 2015|archive-date=3 May 2021|archive-url=https://web.archive.org/web/20210503071716/https://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26%E2%80%94helvetica-and-univers/|url-status=live}}</ref> The design was popular: [[Paul Shaw (design historian)|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.<ref>{{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)|access-date=27 December 2017|archive-date=22 April 2021|archive-url=https://web.archive.org/web/20210422132348/https://www.paulshawletterdesign.com/2011/03/from-the-archives-no-15%E2%80%94helvetica-and-standard/|url-status=live}}</ref><ref>{{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%E2%80%94more-on-helvetica-in-the-united-states/|website=Paul Shaw Letter Design|access-date=29 April 2018|archive-date=5 June 2021|archive-url=https://web.archive.org/web/20210605152649/https://www.paulshawletterdesign.com/2011/03/from-the-archives-no-17%e2%80%94more-on-helvetica-in-the-united-states/|url-status=live}}</ref> It was also made available for [[phototypesetting]] systems, as well as in other formats such as [[Letraset]] dry transfers<ref>{{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=978-3-03778-121-0}}</ref> and plastic letters,<ref>{{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%E2%80%94helvetica-and-the-new-york-city-subway-system/|website=Paul Shaw Letter Design|access-date=29 April 2018|archive-date=30 April 2018|archive-url=https://web.archive.org/web/20180430114609/http://www.paulshawletterdesign.com/2012/03/blue-pencil-no-19%e2%80%94helvetica-and-the-new-york-city-subway-system/|url-status=live}}</ref> and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies.<ref name="The Scourge of Arial" /><ref>{{cite book|last1=Craig|first1=James|last2=Malmstrom|first2=Margit|title=Phototypesetting: a design manual.|date=1978|publisher=Watson-Guptill|location=New York|isbn=978-0-8230-4011-7|page=[https://archive.org/details/phototypesetting0000crai/page/35 35]|quote=Helvetica is, without a doubt, the most widely used sans serif typeface.|edition=1st|url=https://archive.org/details/phototypesetting0000crai/page/35}}</ref>
 In the late 1970s and 1980s, Linotype licensed Helvetica to [[Xerox]], [[Adobe Systems|Adobe]] and [[Apple Inc.|Apple]], guaranteeing its importance in digital printing by making it one of the core fonts of the [[PostScript]] page description language.<ref name="Blue Pencil no. 18—Some history about Arial" /><ref>{{cite web|last1=Simonson|first1=Mark|author-link=Mark Simonson|title=Monotype's Other Arials|url=http://www.marksimonson.com/notebook/view/monotypes-other-arials|publisher=Mark Simonson Studio|access-date=14 July 2015|archive-date=15 July 2015|archive-url=https://web.archive.org/web/20150715015912/http://www.marksimonson.com/notebook/view/monotypes-other-arials|url-status=live}}</ref> This led to a version being included on Macintosh computers and a clone compatible metrically, [[Arial (typeface)|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.<ref name="I had never loved Helvetica" />
@@ Line 58: / Line 58: @@
 Helvetica is among the most widely used sans-serif typefaces.<ref>{{cite web |url=http://fontsinuse.com/typefaces/44/helvetica |title=Uses of Helvetica |publisher=Fonts In Use |access-date=2014-02-18 |archive-date=2021-06-10 |archive-url=https://web.archive.org/web/20210610063534/https://fontsinuse.com/typefaces/44/helvetica |url-status=live }}</ref> Versions exist for [[Latin alphabet|Latin]], [[Cyrillic script|Cyrillic]], [[Hebrew alphabet|Hebrew]], [[Greek alphabet|Greek]], [[Japanese alphabet|Japanese]], [[Korean alphabet|Korean]], [[Devanagari|Hindi]], [[Urdu alphabet|Urdu]], [[Khmer alphabet|Khmer]], and [[Vietnamese alphabet|Vietnamese]] alphabets. [[Written Chinese|Chinese]] faces have been developed to complement Helvetica.
-Helvetica is a common choice for commercial [[Wordmark (graphic identity)|wordmarks]]: in 2007, the [[BBC]] remarked that a list of users "would fill this page".<ref>{{cite news|url = http://news.bbc.co.uk/1/hi/magazine/6638423.stm|title = BBC News - Helvetica at 50|access-date = 2009-02-20|date = 2007-05-09|archive-date = 2013-09-18|archive-url = https://web.archive.org/web/20130918230916/http://news.bbc.co.uk/2/hi/uk_news/magazine/6638423.stm|url-status = live}}</ref><ref name="Helvetica: The Backlash">{{cite web|last1=Ferguson|first1=Brad|title=Helvetica: The Backlash|url=http://www.printmag.com/typography/helvetica-the-backlash/|website=Print|date=24 July 2015|access-date=29 April 2018|archive-date=17 September 2019|archive-url=https://web.archive.org/web/20190917134447/https://www.printmag.com/typography/helvetica-the-backlash/|url-status=live}}</ref>
+Helvetica is a common choice for commercial [[Wordmark (graphic identity)|wordmarks]]: in 2007, the [[BBC]] remarked that a list of users "would fill this page".<ref>{{cite news|url = http://news.bbc.co.uk/1/hi/magazine/6638423.stm|title = BBC News - Helvetica at 50|access-date = 2009-02-20|date = 2007-05-09|archive-date = 2013-09-18|archive-url = https://web.archive.org/web/20130918230916/http://news.bbc.co.uk/2/hi/uk_news/magazine/6638423.stm|url-status = live}}</ref><ref>{{cite web|last1=Ferguson|first1=Brad|title=Helvetica: The Backlash|url=http://www.printmag.com/typography/helvetica-the-backlash/|website=Print|date=24 July 2015|access-date=29 April 2018|archive-date=17 September 2019|archive-url=https://web.archive.org/web/20190917134447/https://www.printmag.com/typography/helvetica-the-backlash/|url-status=live}}</ref>
-Helvetica has been widely used by the [[Federal government of the United States|U.S. government]]; for example, federal income tax forms are set in Helvetica, and [[NASA]] used the type on the [[Space Shuttle orbiter]].<ref name="film2">{{cite video |date = 2007-09-12|title = [[Helvetica (film)|Helvetica]]|medium = Documentary}}</ref> Helvetica is also used in the [[Television content rating systems#United States|United States television rating system]]. The [[Government of Canada|Canadian government]] also uses Helvetica as its identifying typeface, with three variants being used in [[Federal Identity Program|its corporate identity program]], and encourages its use in all federal agencies and websites.<ref>{{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|access-date = 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.|archive-date = 2015-06-19|archive-url = https://web.archive.org/web/20150619195635/http://www.tbs-sct.gc.ca/fip-pcim/man_1_1-eng.asp#a1|url-status = live}}</ref>
+Helvetica has been widely used by the [[Federal government of the United States|U.S. government]]; for example, federal income tax forms are set in Helvetica, and [[NASA]] used the type on the [[Space Shuttle orbiter]].<ref>{{cite video |date = 2007-09-12|title = [[Helvetica (film)|Helvetica]]|medium = Documentary}}</ref> Helvetica is also used in the [[Television content rating systems#United States|United States television rating system]]. The [[Government of Canada|Canadian government]] also uses Helvetica as its identifying typeface, with three variants being used in [[Federal Identity Program|its corporate identity program]], and encourages its use in all federal agencies and websites.<ref>{{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|access-date = 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.|archive-date = 2015-06-19|archive-url = https://web.archive.org/web/20150619195635/http://www.tbs-sct.gc.ca/fip-pcim/man_1_1-eng.asp#a1|url-status = live}}</ref>
-[[File:Neue Helvetica phototypesetting lower case a with circumflex (8277798760).jpg|thumb|A hand-cut [[rubylith]] master used in the 1983 [[phototypesetting]] release of Neue Helvetica<ref name="Helvetica rubylith">{{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|date=7 May 2013|access-date=30 April 2017|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063249/https://www.gizmodo.com.au/2013/05/six-beautiful-artefacts-from-the-dawn-of-digital-typography/|url-status=live}}</ref>]]
+[[File:Neue Helvetica phototypesetting lower case a with circumflex (8277798760).jpg|thumb|A hand-cut [[rubylith]] master used in the 1983 [[phototypesetting]] release of Neue Helvetica<ref>{{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|date=7 May 2013|access-date=30 April 2017|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063249/https://www.gizmodo.com.au/2013/05/six-beautiful-artefacts-from-the-dawn-of-digital-typography/|url-status=live}}</ref>]]
-Helvetica is commonly used in transportation settings.<ref>{{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|access-date = 2015-06-22|website = livewellcollaborative.org/|archive-date = 2015-02-26|archive-url = https://web.archive.org/web/20150226043500/http://www.livewellcollaborative.org/uc/images/stories/U10_Urban_Transportation_Studio/Branding/History%20of%20Fonts%20in%20Transit.pdf|url-status = dead}}</ref> 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 International|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.<ref name="The (Mostly) True Story of Helvetica and the New York City Subway">{{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|access-date=6 November 2016|archive-date=5 July 2014|archive-url=https://web.archive.org/web/20140705150406/http://www.aiga.org/the-mostly-true-story-of-helvetica-and-the-new-york-city-subway/|url-status=dead}}</ref><ref name="When in Helvetica">{{cite news|last1=Bierut|first1=Michael|author-link1=Michael Bierut|title=When in Helvetica|url=https://www.wsj.com/articles/SB10001424052748703858404576214492061190946|website=[[Wall Street Journal]]|date=26 March 2011|access-date=6 November 2016|archive-date=6 June 2021|archive-url=https://web.archive.org/web/20210606150003/https://www.wsj.com/articles/SB10001424052748703858404576214492061190946|url-status=live}}</ref><ref name="How Helvetica Took Over the Subway">{{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%C2%B1|website=[[New York Times]]|date=4 December 2008|access-date=6 November 2016|archive-date=24 February 2021|archive-url=https://web.archive.org/web/20210224095313/https://cityroom.blogs.nytimes.com/2008/12/04/how-helvetica-took-over-the-subway/?_r=0%C2%B1|url-status=live}}</ref> Helvetica is also used in the [[Washington Metro]], the [[Chicago 'L']], Philadelphia's [[SEPTA]], and the [[Madrid Metro]].<ref>{{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|access-date = 2015-06-23|website = metromadrid.es|publisher = Metro de Madrid|trans-title = Basic Elements of the Corporate Identity of the Metro of Madrid|language = es|archive-date = 2015-06-23|archive-url = https://web.archive.org/web/20150623232317/https://www.metromadrid.es/export/sites/metro/comun/documentos/Identidad_corporativa/IdentidadMetroMadrid.pdf|url-status = dead}}</ref> [[Amtrak]] used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company [[DSB (railway company)|DSB]] for a time period.<ref>{{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|access-date = 2013-09-21|archive-date = 2009-05-02|archive-url = https://web.archive.org/web/20090502030604/http://blog.eyemagazine.com/?p=189|url-status = live}}</ref> In addition, the former state-owned operator of the [[Rail transport in Great Britain|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]].<ref name="New Rail Alphabet Walters">{{cite web|last1=Walters|first1=John|title=New Rail Alphabet|url=http://www.eyemagazine.com/feature/article/britains-signature±|website=Eye Magazine|access-date=29 April 2018}}{{Dead link|date=November 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> The Helvetica 77 variation is used in street and house signage in [[Riga]] and other municipalities in [[Latvia]], although common road signage in the country uses a version of [[DIN 1451]].<ref>{{Cite web|url=https://likumi.lv/doc.php?id=263350|title=Par ielu un laukumu nosaukuma zīmju, ēku, telpu grupu numura zīmju un virziena rādītāju uz infrastruktūras, kultūras vai tūrisma objektiem izvietošanas kārtību Rīgas pilsētā|website=LIKUMI.LV|language=lv|access-date=2019-06-18|archive-date=2019-06-21|archive-url=https://web.archive.org/web/20190621063244/https://likumi.lv/doc.php?id=263350|url-status=live}}</ref>
+Helvetica is commonly used in transportation settings.<ref>{{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|access-date = 2015-06-22|website = livewellcollaborative.org/|archive-date = 2015-02-26|archive-url = https://web.archive.org/web/20150226043500/http://www.livewellcollaborative.org/uc/images/stories/U10_Urban_Transportation_Studio/Branding/History%20of%20Fonts%20in%20Transit.pdf|url-status = dead}}</ref> 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 International|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.<ref>{{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|access-date=6 November 2016|archive-date=5 July 2014|archive-url=https://web.archive.org/web/20140705150406/http://www.aiga.org/the-mostly-true-story-of-helvetica-and-the-new-york-city-subway/|url-status=dead}}</ref><ref>{{cite news|last1=Bierut|first1=Michael|author-link1=Michael Bierut|title=When in Helvetica|url=https://www.wsj.com/articles/SB10001424052748703858404576214492061190946|website=[[Wall Street Journal]]|date=26 March 2011|access-date=6 November 2016|archive-date=6 June 2021|archive-url=https://web.archive.org/web/20210606150003/https://www.wsj.com/articles/SB10001424052748703858404576214492061190946|url-status=live}}</ref><ref>{{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%C2%B1|website=[[New York Times]]|date=4 December 2008|access-date=6 November 2016|archive-date=24 February 2021|archive-url=https://web.archive.org/web/20210224095313/https://cityroom.blogs.nytimes.com/2008/12/04/how-helvetica-took-over-the-subway/?_r=0%C2%B1|url-status=live}}</ref> Helvetica is also used in the [[Washington Metro]], the [[Chicago 'L']], Philadelphia's [[SEPTA]], and the [[Madrid Metro]].<ref>{{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|access-date = 2015-06-23|website = metromadrid.es|publisher = Metro de Madrid|trans-title = Basic Elements of the Corporate Identity of the Metro of Madrid|language = es|archive-date = 2015-06-23|archive-url = https://web.archive.org/web/20150623232317/https://www.metromadrid.es/export/sites/metro/comun/documentos/Identidad_corporativa/IdentidadMetroMadrid.pdf|url-status = dead}}</ref> [[Amtrak]] used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company [[DSB (railway company)|DSB]] for a time period.<ref>{{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|access-date = 2013-09-21|archive-date = 2009-05-02|archive-url = https://web.archive.org/web/20090502030604/http://blog.eyemagazine.com/?p=189|url-status = live}}</ref> In addition, the former state-owned operator of the [[Rail transport in Great Britain|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]].<ref>{{cite web|last1=Walters|first1=John|title=New Rail Alphabet|url=http://www.eyemagazine.com/feature/article/britains-signature±|website=Eye Magazine|access-date=29 April 2018}}{{Dead link|date=November 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> The Helvetica 77 variation is used in street and house signage in [[Riga]] and other municipalities in [[Latvia]], although common road signage in the country uses a version of [[DIN 1451]].<ref>{{Cite web|url=https://likumi.lv/doc.php?id=263350|title=Par ielu un laukumu nosaukuma zīmju, ēku, telpu grupu numura zīmju un virziena rādītāju uz infrastruktūras, kultūras vai tūrisma objektiem izvietošanas kārtību Rīgas pilsētā|website=LIKUMI.LV|language=lv|access-date=2019-06-18|archive-date=2019-06-21|archive-url=https://web.archive.org/web/20190621063244/https://likumi.lv/doc.php?id=263350|url-status=live}}</ref>
-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.<ref name="I had never loved Helvetica" /><ref name="Post Mortem or how I once designed a typeface for Europe's biggest company">{{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|access-date=20 March 2016|archive-date=8 March 2021|archive-url=https://web.archive.org/web/20210308094136/https://spiekermann.com/en/wp-content/uploads/2005/05/baseline0785_meta3.pdf|url-status=live}}</ref> Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.<ref name="Majoor">{{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|access-date=3 August 2015|volume=16|issue=63|pages=33–7|archive-date=15 October 2012|archive-url=https://web.archive.org/web/20121015235734/http://www.eyemagazine.com/feature/article/inclined-to-be-dull|url-status=live}}</ref>
+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.<ref name="I had never loved Helvetica" /><ref>{{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|access-date=20 March 2016|archive-date=8 March 2021|archive-url=https://web.archive.org/web/20210308094136/https://spiekermann.com/en/wp-content/uploads/2005/05/baseline0785_meta3.pdf|url-status=live}}</ref> Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.<ref name="Majoor">{{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|access-date=3 August 2015|volume=16|issue=63|pages=33–7|archive-date=15 October 2012|archive-url=https://web.archive.org/web/20121015235734/http://www.eyemagazine.com/feature/article/inclined-to-be-dull|url-status=live}}</ref>
-[[IBM]] used Neue Helvetica as its corporate typeface until 2017, spending over $1m annually on licensing fees.<ref name="IBM has freed itself" /> 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.<ref name="IBM has freed itself">{{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|date=10 November 2017|access-date=1 May 2018|archive-date=13 June 2020|archive-url=https://web.archive.org/web/20200613074954/https://qz.com/1124664/ibm-plex-with-its-first-ever-custom-corporate-font-ibm-is-freeing-itself-from-the-tyranny-of-helvetica/|url-status=live}}</ref><ref name="Czarnecki IBM Plex">{{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|access-date=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|url-status=dead}}</ref>
+[[IBM]] used Neue Helvetica as its corporate typeface until 2017, spending over $1m annually on licensing fees.<ref name="IBM has freed itself" /> 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.<ref name="IBM has freed itself">{{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|date=10 November 2017|access-date=1 May 2018|archive-date=13 June 2020|archive-url=https://web.archive.org/web/20200613074954/https://qz.com/1124664/ibm-plex-with-its-first-ever-custom-corporate-font-ibm-is-freeing-itself-from-the-tyranny-of-helvetica/|url-status=live}}</ref><ref>{{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|access-date=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|url-status=dead}}</ref>
 In 2019, the [[Switzerland national football team]] began using Helvetica for its [[Kit (association football)|kit]], which it wore for the [[UEFA Euro 2020]] tournament.<ref>{{Cite web|title=PUMA chose Helvetica font for Switzerland's new jersey|url=https://www.nssmag.com/en/article/20122|access-date=2021-06-29|website=nss magazine|language=en}}</ref>
@@ Line 73: / Line 73: @@
 ==Media coverage==
 [[File:Specimen-1963-Neuburg Rudin.jpg|thumb|An early Helvetica specimen in the asymmetric Swiss modernist style, showing tight spacing in the poster style of the period]]
-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]]''.<ref name="Lupton Forever Helvetica">{{cite web|last1=Lupton|first1=Ellen|title=Forever Helvetica|url=http://www.metropolismag.com/June-2007/Forever-Helvetica/|website=Metropolis Magazine|access-date=4 July 2016|url-status=dead|archive-url=https://web.archive.org/web/20161007062611/http://www.metropolismag.com/June-2007/Forever-Helvetica/|archive-date=7 October 2016}}</ref> It was later republished in her book ''The Sponsored Life''.<ref name="The Sponsored Life">{{cite book|last1=Savan|first1=Leslie|title=The Sponsored Life: Ads, TV, and American Culture|url=https://archive.org/details/sponsoredlifeads00sava|url-access=registration|date=1994|publisher=Temple University Press|location=Philadelphia|isbn=978-1-4399-0490-9}}</ref>
+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]]''.<ref>{{cite web|last1=Lupton|first1=Ellen|title=Forever Helvetica|url=http://www.metropolismag.com/June-2007/Forever-Helvetica/|website=Metropolis Magazine|access-date=4 July 2016|url-status=dead|archive-url=https://web.archive.org/web/20161007062611/http://www.metropolismag.com/June-2007/Forever-Helvetica/|archive-date=7 October 2016}}</ref> It was later republished in her book ''The Sponsored Life''.<ref>{{cite book|last1=Savan|first1=Leslie|title=The Sponsored Life: Ads, TV, and American Culture|url=https://archive.org/details/sponsoredlifeads00sava|url-access=registration|date=1994|publisher=Temple University Press|location=Philadelphia|isbn=978-1-4399-0490-9}}</ref>
 In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.<ref>{{cite web |url=http://www.creativepro.com/article/linotype-announces-helvetica-now-poster-contest |title=Linotype Announces Helvetica NOW Poster Contest |date=27 June 2007 |publisher=Creativepro.com |access-date=2009-06-08 |archive-date=2009-09-18 |archive-url=https://web.archive.org/web/20090918221810/http://www.creativepro.com/article/linotype-announces-helvetica-now-poster-contest |url-status=live }}</ref><ref>{{cite web |url=http://www.linotype.com/helveticaNOW |title=Helvetica NOW Poster Contest |publisher=Linotype.com |date=2008-08-19 |access-date=2009-06-08 |archive-date=2008-08-30 |archive-url=https://web.archive.org/web/20080830002637/http://www.linotype.com/helveticanow |url-status=live }}</ref> Winners were announced in the January 2008 issue of the LinoLetter.
-In 2007, director [[Gary Hustwit]] released a documentary film, ''[[Helvetica (film)|Helvetica]]'' (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface.<ref name="The Univers of Helvetica">{{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 (magazine)|Print]]|access-date=26 June 2016|archive-date=17 September 2019|archive-url=https://web.archive.org/web/20190917020619/https://www.printmag.com/typography/univers-of-helvetica-history/ }}</ref> 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.
+In 2007, director [[Gary Hustwit]] released a documentary film, ''[[Helvetica (film)|Helvetica]]'' (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface.<ref>{{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 (magazine)|Print]]|access-date=26 June 2016|archive-date=17 September 2019|archive-url=https://web.archive.org/web/20190917020619/https://www.printmag.com/typography/univers-of-helvetica-history/ }}</ref> 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".<ref>{{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 City| access-date=2008-11-16| archive-date=2009-05-24| archive-url=https://web.archive.org/web/20090524011114/http://www.moma.org/visit/calendar/exhibitions/38| url-status=live}}</ref> 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.<ref>[http://dhub-bcn.cat/en/exhibition/helvetica-new-typeface 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]]</ref>
@@ Line 88: / Line 88: @@
 [[File:Helvetica unusual weights.png|thumb|A number of unusual adaptations of Helvetica have been released that diverge from Miedinger's original design, notably the Bold Extended weight in which the 'r' has a droop, the extra-slanted Diagonal weight, Helvetica Compact with a different 'Q' and straight-sided capitals and the extra-condensed, high x-height Inserat.]]
 }}
-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]]".<ref name="Helvetica and Univers">{{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%E2%80%94helvetica-and-univers/|website=Paul Shaw Letter Design|access-date=28 April 2018|archive-date=3 May 2021|archive-url=https://web.archive.org/web/20210503071716/https://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26%E2%80%94helvetica-and-univers/|url-status=live}}</ref><ref name="U&LC Helvetica ask specimen">{{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|access-date=28 April 2018|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063236/https://issuu.com/csisson/docs/u_lc_vol.3-1|url-status=dead}}</ref>
+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]]".<ref>{{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%E2%80%94helvetica-and-univers/|website=Paul Shaw Letter Design|access-date=28 April 2018|archive-date=3 May 2021|archive-url=https://web.archive.org/web/20210503071716/https://www.paulshawletterdesign.com/2011/11/from-the-archives-no-26%E2%80%94helvetica-and-univers/|url-status=live}}</ref><ref>{{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|access-date=28 April 2018|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063236/https://issuu.com/csisson/docs/u_lc_vol.3-1|url-status=dead}}</ref>
 ===Helvetica Light===
@@ Line 94: / Line 94: @@
 ===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 [[Haettenschweiler|Schmalfette Grotesk]]. Adobe's release notes date it to 1966 and state that it originated with Stempel.<ref name="Helvetica Inserat Adobe">{{cite web|title=Helvetica Inserat|url=https://www.myfonts.com/fonts/adobe/helvetica-inserat/|website=MyFonts|publisher=Adobe|access-date=29 April 2018|archive-date=9 June 2021|archive-url=https://web.archive.org/web/20210609170745/https://www.myfonts.com/fonts/adobe/helvetica-inserat/|url-status=dead}}</ref>
+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 [[Haettenschweiler|Schmalfette Grotesk]]. Adobe's release notes date it to 1966 and state that it originated with Stempel.<ref>{{cite web|title=Helvetica Inserat|url=https://www.myfonts.com/fonts/adobe/helvetica-inserat/|website=MyFonts|publisher=Adobe|access-date=29 April 2018|archive-date=9 June 2021|archive-url=https://web.archive.org/web/20210609170745/https://www.myfonts.com/fonts/adobe/helvetica-inserat/|url-status=dead}}</ref>
 ===Helvetica Compressed (1966)===
-Designed by [[Matthew Carter]] and Hans-Jürg Hunziker for [[cold type]].<ref name="Helvetica Compressed Flickr">{{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|date=26 April 2015|access-date=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 (typographer)|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.|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063234/https://www.flickr.com/photos/nicksherman/16656369014/in/photolist-rnSfd7-7pDNRB-3yHxz-2a1L5E-78Bq7N-5CTt6h|url-status=live}}</ref> 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 [[Haettenschweiler|Schmalfette Grotesk]] and to compete in this role with British designs [[Impact (typeface)|Impact]] and [[Compacta (typeface)|Compacta]], as this style was popular at the time.<ref name="Typographically Speaking: The Art of Matthew Carter">{{cite book|last1=Drucker|first3=Margaret |last3=Re |first1=Johanna|last2=Mosley|first2=James |url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA41|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural|location=New York|isbn=978-1-56898-427-8|pages=41, 53 etc.|edition= 2.}}</ref> 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."<ref name=Rawsthorn>{{cite news|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]]|date=April 2007|access-date=11 January 2016|archive-date=5 June 2021|archive-url=https://web.archive.org/web/20210605093723/https://www.nytimes.com/2007/03/30/style/30iht-design2.1.5085303.html|url-status=live}}</ref><ref name="Carter Garrick Webster">{{cite web|last1=Webster|first1=Garrick|title=Matthew Carter|url=https://www.creativebloq.com/computer-arts/matthew-carter-1118715|website=Computer Arts|publisher=Creative Bloq|date=19 January 2011|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.|access-date=28 April 2018|archive-date=9 June 2021|archive-url=https://web.archive.org/web/20210609170737/https://www.creativebloq.com/computer-arts/matthew-carter-1118715|url-status=live}}</ref> 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.
+Designed by [[Matthew Carter]] and Hans-Jürg Hunziker for [[cold type]].<ref>{{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|date=26 April 2015|access-date=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 (typographer)|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.|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063234/https://www.flickr.com/photos/nicksherman/16656369014/in/photolist-rnSfd7-7pDNRB-3yHxz-2a1L5E-78Bq7N-5CTt6h|url-status=live}}</ref> 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 [[Haettenschweiler|Schmalfette Grotesk]] and to compete in this role with British designs [[Impact (typeface)|Impact]] and [[Compacta (typeface)|Compacta]], as this style was popular at the time.<ref name="Typographically Speaking: The Art of Matthew Carter">{{cite book|last1=Drucker|first3=Margaret |last3=Re |first1=Johanna|last2=Mosley|first2=James |url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA41|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural|location=New York|isbn=978-1-56898-427-8|pages=41, 53 etc.|edition= 2.}}</ref> 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."<ref>{{cite news|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]]|date=April 2007|access-date=11 January 2016|archive-date=5 June 2021|archive-url=https://web.archive.org/web/20210605093723/https://www.nytimes.com/2007/03/30/style/30iht-design2.1.5085303.html|url-status=live}}</ref><ref>{{cite web|last1=Webster|first1=Garrick|title=Matthew Carter|url=https://www.creativebloq.com/computer-arts/matthew-carter-1118715|website=Computer Arts|publisher=Creative Bloq|date=19 January 2011|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.|access-date=28 April 2018|archive-date=9 June 2021|archive-url=https://web.archive.org/web/20210609170737/https://www.creativebloq.com/computer-arts/matthew-carter-1118715|url-status=live}}</ref> 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.<ref name="Helvetica Rounded Linotype">{{cite web |title=Helvetica Rounded – Font of the Week |url=https://www.linotype.com/8023/helvetica-rounded.html |publisher=Linotype |access-date=7 October 2018 |archive-date=9 June 2021 |archive-url=https://web.archive.org/web/20210609171227/https://www.linotype.com/8023/helvetica-rounded.html |url-status=live }}</ref>
+Helvetica Rounded is a version containing rounded stroke terminators, released for bold weights. Linotype's release notes date it to 1978.<ref>{{cite web |title=Helvetica Rounded – Font of the Week |url=https://www.linotype.com/8023/helvetica-rounded.html |publisher=Linotype |access-date=7 October 2018 |archive-date=9 June 2021 |archive-url=https://web.archive.org/web/20210609171227/https://www.linotype.com/8023/helvetica-rounded.html |url-status=live }}</ref>
 ===Helvetica Narrow===
@@ Line 106: / Line 106: @@
 ===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, such as the digits '1' and '4' similar to how handwritten digits are. The letters 'a', 't', 'u', and the digits '6' and '9' are replaced with designs similar to those in geometric sans-serifs such as those found in [[Futura (typeface)|Futura]], [[Akzidenz-Grotesk#Akzidenz-Grotesk Schulbuch|Akzidenz-Grotesk Schulbuch]], and Avant Garde (except for 'u').<ref name="Helvetica Textbook">{{cite web|title=Helvetica Textbook|url=https://www.fontshop.com/families/helvetica-textbook|website=FontShop|access-date=20 March 2016|archive-date=27 March 2016|archive-url=https://web.archive.org/web/20160327211155/https://www.fontshop.com/families/helvetica-textbook|url-status=live}}</ref> [[FontShop]]'s FF Schulbuch is similar.<ref name="Wikipedia Redefined">{{cite web|last1=Coles|first1=Stephen|title=Wikipedia Redefined|url=http://fontsinuse.com/uses/2013/wikipedia-redefined|website=Fonts In Use|date=26 August 2012|access-date=13 July 2016|archive-date=20 August 2016|archive-url=https://web.archive.org/web/20160820220653/http://fontsinuse.com/uses/2013/wikipedia-redefined|url-status=live}}</ref><ref name="Design Museum FIU">{{cite web|last1=Coles|first1=Stephen|title=Design Museum|url=http://fontsinuse.com/uses/11997/design-museum-identity-2003-2016|website=Fonts In Use|date=20 March 2016|access-date=13 July 2016|archive-date=14 August 2019|archive-url=https://web.archive.org/web/20190814170604/https://fontsinuse.com/uses/11997/design-museum-identity-2003-2016|url-status=live}}</ref>
+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, such as the digits '1' and '4' similar to how handwritten digits are. The letters 'a', 't', 'u', and the digits '6' and '9' are replaced with designs similar to those in geometric sans-serifs such as those found in [[Futura (typeface)|Futura]], [[Akzidenz-Grotesk#Akzidenz-Grotesk Schulbuch|Akzidenz-Grotesk Schulbuch]], and Avant Garde (except for 'u').<ref>{{cite web|title=Helvetica Textbook|url=https://www.fontshop.com/families/helvetica-textbook|website=FontShop|access-date=20 March 2016|archive-date=27 March 2016|archive-url=https://web.archive.org/web/20160327211155/https://www.fontshop.com/families/helvetica-textbook|url-status=live}}</ref> [[FontShop]]'s FF Schulbuch is similar.<ref>{{cite web|last1=Coles|first1=Stephen|title=Wikipedia Redefined|url=http://fontsinuse.com/uses/2013/wikipedia-redefined|website=Fonts In Use|date=26 August 2012|access-date=13 July 2016|archive-date=20 August 2016|archive-url=https://web.archive.org/web/20160820220653/http://fontsinuse.com/uses/2013/wikipedia-redefined|url-status=live}}</ref><ref>{{cite web|last1=Coles|first1=Stephen|title=Design Museum|url=http://fontsinuse.com/uses/11997/design-museum-identity-2003-2016|website=Fonts In Use|date=20 March 2016|access-date=13 July 2016|archive-date=14 August 2019|archive-url=https://web.archive.org/web/20190814170604/https://fontsinuse.com/uses/11997/design-museum-identity-2003-2016|url-status=live}}</ref>
 ===Language variants===
-Helvetica Greek has gone through several versions. [[Letraset]] designed a semi-official version for their dry transfer lettering system, available by 1970, which sold well but was considered unidiomatic by Linotype.<ref name="Lekka thesis">{{cite thesis |last=Lekka |first=Helena |date=2017 |title=Linotype's design of new Greek typefaces for photocomposition in the Greek printing market, 1970-1980 |type= |chapter= |publisher=[[University of Reading]] |docket= |oclc= |url=https://centaur.reading.ac.uk/79821/ |access-date= |archive-date=2022-10-15 |archive-url=https://web.archive.org/web/20221015201917/https://centaur.reading.ac.uk/79821/ |url-status=live }}</ref> Linotype published a 1971 version designed by [[Matthew Carter]] which was available for phototypesetting and so for general purpose printing such as extended text.<ref name="Lekka thesis" /><ref name="Lekka 2014">{{cite web |last1=Lekka |first1=Helena |title=The design of Helvetica Greek for photocomposition |url=https://www.academia.edu/11274479 |website=Academia.edu |publisher=[[University of Reading]] |access-date=15 October 2022 |archive-date=6 December 2022 |archive-url=https://web.archive.org/web/20221206064732/https://www.academia.edu/11274479 |url-status=live }}</ref><ref name="Typographically Speaking: The Art of Matthew Carter" /><ref name="Typo Carter">{{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|url-status=dead|archive-date=2009-03-19|access-date=29 April 2018}}</ref><ref>{{cite web|url=http://storage.svettisku.cz/TYPO_2005_18.pdf |type=magazine |title=TYPO.18 |date=December 2005 |publisher=Svettisku |place=[[Czech Republic|CZ]] |url-status=dead |archive-url=https://web.archive.org/web/20090319104747/http://storage.svettisku.cz/TYPO_2005_18.pdf |archive-date=2009-03-19 }}</ref><ref name="Greek Letters: From Tablets to Pixels">{{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=978-1-884718-27-4|page=175|edition= 1st}}</ref> Carter felt in 1974 that the Letraset version was "a poor thing" and Linotype's version was "the real one" but that Letraset's was well-enough accepted in Greece that he felt it had "caused resistance to our version".<ref name="Lekka thesis" /> Linotype published a new version in 2001 designed by John Hudson at Tiro Typeworks.<ref name="Lekka thesis" /><ref name="Lekka 2014" />
+Helvetica Greek has gone through several versions. [[Letraset]] designed a semi-official version for their dry transfer lettering system, available by 1970, which sold well but was considered unidiomatic by Linotype.<ref name="Lekka thesis">{{cite thesis |last=Lekka |first=Helena |date=2017 |title=Linotype's design of new Greek typefaces for photocomposition in the Greek printing market, 1970-1980 |type= |chapter= |publisher=[[University of Reading]] |docket= |oclc= |url=https://centaur.reading.ac.uk/79821/ |access-date= |archive-date=2022-10-15 |archive-url=https://web.archive.org/web/20221015201917/https://centaur.reading.ac.uk/79821/ |url-status=live }}</ref> Linotype published a 1971 version designed by [[Matthew Carter]] which was available for phototypesetting and so for general purpose printing such as extended text.<ref name="Lekka thesis" /><ref name="Lekka 2014">{{cite web |last1=Lekka |first1=Helena |title=The design of Helvetica Greek for photocomposition |url=https://www.academia.edu/11274479 |website=Academia.edu |publisher=[[University of Reading]] |access-date=15 October 2022 |archive-date=6 December 2022 |archive-url=https://web.archive.org/web/20221206064732/https://www.academia.edu/11274479 |url-status=live }}</ref><ref name="Typographically Speaking: The Art of Matthew Carter" /><ref>{{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|url-status=dead|archive-date=2009-03-19|access-date=29 April 2018}}</ref><ref>{{cite web|url=http://storage.svettisku.cz/TYPO_2005_18.pdf |type=magazine |title=TYPO.18 |date=December 2005 |publisher=Svettisku |place=[[Czech Republic|CZ]] |url-status=dead |archive-url=https://web.archive.org/web/20090319104747/http://storage.svettisku.cz/TYPO_2005_18.pdf |archive-date=2009-03-19 }}</ref><ref>{{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=978-1-884718-27-4|page=175|edition= 1st}}</ref> Carter felt in 1974 that the Letraset version was "a poor thing" and Linotype's version was "the real one" but that Letraset's was well-enough accepted in Greece that he felt it had "caused resistance to our version".<ref name="Lekka thesis" /> Linotype published a new version in 2001 designed by John Hudson at Tiro Typeworks.<ref name="Lekka thesis" /><ref name="Lekka 2014" />
 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 [[#Zhukov and Kurbatov version|a pirated version]] had already been created in 1963 by Russian designers Maxim Zhukov and Yuri Kurbatov.<ref>{{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 |access-date= 2009-06-08 |archive-date= 2009-04-27 |archive-url= https://web.archive.org/web/20090427075843/http://store1.adobe.com/cfusion/store/html/index.cfm?store=OLS-US&event=displayFontPackage&code=361 |url-status= live }}</ref><ref name="Typographica Soyuz Grotesk">{{cite web |last1=Samarskaya |first1=Ksenya |title=Soyuz Grotesk |url=https://typographica.org/typeface-reviews/soyuz-grotesk/ |website=Typographica |access-date=18 November 2018 |archive-date=9 June 2021 |archive-url=https://web.archive.org/web/20210609170738/https://typographica.org/typeface-reviews/soyuz-grotesk/ |url-status=live }}</ref><ref name="Soyuz Grotesk Temporary State">{{cite web |last1=Gornitsky |first1=Roman |title=Soyuz Grotesk: release notes |url=http://letters.temporarystate.net/entry/1/ |website=The Temporary State |access-date=18 November 2018 |archive-date=8 March 2021 |archive-url=https://web.archive.org/web/20210308211535/https://letters.temporarystate.net/entry/1/ |url-status=live }}</ref>
@@ Line 127: / Line 127: @@
 Neue Helvetica uses a numerical design classification scheme, like [[Univers#The Frutiger numbering system|Univers]]. The font family is made up of 51 fonts including nine weights in three widths (8 in normal width, 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.<ref>{{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 |access-date=2009-06-08 |archive-date=2015-07-16 |archive-url=https://web.archive.org/web/20150716201641/http://www.linotype.com/en/2876/linotypepresentsentirenewhelveticafamilyonasinglecd.html |url-status=live }}</ref> Neue Helvetica also comes in variants for Central European and Cyrillic text.
-It was developed at [[Stempel Type Foundry|D. Stempel AG]], a [[Mergenthaler Linotype Company|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.<ref>[http://typophile.com/node/37855#comment-232223 "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</ref><ref name="Neue Helvetica Entdeckung!">{{cite web|last1=Kupferschmid|first1=Indra|title=Neue Helvetica Entdeckung!|url=http://kupferschrift.de/cms/2007/08/neue-helvetica-entdeckung/|website=Kupferschrift|date=29 August 2007|access-date=29 April 2018|archive-date=30 April 2018|archive-url=https://web.archive.org/web/20180430113944/http://kupferschrift.de/cms/2007/08/neue-helvetica-entdeckung/|url-status=live}}</ref> Figures were widened and some condensed weights changed from having nearly flat-sided verticals to a more continuous curve throughout the entire height.<ref name="Strizver Helvetica vs. Neue Helvetica" />
+It was developed at [[Stempel Type Foundry|D. Stempel AG]], a [[Mergenthaler Linotype Company|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.<ref>[http://typophile.com/node/37855#comment-232223 "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</ref><ref>{{cite web|last1=Kupferschmid|first1=Indra|title=Neue Helvetica Entdeckung!|url=http://kupferschrift.de/cms/2007/08/neue-helvetica-entdeckung/|website=Kupferschrift|date=29 August 2007|access-date=29 April 2018|archive-date=30 April 2018|archive-url=https://web.archive.org/web/20180430113944/http://kupferschrift.de/cms/2007/08/neue-helvetica-entdeckung/|url-status=live}}</ref> Figures were widened and some condensed weights changed from having nearly flat-sided verticals to a more continuous curve throughout the entire height.<ref name="Strizver Helvetica vs. Neue Helvetica" />
-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."<ref name="NHG Schwartzco">{{cite web|last1=Schwartz|first1=Christian|author-link=Christian Schwartz|title=Neue Haas Grotesk|url=http://www.christianschwartz.com/haasgrotesk.shtml|access-date=28 November 2014|archive-date=20 April 2021|archive-url=https://web.archive.org/web/20210420025921/http://www.christianschwartz.com/haasgrotesk.shtml|url-status=live}}</ref>
+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."<ref>{{cite web|last1=Schwartz|first1=Christian|author-link=Christian Schwartz|title=Neue Haas Grotesk|url=http://www.christianschwartz.com/haasgrotesk.shtml|access-date=28 November 2014|archive-date=20 April 2021|archive-url=https://web.archive.org/web/20210420025921/http://www.christianschwartz.com/haasgrotesk.shtml|url-status=live}}</ref>
 [[iOS]] used first Helvetica then Neue Helvetica<ref>{{cite web |url=http://daringfireball.net/2010/06/4 |title=Daring Fireball: 4 |first=John |last=Gruber |work=daringfireball.net |date=29 June 2010 |access-date=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. |archive-date=4 September 2011 |archive-url=https://web.archive.org/web/20110904003755/http://daringfireball.net/2010/06/4 |url-status=live }}</ref> as its system font. All releases of [[macOS]] prior to [[OS X Yosemite|OS X Yosemite (10.10)]] used [[Lucida Grande]] as the system font. The version of Neue Helvetica used as the system font in OS X 10.10 is specially optimised; [[Apple Inc.|Apple]]'s intention is to provide a consistent experience for people who use both iOS and OS X.<ref>{{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|access-date=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.|archive-date=2016-09-04|archive-url=https://web.archive.org/web/20160904072657/https://developer.apple.com/library/mac/documentation/UserExperience/Conceptual/OSXHIGuidelines/index.html#//apple_ref/doc/uid/20000957-CH3-SW1|url-status=live}}</ref><ref name="What's the Difference between Lucida Grande and Helvetica Neue?">{{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 |access-date=4 September 2018 |archive-date=29 August 2018 |archive-url=https://web.archive.org/web/20180829212027/http://bigelowandholmes.typepad.com/bigelow-holmes/2014/11/whats-the-difference-between-lucida-grande-and-helvetica-neue.html |url-status=live }}</ref> Apple replaced Neue Helvetica with the similarly looking [[San Francisco (sans-serif typeface)|San Francisco]] in [[iOS 9]] and [[OS X El Capitan|OS X El Capitan (10.11)]],<ref>{{Cite magazine|last=Stinson|first=Liz|magazine=[[Wired (magazine)|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|access-date=2015-07-24|archive-date=2015-06-13|archive-url=https://web.archive.org/web/20150613012051/http://www.wired.com/2015/06/apple-abandoned-worlds-beloved-typeface/|url-status=live}}</ref> meaning OS X 10.10 was the only macOS version to use Neue Helvetica as the system font.
@@ Line 145: / Line 145: @@
 ===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.<ref name="Helvetica at Any Size">{{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|date=25 November 2015|access-date=1 May 2018|archive-date=5 September 2018|archive-url=https://web.archive.org/web/20180905023034/https://creativepro.com/typetalk-good-looking-helvetica-size/|url-status=live}}</ref> Unlike Helvetica, the capitals are reduced in size so the lower-case [[Ascender (typography)|ascenders]] rise above them, a common feature associated with text typefaces.<ref name="Strizver Helvetica vs. Neue Helvetica">{{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 |date=6 December 2017 |access-date=4 September 2018 |archive-date=5 September 2018 |archive-url=https://web.archive.org/web/20180905023243/https://creativepro.com/helvetica-vs-neue-helvetica-same-but-different/ |url-status=live }}</ref><ref name="Using Acumin" />
+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.<ref>{{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|date=25 November 2015|access-date=1 May 2018|archive-date=5 September 2018|archive-url=https://web.archive.org/web/20180905023034/https://creativepro.com/typetalk-good-looking-helvetica-size/|url-status=live}}</ref> Unlike Helvetica, the capitals are reduced in size so the lower-case [[Ascender (typography)|ascenders]] rise above them, a common feature associated with text typefaces.<ref name="Strizver Helvetica vs. Neue Helvetica">{{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 |date=6 December 2017 |access-date=4 September 2018 |archive-date=5 September 2018 |archive-url=https://web.archive.org/web/20180905023243/https://creativepro.com/helvetica-vs-neue-helvetica-same-but-different/ |url-status=live }}</ref><ref name="Using Acumin" />
 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.<ref>{{cite web |url=http://www.linotype.com/903066/NeueHelveticaeText-family.html |title=Download Neue Helvetica® eText font family |publisher=Linotype.com |access-date=2013-09-21 |archive-date=2013-09-21 |archive-url=https://web.archive.org/web/20130921194321/http://www.linotype.com/903066/NeueHelveticaeText-family.html |url-status=live }}</ref>
@@ Line 179: / Line 179: @@
 == Neue Haas Grotesk (2010) ==
 [[File:Neue Haas Grotesk Text Pro typeface specimen.svg|thumb|Neue Haas Grotesk Text, optically optimized for body text]]
-[[Christian Schwartz]]'s digitisation is based on original settings of the metal type and uses the typeface's original name.<ref>{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/|publisher=The Font Bureau, Inc.|page=Introduction|access-date=2013-12-23|archive-date=2021-05-09|archive-url=https://web.archive.org/web/20210509102111/http://www.fontbureau.com/NHG/|url-status=deviated}}</ref><ref>{{cite web|url=http://www.linotype.com/6598/neuehaasgrotesk.html |title=Neue Haas Grotesk - Font News |publisher=Linotype.com |access-date=2013-09-21 |archive-date=2015-09-05 |archive-url=https://web.archive.org/web/20150905090017/http://www.linotype.com/6598/neuehaasgrotesk.html |url-status=dead}}</ref><ref>{{cite web |url=http://www.christianschwartz.com/haasgrotesk.shtml |title=Schwartzco Inc |access-date=2013-09-21 |archive-date=2021-04-20 |archive-url=https://web.archive.org/web/20210420025921/http://www.christianschwartz.com/haasgrotesk.shtml |url-status=live }}</ref><ref name="Revival Type">{{cite book|last1=Shaw|first1=Paul|title=Revival Type: Digital Typefaces Inspired by the Past|year=2017|isbn=978-0-300-21929-6|url=https://books.google.com/books?id=n7e0DgAAQBAJ&pg=PA204|pages=204–5|publisher=Yale University Press }}</ref> It was released by Linotype (later Monotype Imaging), [[Commercial Type]], and Font Bureau with an article on the history of Helvetica by Professor Indra Kupferschmid.<ref name="NHG Kupferschmid">{{cite web|last1=Kupferschmid|first1=Indra|title=Neue Haas Grotesk - History|url=http://www.fontbureau.com/nhg/history/|publisher=[[Font Bureau]]|access-date=4 August 2017|archive-date=9 August 2017|archive-url=https://web.archive.org/web/20170809183126/http://www.fontbureau.com/NHG/history/|url-status=deviated}}</ref>
+[[Christian Schwartz]]'s digitisation is based on original settings of the metal type and uses the typeface's original name.<ref>{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/|publisher=The Font Bureau, Inc.|page=Introduction|access-date=2013-12-23|archive-date=2021-05-09|archive-url=https://web.archive.org/web/20210509102111/http://www.fontbureau.com/NHG/|url-status=deviated}}</ref><ref>{{cite web|url=http://www.linotype.com/6598/neuehaasgrotesk.html |title=Neue Haas Grotesk - Font News |publisher=Linotype.com |access-date=2013-09-21 |archive-date=2015-09-05 |archive-url=https://web.archive.org/web/20150905090017/http://www.linotype.com/6598/neuehaasgrotesk.html |url-status=dead}}</ref><ref>{{cite web |url=http://www.christianschwartz.com/haasgrotesk.shtml |title=Schwartzco Inc |access-date=2013-09-21 |archive-date=2021-04-20 |archive-url=https://web.archive.org/web/20210420025921/http://www.christianschwartz.com/haasgrotesk.shtml |url-status=live }}</ref><ref>{{cite book|last1=Shaw|first1=Paul|title=Revival Type: Digital Typefaces Inspired by the Past|year=2017|isbn=978-0-300-21929-6|url=https://books.google.com/books?id=n7e0DgAAQBAJ&pg=PA204|pages=204–5|publisher=Yale University Press }}</ref> It was released by Linotype (later Monotype Imaging), [[Commercial Type]], and Font Bureau with an article on the history of Helvetica by Professor Indra Kupferschmid.<ref name="NHG Kupferschmid">{{cite web|last1=Kupferschmid|first1=Indra|title=Neue Haas Grotesk - History|url=http://www.fontbureau.com/nhg/history/|publisher=[[Font Bureau]]|access-date=4 August 2017|archive-date=9 August 2017|archive-url=https://web.archive.org/web/20170809183126/http://www.fontbureau.com/NHG/history/|url-status=deviated}}</ref>
-Unlike earlier digitisations, Schwartz created two different [[optical size]]s (labelled Text and Display), which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in [[body 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.<ref>{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/features/|publisher=The Font Bureau, Inc.|access-date=23 December 2013|archive-date=17 December 2013|archive-url=https://web.archive.org/web/20131217072140/http://www.fontbureau.com/NHG/features/|url-status=live}}</ref>{{efn|This feature was also included in [[Robert Slimbach]]'s neogrotesque Acumin (2014) for Adobe.<ref name="Using Acumin">{{cite web|last1=Slimbach|first1=Robert|title=Using Acumin|url=http://acumin.typekit.com/usage/|website=Acumin microsite|publisher=[[Adobe Systems]]|access-date=6 January 2016|archive-date=15 January 2016|archive-url=https://web.archive.org/web/20160115113811/http://acumin.typekit.com/usage/|url-status=live}}</ref>}} Both optical sizes provide stylistic alternates for a straight-legged upper case "R", while the Display variant additionally provides stylistic alternates for a lower case "a" without tail.<ref name="Neue Haas Grotesk Collection">{{cite web|title=Neue Haas Grotesk Collection|url=https://commercialtype.com/catalog/neue_haas_grotesk|access-date=2022-06-24|archive-date=2022-06-08|archive-url=https://web.archive.org/web/20220608030513/https://commercialtype.com/catalog/neue_haas_grotesk|url-status=live}}</ref><ref name="Neue Haas Grotesk Specimens">{{cite web|title=Neue Haas Grotesk Specimens|url=https://commercialtype.com/uploads/1900019/1454389679884/Neue_Haas_Grotesk-collection.pdf|access-date=2022-06-24|archive-date=2022-06-24|archive-url=https://web.archive.org/web/20220624215103/https://commercialtype.com/uploads/1900019/1454389679884/Neue_Haas_Grotesk-collection.pdf|url-status=dead}}</ref> It originated from an abandoned redesign plan for ''[[The Guardian]]'' newspaper. Writing for ''Typographica'', [[Matthew Butterick]] described the release as better than any previous digital release of Helvetica "it's never looked better".<ref>{{cite web|last1=Butterick|first1=Matthew|author-link=Matthew Butterick|title=Neue Haas Grotesk|url=http://typographica.org/typeface-reviews/neue-haas-grotesk/|website=Typographica|access-date=22 October 2014|archive-date=22 October 2014|archive-url=https://web.archive.org/web/20141022231846/http://typographica.org/typeface-reviews/neue-haas-grotesk/|url-status=live}}</ref> Users include [[Bloomberg Businessweek]], the [[Whitney Museum of American Art|Whitney Museum]], and for the album ''[[Midnights]]'', [[Taylor Swift]].<ref>{{cite web|title=Whitney rebranding|url=http://www.experimentaljetset.nl/archive/whitney-museum-identity|publisher=EJS|access-date=16 July 2015|archive-date=29 May 2015|archive-url=https://web.archive.org/web/20150529124214/http://www.experimentaljetset.nl/archive/whitney-museum-identity|url-status=live}}</ref><ref>{{cite web |url=http://www.spd.org/2010/11/bloomberg-business-week.php |title=Bloomberg Businessweek redesign interviews |publisher=SPD |access-date=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 |url-status=dead }}</ref><ref name="Font Meme 2022">{{cite web | title=Midnights (Taylor Swift) Font | website=Font Meme | date=October 21, 2022 | url=https://fontmeme.com/midnights-taylor-swift-font/ | access-date=November 23, 2022 | archive-date=October 27, 2022 | archive-url=https://web.archive.org/web/20221027022536/https://fontmeme.com/midnights-taylor-swift-font/ | url-status=live }}</ref> Schwartz's company Commercial Type have additionally developed a companion monospaced version, agate version for small sizes and stencil font.<ref>{{cite web |title=Commercial Type Vault |url=https://vault.commercialtype.com/ |publisher=[[Commercial Type]] |access-date=1 September 2022 |archive-date=1 September 2022 |archive-url=https://web.archive.org/web/20220901093658/https://vault.commercialtype.com/ |url-status=live }}</ref> The release does not include condensed weights or support for Greek and Cyrillic.
+Unlike earlier digitisations, Schwartz created two different [[optical size]]s (labelled Text and Display), which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in [[body 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.<ref>{{cite web|title=Neue Haas Grotesk|url=http://www.fontbureau.com/nhg/features/|publisher=The Font Bureau, Inc.|access-date=23 December 2013|archive-date=17 December 2013|archive-url=https://web.archive.org/web/20131217072140/http://www.fontbureau.com/NHG/features/|url-status=live}}</ref>{{efn|This feature was also included in [[Robert Slimbach]]'s neogrotesque Acumin (2014) for Adobe.<ref name="Using Acumin">{{cite web|last1=Slimbach|first1=Robert|title=Using Acumin|url=http://acumin.typekit.com/usage/|website=Acumin microsite|publisher=[[Adobe Systems]]|access-date=6 January 2016|archive-date=15 January 2016|archive-url=https://web.archive.org/web/20160115113811/http://acumin.typekit.com/usage/|url-status=live}}</ref>}} Both optical sizes provide stylistic alternates for a straight-legged upper case "R", while the Display variant additionally provides stylistic alternates for a lower case "a" without tail.<ref>{{cite web|title=Neue Haas Grotesk Collection|url=https://commercialtype.com/catalog/neue_haas_grotesk|access-date=2022-06-24|archive-date=2022-06-08|archive-url=https://web.archive.org/web/20220608030513/https://commercialtype.com/catalog/neue_haas_grotesk|url-status=live}}</ref><ref>{{cite web|title=Neue Haas Grotesk Specimens|url=https://commercialtype.com/uploads/1900019/1454389679884/Neue_Haas_Grotesk-collection.pdf|access-date=2022-06-24|archive-date=2022-06-24|archive-url=https://web.archive.org/web/20220624215103/https://commercialtype.com/uploads/1900019/1454389679884/Neue_Haas_Grotesk-collection.pdf|url-status=dead}}</ref> It originated from an abandoned redesign plan for ''[[The Guardian]]'' newspaper. Writing for ''Typographica'', [[Matthew Butterick]] described the release as better than any previous digital release of Helvetica "it's never looked better".<ref>{{cite web|last1=Butterick|first1=Matthew|author-link=Matthew Butterick|title=Neue Haas Grotesk|url=http://typographica.org/typeface-reviews/neue-haas-grotesk/|website=Typographica|access-date=22 October 2014|archive-date=22 October 2014|archive-url=https://web.archive.org/web/20141022231846/http://typographica.org/typeface-reviews/neue-haas-grotesk/|url-status=live}}</ref> Users include [[Bloomberg Businessweek]], the [[Whitney Museum of American Art|Whitney Museum]], and for the album ''[[Midnights]]'', [[Taylor Swift]].<ref>{{cite web|title=Whitney rebranding|url=http://www.experimentaljetset.nl/archive/whitney-museum-identity|publisher=EJS|access-date=16 July 2015|archive-date=29 May 2015|archive-url=https://web.archive.org/web/20150529124214/http://www.experimentaljetset.nl/archive/whitney-museum-identity|url-status=live}}</ref><ref>{{cite web |url=http://www.spd.org/2010/11/bloomberg-business-week.php |title=Bloomberg Businessweek redesign interviews |publisher=SPD |access-date=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 |url-status=dead }}</ref><ref>{{cite web | title=Midnights (Taylor Swift) Font | website=Font Meme | date=October 21, 2022 | url=https://fontmeme.com/midnights-taylor-swift-font/ | access-date=November 23, 2022 | archive-date=October 27, 2022 | archive-url=https://web.archive.org/web/20221027022536/https://fontmeme.com/midnights-taylor-swift-font/ | url-status=live }}</ref> Schwartz's company Commercial Type have additionally developed a companion monospaced version, agate version for small sizes and stencil font.<ref>{{cite web |title=Commercial Type Vault |url=https://vault.commercialtype.com/ |publisher=[[Commercial Type]] |access-date=1 September 2022 |archive-date=1 September 2022 |archive-url=https://web.archive.org/web/20220901093658/https://vault.commercialtype.com/ |url-status=live }}</ref> The release does not include condensed weights or support for Greek and Cyrillic.
 ===Variable Font Version===
-The Text optical size of Neue Haas Grotesk is available on [[Windows 11]] via "Pan-European Supplemental Fonts" optional feature. <ref>{{cite web |title=Windows 11 font list |url=https://docs.microsoft.com/en-us/typography/fonts/windows_11_font_list#pan-european-supplemental-fonts |access-date=6 December 2021 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214223121/https://docs.microsoft.com/en-us/typography/fonts/windows_11_font_list#pan-european-supplemental-fonts |url-status=live }}</ref> This version is a [[variable font]] and provides weights ranging from Ultra Thin to Black. <ref name="I've noticed a change in Neue Haas Grotesk Text Pro in Windows 11 · Issue #817 · MicrosoftDocs/typography-issues · GitHub">{{cite web |title=I've noticed a change in Neue Haas Grotesk Text Pro in Windows 11 · Issue #817 · MicrosoftDocs/typography-issues · GitHub |website=[[GitHub]] |url=https://github.com/MicrosoftDocs/typography-issues/issues/817 |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414130904/https://github.com/MicrosoftDocs/typography-issues/issues/817 |url-status=live }}</ref> <ref name="After updating to Windows 11, Neue Haas Grotesk is now a variable font : typography">{{cite web |title=After updating to Windows 11, Neue Haas Grotesk is now a variable font : typography |date=17 December 2021 |url=https://old.reddit.com/r/typography/comments/ri7sk8/after_updating_to_windows_11_neue_haas_grotesk_is/ |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414130906/https://old.reddit.com/r/typography/comments/ri7sk8/after_updating_to_windows_11_neue_haas_grotesk_is/ |url-status=live }}</ref> As of 2023, the variable font version of Neue Haas Grotesk is not yet otherwise available.
+The Text optical size of Neue Haas Grotesk is available on [[Windows 11]] via "Pan-European Supplemental Fonts" optional feature. <ref>{{cite web |title=Windows 11 font list |url=https://docs.microsoft.com/en-us/typography/fonts/windows_11_font_list#pan-european-supplemental-fonts |access-date=6 December 2021 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214223121/https://docs.microsoft.com/en-us/typography/fonts/windows_11_font_list#pan-european-supplemental-fonts |url-status=live }}</ref> This version is a [[variable font]] and provides weights ranging from Ultra Thin to Black. <ref>{{cite web |title=I've noticed a change in Neue Haas Grotesk Text Pro in Windows 11 · Issue #817 · MicrosoftDocs/typography-issues · GitHub |website=[[GitHub]] |url=https://github.com/MicrosoftDocs/typography-issues/issues/817 |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414130904/https://github.com/MicrosoftDocs/typography-issues/issues/817 |url-status=live }}</ref> <ref>{{cite web |title=After updating to Windows 11, Neue Haas Grotesk is now a variable font : typography |date=17 December 2021 |url=https://old.reddit.com/r/typography/comments/ri7sk8/after_updating_to_windows_11_neue_haas_grotesk_is/ |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414130906/https://old.reddit.com/r/typography/comments/ri7sk8/after_updating_to_windows_11_neue_haas_grotesk_is/ |url-status=live }}</ref> As of 2023, the variable font version of Neue Haas Grotesk is not yet otherwise available.
 Neue Haas Grotesk Text is also available on [[Windows 10]] via "Pan-European Supplemental Fonts", <ref>{{cite web |title=Windows 10 font list |url=https://docs.microsoft.com/en-us/typography/fonts/windows_10_font_list#-pan-european-supplemental-fonts |access-date=6 December 2021 |archive-date=6 December 2021 |archive-url=https://web.archive.org/web/20211206172019/https://docs.microsoft.com/en-us/typography/fonts/windows_10_font_list#-pan-european-supplemental-fonts |url-status=live }}</ref> but this release includes static fonts instead of variable fonts.
@@ Line 200: / Line 200: @@
 | foundry = [[Monotype Imaging|Monotype]]
 }}
-In April 2019, [[Monotype Imaging|Monotype]] announced an update of Neue Helvetica called "Helvetica Now", designed by Jan Hendrik Weber and Charles Nix of Monotype Imaging.<ref>{{cite web |title=Helvetica® Now |url=https://www.monotype.com/fonts/helvetica-now/ |website=Monotype |access-date=5 May 2019 |archive-date=23 September 2023 |archive-url=https://web.archive.org/web/20230923205713/https://www.monotype.com/fonts/helvetica-now |url-status=live }}</ref><ref name="Mallalieu">{{cite web |last1=Mallalieu |first1=Andy |title=Monotype launches the first redesign in 35 years of the world's most ubiquitous font, Helvetica |url=https://www.creativeboom.com/resources/monotype-launches-the-first-redesign-in-35-years-of-the-worlds-most-ubiquitous-font-helvetica/ |website=Creative Boom |access-date=16 April 2020}}</ref><ref name="Strizver Helvetica Now">{{cite web |last1=Strizver |first1=Ilne |title=Introducing Helvetica Now: a reinvented classic |url=https://creativepro.com/introducing-helvetica-now-a-reinvented-classic/ |website=Creative Pro |date=3 June 2019 |access-date=2 October 2020 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326111724/https://creativepro.com/introducing-helvetica-now-a-reinvented-classic/ |url-status=live }}</ref> The family has one width in three [[Font#Optical size|optical sizes]], Text, Micro and Display in 8, 6, and 10 weights respectively.<ref name="Helvetica Now User Guide">{{cite web |title=Helvetica Now User Guide |url=https://cdnimg.fonts.net/CatalogImages/44/5761128-Helvetica_Now_User_Guide.pdf |publisher=Monotype |access-date=16 April 2020 |archive-date=20 November 2021 |archive-url=https://web.archive.org/web/20211120160350/https://cdnimg.fonts.net/CatalogImages/44/5761128-Helvetica_Now_User_Guide.pdf |url-status=live }}</ref> The condensed version corresponding to these optical sizes and weights was published later in 2021, along with Helvetica Now Variable.<ref name="Helvetica Now Variable Font">{{cite web|title=Helvetica Now Variable Font|url=https://www.myfonts.com/collections/helvetica-now-variable-font-monotype-imaging|access-date=2023-04-14|archive-date=2023-04-14|archive-url=https://web.archive.org/web/20230414125753/https://www.myfonts.com/collections/helvetica-now-variable-font-monotype-imaging|url-status=live}}</ref>
+In April 2019, [[Monotype Imaging|Monotype]] announced an update of Neue Helvetica called "Helvetica Now", designed by Jan Hendrik Weber and Charles Nix of Monotype Imaging.<ref>{{cite web |title=Helvetica® Now |url=https://www.monotype.com/fonts/helvetica-now/ |website=Monotype |access-date=5 May 2019 |archive-date=23 September 2023 |archive-url=https://web.archive.org/web/20230923205713/https://www.monotype.com/fonts/helvetica-now |url-status=live }}</ref><ref>{{cite web |last1=Mallalieu |first1=Andy |title=Monotype launches the first redesign in 35 years of the world's most ubiquitous font, Helvetica |url=https://www.creativeboom.com/resources/monotype-launches-the-first-redesign-in-35-years-of-the-worlds-most-ubiquitous-font-helvetica/ |website=Creative Boom |access-date=16 April 2020}}</ref><ref>{{cite web |last1=Strizver |first1=Ilne |title=Introducing Helvetica Now: a reinvented classic |url=https://creativepro.com/introducing-helvetica-now-a-reinvented-classic/ |website=Creative Pro |date=3 June 2019 |access-date=2 October 2020 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326111724/https://creativepro.com/introducing-helvetica-now-a-reinvented-classic/ |url-status=live }}</ref> The family has one width in three [[Font#Optical size|optical sizes]], Text, Micro and Display in 8, 6, and 10 weights respectively.<ref>{{cite web |title=Helvetica Now User Guide |url=https://cdnimg.fonts.net/CatalogImages/44/5761128-Helvetica_Now_User_Guide.pdf |publisher=Monotype |access-date=16 April 2020 |archive-date=20 November 2021 |archive-url=https://web.archive.org/web/20211120160350/https://cdnimg.fonts.net/CatalogImages/44/5761128-Helvetica_Now_User_Guide.pdf |url-status=live }}</ref> The condensed version corresponding to these optical sizes and weights was published later in 2021, along with Helvetica Now Variable.<ref>{{cite web|title=Helvetica Now Variable Font|url=https://www.myfonts.com/collections/helvetica-now-variable-font-monotype-imaging|access-date=2023-04-14|archive-date=2023-04-14|archive-url=https://web.archive.org/web/20230414125753/https://www.myfonts.com/collections/helvetica-now-variable-font-monotype-imaging|url-status=live}}</ref>
-A key difference between the three optical sizes is the terminal design: Display retains the horizontal terminals in previous digital releases of Helvetica; Micro features diagonal terminals for many characters (e.g., lowercase "e" and "c"); while the design of Text is somewhere in between Display and Micro.<ref name="Helvetica Now is better than Helvetica Never">{{cite web |title=Helvetica Now is better than Helvetica Never |date=29 April 2019 |url=https://medium.com/antrepo/helvetica-now-is-better-than-helvetica-never-e07f85b9199 |access-date=2023-04-12 |archive-date=2023-04-12 |archive-url=https://web.archive.org/web/20230412153544/https://medium.com/antrepo/helvetica-now-is-better-than-helvetica-never-e07f85b9199 |url-status=live }}</ref> <ref name="Helvetica Now inconsistent terminal/finial form, e and c">{{cite web |title=Helvetica Now inconsistent terminal/finial form, e and c |date=29 April 2019 |url=https://typedrawers.com/discussion/3156/helvetica-now-inconsistent-terminal-finial-form-e-and-c |access-date=2023-04-12 |archive-date=2023-04-12 |archive-url=https://web.archive.org/web/20230412153545/https://typedrawers.com/discussion/3156/helvetica-now-inconsistent-terminal-finial-form-e-and-c |url-status=live }}</ref>
+A key difference between the three optical sizes is the terminal design: Display retains the horizontal terminals in previous digital releases of Helvetica; Micro features diagonal terminals for many characters (e.g., lowercase "e" and "c"); while the design of Text is somewhere in between Display and Micro.<ref>{{cite web |title=Helvetica Now is better than Helvetica Never |date=29 April 2019 |url=https://medium.com/antrepo/helvetica-now-is-better-than-helvetica-never-e07f85b9199 |access-date=2023-04-12 |archive-date=2023-04-12 |archive-url=https://web.archive.org/web/20230412153544/https://medium.com/antrepo/helvetica-now-is-better-than-helvetica-never-e07f85b9199 |url-status=live }}</ref> <ref>{{cite web |title=Helvetica Now inconsistent terminal/finial form, e and c |date=29 April 2019 |url=https://typedrawers.com/discussion/3156/helvetica-now-inconsistent-terminal-finial-form-e-and-c |access-date=2023-04-12 |archive-date=2023-04-12 |archive-url=https://web.archive.org/web/20230412153545/https://typedrawers.com/discussion/3156/helvetica-now-inconsistent-terminal-finial-form-e-and-c |url-status=live }}</ref>
 Features include circled figures and redesigned arrow and @ glyphs.<ref>{{Cite web |url=http://www.linotype.com/8362/helvetica-now.html |title=Why switch to Helvetica Now |access-date=2022-11-30 |archive-date=2022-11-30 |archive-url=https://web.archive.org/web/20221130012449/https://www.linotype.com/8362/helvetica-now.html |url-status=live }}</ref> It also includes a number of alternate characters including curled lower-case "L", spurless rounded "G", a straight-legged "R" (found in Neue Haas Grotesk), single-story "a" (found in Helvetica Textbook) and lowercase "u" without a spur.<ref>{{cite news |last1=Joel |first1=William |title=Behind the process of Helvetica's 21st century facelift |url=https://www.theverge.com/2019/4/9/18302057/helvetica-now-new-monotype-typeface-charles-nix-design-optical-sizes-alternate-characters |access-date=5 May 2019 |work=The Verge |date=9 April 2019 |archive-date=5 June 2023 |archive-url=https://web.archive.org/web/20230605213620/https://www.theverge.com/2019/4/9/18302057/helvetica-now-new-monotype-typeface-charles-nix-design-optical-sizes-alternate-characters |url-status=live }}</ref><ref>{{cite web|title=Behind the process of Helvetica's 21st century facelift|date=7 April 2019|url=http://www.monotype.com/resources/font-stories/from-neue-to-now-how-helvetica-evolved-for-the-21st-century/|access-date=20 September 2019|archive-date=27 November 2020|archive-url=https://web.archive.org/web/20201127075027/https://www.monotype.com/resources/font-stories/from-neue-to-now-how-helvetica-evolved-for-the-21st-century|url-status=live}}</ref>
 ===Helvetica Now Variable (2021)===
-Helvetica Now was also released as a [[variable font]], which has two styles (Regular and Italic) and three adjustable axes (weight, width, and optical size). Supported weight ranges include hairline to extra black, optical sizes include four point to infinity, widths include compressed and condensed.<ref name="Helvetica Now Variable - Monotype">{{cite web |title=Helvetica Now Variable - Monotype |date=9 July 2021 |url=https://www.monotype.com/fonts/helvetica-now-variable |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414125753/https://www.monotype.com/fonts/helvetica-now-variable |url-status=live }}</ref><ref name="Helvetica Now Variable – Variable Fonts">{{cite web|title=Helvetica Now Variable – Variable Fonts|url=https://v-fonts.com/fonts/helvetica-now-variable|access-date=2023-04-14|archive-date=2023-04-14|archive-url=https://web.archive.org/web/20230414125758/https://v-fonts.com/fonts/helvetica-now-variable|url-status=live}}</ref><ref>{{Cite web |url=http://www.monotype.com/company/press-release/monotype-introduces-helvetica-now-variable-font-including-over-1-million-new |title=Monotype Introduces Helvetica Now Variable Font, Including Over 1 Million New Styles |date=14 July 2021 |access-date=2023-07-19 |archive-date=2023-07-19 |archive-url=https://web.archive.org/web/20230719002329/https://www.monotype.com/company/press-release/monotype-introduces-helvetica-now-variable-font-including-over-1-million-new |url-status=live }}</ref>
+Helvetica Now was also released as a [[variable font]], which has two styles (Regular and Italic) and three adjustable axes (weight, width, and optical size). Supported weight ranges include hairline to extra black, optical sizes include four point to infinity, widths include compressed and condensed.<ref>{{cite web |title=Helvetica Now Variable - Monotype |date=9 July 2021 |url=https://www.monotype.com/fonts/helvetica-now-variable |access-date=2023-04-14 |archive-date=2023-04-14 |archive-url=https://web.archive.org/web/20230414125753/https://www.monotype.com/fonts/helvetica-now-variable |url-status=live }}</ref><ref>{{cite web|title=Helvetica Now Variable – Variable Fonts|url=https://v-fonts.com/fonts/helvetica-now-variable|access-date=2023-04-14|archive-date=2023-04-14|archive-url=https://web.archive.org/web/20230414125758/https://v-fonts.com/fonts/helvetica-now-variable|url-status=live}}</ref><ref>{{Cite web |url=http://www.monotype.com/company/press-release/monotype-introduces-helvetica-now-variable-font-including-over-1-million-new |title=Monotype Introduces Helvetica Now Variable Font, Including Over 1 Million New Styles |date=14 July 2021 |access-date=2023-07-19 |archive-date=2023-07-19 |archive-url=https://web.archive.org/web/20230719002329/https://www.monotype.com/company/press-release/monotype-introduces-helvetica-now-variable-font-including-over-1-million-new |url-status=live }}</ref>
 ==Helvetica clones==
 [[File:Helvetica, Arial, MS Sans, Bitstream Vera comparison.png|thumb|Comparison of Helvetica, [[Arial]] and [[Microsoft Sans Serif]]. [[Bitstream Vera]], a humanist design not based on Helvetica, is shown for comparison.]]
-Derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the [[phototypesetting]] font market of the 1960s onward.<ref name="The Scourge of Arial">{{cite web|last1=Simonson|first1=Mark|author-link=Mark Simonson|title=The Scourge of Arial|url=http://www.marksimonson.com/notebook/view/the-scourge-of-arial|website=Mark Simonson Studio Notebook|access-date=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.|archive-date=6 March 2016|archive-url=https://web.archive.org/web/20160306221218/http://www.marksimonson.com/notebook/view/the-scourge-of-arial|url-status=live}}</ref><ref name="Call It What It Is">{{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 (type foundry)|Emigre]]|access-date=20 March 2016|archive-date=22 March 2016|archive-url=https://web.archive.org/web/20160322163322/http://www.emigre.com/Editorial.php?sect=2&id=1|url-status=live}}</ref> Some of these were straight clones, simply intended to be direct substitutes.<ref name="Font Wars: A Story On Rivalry Between Type Foundries">{{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|date=14 May 2012|access-date=20 March 2016|archive-date=30 March 2016|archive-url=https://web.archive.org/web/20160330215720/https://www.smashingmagazine.com/2012/05/font-wars-story-on-rivalry-between-type-foundries/|url-status=live}}</ref> Many of these are almost indistinguishable from Helvetica, while some add subtle differences.
+Derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the [[phototypesetting]] font market of the 1960s onward.<ref name="The Scourge of Arial">{{cite web|last1=Simonson|first1=Mark|author-link=Mark Simonson|title=The Scourge of Arial|url=http://www.marksimonson.com/notebook/view/the-scourge-of-arial|website=Mark Simonson Studio Notebook|access-date=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.|archive-date=6 March 2016|archive-url=https://web.archive.org/web/20160306221218/http://www.marksimonson.com/notebook/view/the-scourge-of-arial|url-status=live}}</ref><ref>{{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 (type foundry)|Emigre]]|access-date=20 March 2016|archive-date=22 March 2016|archive-url=https://web.archive.org/web/20160322163322/http://www.emigre.com/Editorial.php?sect=2&id=1|url-status=live}}</ref> Some of these were straight clones, simply intended to be direct substitutes.<ref name="Font Wars: A Story On Rivalry Between Type Foundries">{{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|date=14 May 2012|access-date=20 March 2016|archive-date=30 March 2016|archive-url=https://web.archive.org/web/20160330215720/https://www.smashingmagazine.com/2012/05/font-wars-story-on-rivalry-between-type-foundries/|url-status=live}}</ref> 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 Imaging|Monotype]]'s Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, [[Bitstream Inc.|Bitstream]]'s Swiss 721, [[URW++]]'s [[Nimbus Sans]] and [[Scangraphic]]'s Europa Grotesk.<ref name="The Scourge of Arial" /><ref name="Helvetica clones Devroye">{{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|access-date=20 March 2016|archive-date=29 March 2016|archive-url=https://web.archive.org/web/20160329233458/http://luc.devroye.org/fonts-46693.html|url-status=live}}</ref> Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone.<ref name="Karow2012">{{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}}</ref><ref>{{cite web|last1=Spiekermann|first1=Eric|author-link1=Erik Spiekermann|title=Twitter post|url=https://twitter.com/espiekermann/status/580497573800255488|website=Twitter|access-date=21 July 2016|quote=AG Buch war [[Gunter Gerhard Lange|GGL's]] Antwort auf Helvetica, für die Berthold keine Lizenz kriegte von Linotype.|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063208/https://twitter.com/espiekermann/status/580497573800255488|url-status=live}}</ref><ref name="AG Book Pro">{{cite web|title=AG Book Pro|url=https://www.bertholdtypes.com/font/ag-book/proplus/|publisher=Berthold|access-date=1 October 2017|archive-date=2 October 2017|archive-url=https://web.archive.org/web/20171002022705/https://www.bertholdtypes.com/font/ag-book/proplus/|url-status=live}}</ref><ref name="AG Book Rounded Pro website">{{cite web|title=AG Book Rounded Pro|url=https://www.bertholdtypes.com/font/ag-book-rounded/proplus/|publisher=Berthold|access-date=1 October 2017|archive-date=2 October 2017|archive-url=https://web.archive.org/web/20171002022815/https://www.bertholdtypes.com/font/ag-book-rounded/proplus/|url-status=live}}</ref> 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'.<ref name="NHG Kupferschmid" /> [[CNN]] uses a custom derivative, "CNN Sans", which has a '1' with a base and larger x-height.<ref>{{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|date=22 April 2016|website=NewscastStudio|access-date=29 April 2016|archive-date=2 May 2016|archive-url=https://web.archive.org/web/20160502113449/http://www.newscaststudio.com/2016/04/22/cnn-now-has-its-own-font/?|url-status=live}}</ref><ref>{{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|archive-url=https://web.archive.org/web/20160911040833/http://www.promaxbda.org/brief/content/cnn-customizes-new-company-wide-font#!|archive-date=2016-09-11|url-status=dead}}</ref><ref>{{Cite web|url=https://vimeo.com/163429840|title=CNN Sans|website=Vimeo|access-date=2016-09-28|archive-date=2016-10-07|archive-url=https://web.archive.org/web/20161007095043/https://vimeo.com/163429840|url-status=live}}</ref>
+Substitute Helvetica designs that have survived into or originated during the digital period have included [[Monotype Imaging|Monotype]]'s Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, [[Bitstream Inc.|Bitstream]]'s Swiss 721, [[URW++]]'s [[Nimbus Sans]] and [[Scangraphic]]'s Europa Grotesk.<ref name="The Scourge of Arial" /><ref>{{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|access-date=20 March 2016|archive-date=29 March 2016|archive-url=https://web.archive.org/web/20160329233458/http://luc.devroye.org/fonts-46693.html|url-status=live}}</ref> Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone.<ref name="Karow2012">{{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}}</ref><ref>{{cite web|last1=Spiekermann|first1=Eric|author-link1=Erik Spiekermann|title=Twitter post|url=https://twitter.com/espiekermann/status/580497573800255488|website=Twitter|access-date=21 July 2016|quote=AG Buch war [[Gunter Gerhard Lange|GGL's]] Antwort auf Helvetica, für die Berthold keine Lizenz kriegte von Linotype.|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063208/https://twitter.com/espiekermann/status/580497573800255488|url-status=live}}</ref><ref>{{cite web|title=AG Book Pro|url=https://www.bertholdtypes.com/font/ag-book/proplus/|publisher=Berthold|access-date=1 October 2017|archive-date=2 October 2017|archive-url=https://web.archive.org/web/20171002022705/https://www.bertholdtypes.com/font/ag-book/proplus/|url-status=live}}</ref><ref>{{cite web|title=AG Book Rounded Pro|url=https://www.bertholdtypes.com/font/ag-book-rounded/proplus/|publisher=Berthold|access-date=1 October 2017|archive-date=2 October 2017|archive-url=https://web.archive.org/web/20171002022815/https://www.bertholdtypes.com/font/ag-book-rounded/proplus/|url-status=live}}</ref> 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'.<ref name="NHG Kupferschmid" /> [[CNN]] uses a custom derivative, "CNN Sans", which has a '1' with a base and larger x-height.<ref>{{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|date=22 April 2016|website=NewscastStudio|access-date=29 April 2016|archive-date=2 May 2016|archive-url=https://web.archive.org/web/20160502113449/http://www.newscaststudio.com/2016/04/22/cnn-now-has-its-own-font/?|url-status=live}}</ref><ref>{{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|archive-url=https://web.archive.org/web/20160911040833/http://www.promaxbda.org/brief/content/cnn-customizes-new-company-wide-font#!|archive-date=2016-09-11|url-status=dead}}</ref><ref>{{Cite web|url=https://vimeo.com/163429840|title=CNN Sans|website=Vimeo|access-date=2016-09-28|archive-date=2016-10-07|archive-url=https://web.archive.org/web/20161007095043/https://vimeo.com/163429840|url-status=live}}</ref>
 ===Nimbus Sans===
-[[URW++|URW]] (later URW++) under the leadership of [[Peter Karow]] produced a modification of Helvetica called [[Nimbus Sans]].<ref name="Karow2012" /> This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles.<ref name="Nimbus Sans MyFonts">{{cite web|title=Nimbus Sans|url=https://www.myfonts.com/fonts/urw/nimbus-sans/|website=[[MyFonts]]|publisher=[[URW++]]|access-date=30 April 2018|archive-date=1 May 2018|archive-url=https://web.archive.org/web/20180501093702/https://www.myfonts.com/fonts/urw/nimbus-sans/|url-status=live}}</ref> 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.<ref name="National Trust Tree Appeal Poster">{{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|date=30 September 2013|access-date=20 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331230208/http://fontsinuse.com/uses/4873/national-trust-tree-appeal-poster|url-status=live}}</ref><ref name="London's Fastest poster campaign">{{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|date=31 July 2017|access-date=1 May 2018|archive-date=1 May 2018|archive-url=https://web.archive.org/web/20180501230256/https://fontsinuse.com/uses/18106/london-s-fastest-poster-campaign-by-nike|url-status=live}}</ref>
+[[URW++|URW]] (later URW++) under the leadership of [[Peter Karow]] produced a modification of Helvetica called [[Nimbus Sans]].<ref name="Karow2012" /> This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles.<ref>{{cite web|title=Nimbus Sans|url=https://www.myfonts.com/fonts/urw/nimbus-sans/|website=[[MyFonts]]|publisher=[[URW++]]|access-date=30 April 2018|archive-date=1 May 2018|archive-url=https://web.archive.org/web/20180501093702/https://www.myfonts.com/fonts/urw/nimbus-sans/|url-status=live}}</ref> 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.<ref>{{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|date=30 September 2013|access-date=20 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331230208/http://fontsinuse.com/uses/4873/national-trust-tree-appeal-poster|url-status=live}}</ref><ref>{{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|date=31 July 2017|access-date=1 May 2018|archive-date=1 May 2018|archive-url=https://web.archive.org/web/20180501230256/https://fontsinuse.com/uses/18106/london-s-fastest-poster-campaign-by-nike|url-status=live}}</ref>
 ===Arial and MS Sans Serif===
-[[Monotype Corporation|Monotype]]'s [[Arial]], created for IBM and also used by Microsoft, is indistinguishable by most non-specialists.<ref name="How to Spot Arial">{{cite web |last1=Simonson |first1=Mark |author-link1=Mark Simonson |title=How to Spot Arial |url=https://www.marksimonson.com/notebook/view/how-to-spot-arial |website=Mark Simonson Studio |date=17 June 2021 |access-date=27 March 2020 |archive-date=23 December 2019 |archive-url=https://web.archive.org/web/20191223092203/https://www.marksimonson.com/notebook/view/how-to-spot-arial |url-status=live }}</ref> Matthew Carter, who was a consultant for IBM during its design process, describes it as "a Helvetica clone, based ostensibly on their [[Monotype Grotesque|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 (typeface)|Venus-Grotesk]] family).<ref name="Blue Pencil no. 18—Some history about Arial" /> Differences include:
+[[Monotype Corporation|Monotype]]'s [[Arial]], created for IBM and also used by Microsoft, is indistinguishable by most non-specialists.<ref>{{cite web |last1=Simonson |first1=Mark |author-link1=Mark Simonson |title=How to Spot Arial |url=https://www.marksimonson.com/notebook/view/how-to-spot-arial |website=Mark Simonson Studio |date=17 June 2021 |access-date=27 March 2020 |archive-date=23 December 2019 |archive-url=https://web.archive.org/web/20191223092203/https://www.marksimonson.com/notebook/view/how-to-spot-arial |url-status=live }}</ref> Matthew Carter, who was a consultant for IBM during its design process, describes it as "a Helvetica clone, based ostensibly on their [[Monotype Grotesque|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 (typeface)|Venus-Grotesk]] family).<ref name="Blue Pencil no. 18—Some history about Arial" /> 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, but instead has a vertical stroke connecting the curved portion to the crossbar.
@@ Line 231: / Line 231: @@
 ===Free Helvetica substitute fonts===
 [[File:TeXGyreHerosSpecimenCH path.svg|thumb|TeX Gyre Heros – an enhanced version of Nimbus Sans under the GUST Font License]]
-* '''[[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.<ref>{{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 |access-date=2010-05-06 |archive-date=2010-06-15 |archive-url=https://web.archive.org/web/20100615013230/http://www.tug.org/fonts/deutsch-urw.txt |url-status=live }}</ref><ref>{{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 |access-date=2010-05-06 |url-status=dead |archive-url=https://web.archive.org/web/20110424032316/http://mirror.cs.wisc.edu/pub/mirrors/ghost/aladdin/fonts/ghostscript-fonts-std-4.0.tar.gz |archive-date=2011-04-24 }}</ref> It (or a derivative) is used by much open-source software such as [[R (software)|R]] as a system font.<ref name="R Cookbook">{{cite web|title=Fonts|url=http://www.cookbook-r.com/Graphs/Fonts/|website=R Cookbook|access-date=7 April 2016|archive-date=14 April 2016|archive-url=https://web.archive.org/web/20160414083945/http://www.cookbook-r.com/Graphs/Fonts/|url-status=live}}</ref><ref name="SAS & R">{{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|date=19 April 2010|access-date=7 April 2016|archive-date=21 April 2016|archive-url=https://web.archive.org/web/20160421172055/http://sas-and-r.blogspot.co.uk/2010/04/example-733-specifying-fonts-in.html|url-status=live}}</ref>
+* '''[[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.<ref>{{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 |access-date=2010-05-06 |archive-date=2010-06-15 |archive-url=https://web.archive.org/web/20100615013230/http://www.tug.org/fonts/deutsch-urw.txt |url-status=live }}</ref><ref>{{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 |access-date=2010-05-06 |url-status=dead |archive-url=https://web.archive.org/web/20110424032316/http://mirror.cs.wisc.edu/pub/mirrors/ghost/aladdin/fonts/ghostscript-fonts-std-4.0.tar.gz |archive-date=2011-04-24 }}</ref> It (or a derivative) is used by much open-source software such as [[R (software)|R]] as a system font.<ref>{{cite web|title=Fonts|url=http://www.cookbook-r.com/Graphs/Fonts/|website=R Cookbook|access-date=7 April 2016|archive-date=14 April 2016|archive-url=https://web.archive.org/web/20160414083945/http://www.cookbook-r.com/Graphs/Fonts/|url-status=live}}</ref><ref>{{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|date=19 April 2010|access-date=7 April 2016|archive-date=21 April 2016|archive-url=https://web.archive.org/web/20160421172055/http://sas-and-r.blogspot.co.uk/2010/04/example-733-specifying-fonts-in.html|url-status=live}}</ref>
-* '''TeX Gyre Heros'''<ref>{{cite web | url=https://www.gust.org.pl/projects/e-foundry/tex-gyre/heros | title=TeX Gyre Heros — GUST Web Presence | access-date=2023-08-09 | archive-date=2023-06-10 | archive-url=https://web.archive.org/web/20230610192406/https://www.gust.org.pl/projects/e-foundry/tex-gyre/heros | url-status=live }}</ref> – a derivative of Nimbus Sans L with enhanced letter forms and metrics – has been prepared for use in the [[TeX]] scientific document preparation software, and since 2009 general under the GUST font license.<ref name="LaTeX font catalogue">{{cite web|title=TeX Gyre Heros|url=http://www.tug.dk/FontCatalogue/texgyreheros/|website=The LaTeX font catalogue|publisher=TeX Users Group Denmark|access-date=2 August 2017|archive-date=15 August 2017|archive-url=https://web.archive.org/web/20170815193140/http://www.tug.dk/FontCatalogue/texgyreheros/|url-status=live}}</ref><ref>[http://www.gust.org.pl/projects/e-foundry/tex-gyre The TeX Gyre (TG) Collection of Fonts] {{Webarchive|url=https://web.archive.org/web/20110622122721/http://www.gust.org.pl/projects/e-foundry/tex-gyre |date=2011-06-22 }}, accessed 2020-09-30.</ref>
+* '''TeX Gyre Heros'''<ref>{{cite web | url=https://www.gust.org.pl/projects/e-foundry/tex-gyre/heros | title=TeX Gyre Heros — GUST Web Presence | access-date=2023-08-09 | archive-date=2023-06-10 | archive-url=https://web.archive.org/web/20230610192406/https://www.gust.org.pl/projects/e-foundry/tex-gyre/heros | url-status=live }}</ref> – a derivative of Nimbus Sans L with enhanced letter forms and metrics – has been prepared for use in the [[TeX]] scientific document preparation software, and since 2009 general under the GUST font license.<ref>{{cite web|title=TeX Gyre Heros|url=http://www.tug.dk/FontCatalogue/texgyreheros/|website=The LaTeX font catalogue|publisher=TeX Users Group Denmark|access-date=2 August 2017|archive-date=15 August 2017|archive-url=https://web.archive.org/web/20170815193140/http://www.tug.dk/FontCatalogue/texgyreheros/|url-status=live}}</ref><ref>[http://www.gust.org.pl/projects/e-foundry/tex-gyre The TeX Gyre (TG) Collection of Fonts] {{Webarchive|url=https://web.archive.org/web/20110622122721/http://www.gust.org.pl/projects/e-foundry/tex-gyre |date=2011-06-22 }}, accessed 2020-09-30.</ref>
 * '''[[FreeSans]]''' is a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.<ref>{{cite web |url=https://www.gnu.org/software/freefont/design-notes.html |title=GNU FreeFont - Design notes |date=2009-10-04 |access-date=2010-07-02 |archive-date=2010-06-15 |archive-url=https://web.archive.org/web/20100615141734/https://www.gnu.org/software/freefont/design-notes.html |url-status=live }}</ref> It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002.
 Other such typefaces take creative liberties from Helvetica and its basic letter shapes.
-* '''[[Liberation fonts|Liberation Sans]]''' is a metrically equivalent font to Arial developed by [[Steve Matteson]] at [[Ascender Corporation|Ascender]] and published by [[Red Hat]] under the [[SIL Open Font License]].<ref>{{citation |url=https://fedoraproject.org/wiki/Licensing/LiberationFontLicense |title=LiberationFontLicense – License Agreement and Limited Product Warranty, Liberation Font Software |access-date=2012-12-19 |archive-date=2012-05-23 |archive-url=https://web.archive.org/web/20120523100933/https://fedoraproject.org/wiki/Licensing/LiberationFontLicense |url-status=live }}</ref><ref>{{citation|url=https://fedorahosted.org/liberation-fonts/browser/LICENSE |title=LICENSE - liberation-fonts |access-date=2012-12-19 }}{{dead link|date=March 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> It is used in some Linux distributions as default font replacement for Arial.<ref>{{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 |access-date=2010-04-04 |url-status=dead |archive-url=https://web.archive.org/web/20100619073124/http://wiki.mandriva.com/en/Releases/Mandriva/2008.0/What%27s_New#Liberation_font_set |archive-date=2010-06-19 }}</ref> [[Oracle Corporation|Oracle]] funded the additional development of Liberation Sans Narrow in 2010.<ref>{{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 |access-date=2016-03-20 |archive-date=2010-11-05 |archive-url=https://web.archive.org/web/20101105110421/http://www.openoffice.org/dev_docs/features/3.3/index.html#New_Narrow_Font_Family |url-status=live }}</ref><ref name="home">{{Citation | url = https://fedorahosted.org/liberation-fonts/ | title = Liberation Fonts | publisher = Fedora | access-date = 2016-03-20 | archive-date = 2017-02-15 | archive-url = https://web.archive.org/web/20170215065644/https://fedorahosted.org/liberation-fonts/ | url-status = live }}</ref> Google commissioned a variation named [[Arimo (typeface)|Arimo]] for [[ChromeOS]].
+* '''[[Liberation fonts|Liberation Sans]]''' is a metrically equivalent font to Arial developed by [[Steve Matteson]] at [[Ascender Corporation|Ascender]] and published by [[Red Hat]] under the [[SIL Open Font License]].<ref>{{citation |url=https://fedoraproject.org/wiki/Licensing/LiberationFontLicense |title=LiberationFontLicense – License Agreement and Limited Product Warranty, Liberation Font Software |access-date=2012-12-19 |archive-date=2012-05-23 |archive-url=https://web.archive.org/web/20120523100933/https://fedoraproject.org/wiki/Licensing/LiberationFontLicense |url-status=live }}</ref><ref>{{citation|url=https://fedorahosted.org/liberation-fonts/browser/LICENSE |title=LICENSE - liberation-fonts |access-date=2012-12-19 }}{{dead link|date=March 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> It is used in some Linux distributions as default font replacement for Arial.<ref>{{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 |access-date=2010-04-04 |url-status=dead |archive-url=https://web.archive.org/web/20100619073124/http://wiki.mandriva.com/en/Releases/Mandriva/2008.0/What%27s_New#Liberation_font_set |archive-date=2010-06-19 }}</ref> [[Oracle Corporation|Oracle]] funded the additional development of Liberation Sans Narrow in 2010.<ref>{{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 |access-date=2016-03-20 |archive-date=2010-11-05 |archive-url=https://web.archive.org/web/20101105110421/http://www.openoffice.org/dev_docs/features/3.3/index.html#New_Narrow_Font_Family |url-status=live }}</ref><ref>{{Citation | url = https://fedorahosted.org/liberation-fonts/ | title = Liberation Fonts | publisher = Fedora | access-date = 2016-03-20 | archive-date = 2017-02-15 | archive-url = https://web.archive.org/web/20170215065644/https://fedorahosted.org/liberation-fonts/ | url-status = live }}</ref> Google commissioned a variation named [[Arimo (typeface)|Arimo]] for [[ChromeOS]].
 * '''[[Roboto]]''' was developed by Christian Robertson of Google as the system font for its [[Android (operating system)|Android]] operating system; this has a more condensed design with the influence of straight-sided geometric designs like [[DIN 1451]].
 * '''Inter''' (originally '''Inter UI''') is a fork of Roboto that resembles Apple's [[San Francisco (sans-serif typeface)|San Francisco]] typeface.<ref>{{cite web |url=https://rsms.me/inter/ |title=Inter font family}}</ref>
@@ Line 244: / Line 244: @@
 ==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".<ref name="Coolvetica">{{cite web|last1=Larabie|first1=Ray|title=Coolvetica|date=7 September 1999|url=http://typodermicfonts.com/coolvetica/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331144321/http://typodermicfonts.com/coolvetica/|url-status=live}}</ref> Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.<ref name="Letraset International Typeface Competition shatter" />
+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".<ref>{{cite web|last1=Larabie|first1=Ray|title=Coolvetica|date=7 September 1999|url=http://typodermicfonts.com/coolvetica/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331144321/http://typodermicfonts.com/coolvetica/|url-status=live}}</ref> Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.<ref name="Letraset International Typeface Competition shatter" />
 === Zhukov and Kurbatov version ===
@@ Line 253: / Line 253: @@
 ===Forma (1968)===
 [[File:Forma Helvetica.png|thumb|Forma compared to Neue Helvetica]]
-Created by [[Aldo Novarese]] at the Italian type foundry [[Nebiolo Printech|Nebiolo]], Forma was a geometric-influenced derivative of Helvetica with a [[a|'single-storey']] 'a' and extremely tight spacing in the style of the period.<ref name="Finding Forma">{{cite web|last1=Kupferschmid|first1=Indra|title=Finding Forma|url=http://www.fontbureau.com/blog/finding-forma/|publisher=[[Font Bureau]]|access-date=20 March 2016|archive-date=17 March 2016|archive-url=https://web.archive.org/web/20160317044047/http://www.fontbureau.com/blog/finding-forma/|url-status=live}}</ref><ref name="Forma, Dattilo, Modulo-Academia.edu">{{cite journal|last1=Colizzi|first1=Alessandro|title=Forma, Dattilo, Modulo: Nebiolo's last efforts to produce a universal typeface|journal=Paul Shaw, ed. Timeless Typography, Cambridge, Mt: Mit Press (Forthcoming)|url=https://www.academia.edu/7610026|access-date=20 March 2016|archive-date=3 May 2022|archive-url=https://web.archive.org/web/20220503150050/https://www.academia.edu/7610026|url-status=live}}</ref><ref name="Forma, Dattilo, Modulo-ATypI">{{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|access-date=20 March 2016|archive-date=20 March 2016|archive-url=https://web.archive.org/web/20160320045743/http://www.atypi.org/conferences/amsterdam-2013/amsterdam-programme/activity?a=305|url-status=dead}}</ref> It was offered with 'request' [[stylistic alternates]] imitating Helvetica more closely.<ref name="Finding Forma" /><ref name="Forma: a typeface designed by a committee">{{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 |access-date=20 March 2016 |url-status=dead |archive-url=https://web.archive.org/web/20110822061811/http://mitja-m.com/writings/forma_nebiolo.htm |archive-date=August 22, 2011 }}</ref> Forma has been digitised by [[SoftMaker]] as "Formula" and (in a much more complete version with [[optical size]]s) as '''Forma DJR''' by David Jonathan Ross at [[Font Bureau]] for ''[[Tatler]]'' magazine.<ref name="Forma DJR">{{cite web|title=Forma DJR|url=https://djr.com/forma|website=David Jonathan Ross|access-date=27 March 2023|archive-date=27 March 2023|archive-url=https://web.archive.org/web/20230327161553/https://djr.com/forma|url-status=live}}</ref>
+Created by [[Aldo Novarese]] at the Italian type foundry [[Nebiolo Printech|Nebiolo]], Forma was a geometric-influenced derivative of Helvetica with a [[a|'single-storey']] 'a' and extremely tight spacing in the style of the period.<ref name="Finding Forma">{{cite web|last1=Kupferschmid|first1=Indra|title=Finding Forma|url=http://www.fontbureau.com/blog/finding-forma/|publisher=[[Font Bureau]]|access-date=20 March 2016|archive-date=17 March 2016|archive-url=https://web.archive.org/web/20160317044047/http://www.fontbureau.com/blog/finding-forma/|url-status=live}}</ref><ref>{{cite journal|last1=Colizzi|first1=Alessandro|title=Forma, Dattilo, Modulo: Nebiolo's last efforts to produce a universal typeface|journal=Paul Shaw, ed. Timeless Typography, Cambridge, Mt: Mit Press (Forthcoming)|url=https://www.academia.edu/7610026|access-date=20 March 2016|archive-date=3 May 2022|archive-url=https://web.archive.org/web/20220503150050/https://www.academia.edu/7610026|url-status=live}}</ref><ref>{{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|access-date=20 March 2016|archive-date=20 March 2016|archive-url=https://web.archive.org/web/20160320045743/http://www.atypi.org/conferences/amsterdam-2013/amsterdam-programme/activity?a=305|url-status=dead}}</ref> It was offered with 'request' [[stylistic alternates]] imitating Helvetica more closely.<ref name="Finding Forma" /><ref>{{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 |access-date=20 March 2016 |url-status=dead |archive-url=https://web.archive.org/web/20110822061811/http://mitja-m.com/writings/forma_nebiolo.htm |archive-date=August 22, 2011 }}</ref> Forma has been digitised by [[SoftMaker]] as "Formula" and (in a much more complete version with [[optical size]]s) as '''Forma DJR''' by David Jonathan Ross at [[Font Bureau]] for ''[[Tatler]]'' magazine.<ref>{{cite web|title=Forma DJR|url=https://djr.com/forma|website=David Jonathan Ross|access-date=27 March 2023|archive-date=27 March 2023|archive-url=https://web.archive.org/web/20230327161553/https://djr.com/forma|url-status=live}}</ref>
 {{clear}}
 ===Manoptica===
-[[File:Manoptica dry-transfer sheet.png|thumb|right|A partial dry transfer sheet of Manoptica. The adaptation of Latin glyphs A, a, U, u, R, W, B, n and S to Thai are visible.]] [[Manoptica]] (1973) was an early effort to adapt Helvetica to the [[Thai script]]. It is named after and designed by Manop Srisomporn, who designed several typefaces for Thai using the same innovations he used for Manoptica (such as an adaptation of [[Eurostile]]). It was highly influential in [[Thai typography]] in that it popularized the removal of the small loops and other flourishes that had theretofore been distinguishing marks on Thai characters and adopted letter forms that bore strong resemblance to Latin letters. It became a widely popular style in advertising and influenced other simplified typefaces for Thai in the following decades.<ref name="Manoptica">{{cite web |author1=Pracha Suveeranont |title=มานพติก้า |url=https://thaifaces.com/thaitype/manoptica/ |website=๑๐ ตัวพิมพ์ กับ ๑๐ ยุคสังคมไทย (10 Faces of Thai Type and Thai Nation) |publisher=Thaifaces |access-date=22 May 2020 |language=th |archive-date=16 May 2020 |archive-url=https://web.archive.org/web/20200516100946/https://thaifaces.com/thaitype/manoptica/ |url-status=live }} Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in ''Sarakadee''. '''17''' (211). September 2002.</ref> The adoption of loopless typefaces remains a source of controversy in Thai typography.<ref name="Breakthrough">{{cite conference |last1=Punsongserm |first1=Rachapoom |last2=Sunaga |first2=Shoji |last3=Ihara |first3=Hisayasu |title=Roman-like Thai typefaces: Breakthrough or Regression? |conference=ICDHS 10th+1 Barcelona 2018|book-title=Back to the Future. The Future in the Past. Conference Proceedings Book |date=October 2018 |pages=580–585 |url=https://www.researchgate.net/publication/329335972}}</ref>
+[[File:Manoptica dry-transfer sheet.png|thumb|right|A partial dry transfer sheet of Manoptica. The adaptation of Latin glyphs A, a, U, u, R, W, B, n and S to Thai are visible.]] [[Manoptica]] (1973) was an early effort to adapt Helvetica to the [[Thai script]]. It is named after and designed by Manop Srisomporn, who designed several typefaces for Thai using the same innovations he used for Manoptica (such as an adaptation of [[Eurostile]]). It was highly influential in [[Thai typography]] in that it popularized the removal of the small loops and other flourishes that had theretofore been distinguishing marks on Thai characters and adopted letter forms that bore strong resemblance to Latin letters. It became a widely popular style in advertising and influenced other simplified typefaces for Thai in the following decades.<ref>{{cite web |author1=Pracha Suveeranont |title=มานพติก้า |url=https://thaifaces.com/thaitype/manoptica/ |website=๑๐ ตัวพิมพ์ กับ ๑๐ ยุคสังคมไทย (10 Faces of Thai Type and Thai Nation) |publisher=Thaifaces |access-date=22 May 2020 |language=th |archive-date=16 May 2020 |archive-url=https://web.archive.org/web/20200516100946/https://thaifaces.com/thaitype/manoptica/ |url-status=live }} Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in ''Sarakadee''. '''17''' (211). September 2002.</ref> The adoption of loopless typefaces remains a source of controversy in Thai typography.<ref>{{cite conference |last1=Punsongserm |first1=Rachapoom |last2=Sunaga |first2=Shoji |last3=Ihara |first3=Hisayasu |title=Roman-like Thai typefaces: Breakthrough or Regression? |conference=ICDHS 10th+1 Barcelona 2018|book-title=Back to the Future. The Future in the Past. Conference Proceedings Book |date=October 2018 |pages=580–585 |url=https://www.researchgate.net/publication/329335972}}</ref>
 {{clear}}
@@ Line 264: / Line 264: @@
 Designed by Phil Martin at Alphabet Innovations, Helvetica Flair is an unauthorised phototype-period redesign of Helvetica adding [[Swash (typography)|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').<ref>{{cite web|last1=Simonson|first1=Mark|title=Interview with Phil Martin|url=http://typographica.org/on-typography/interview-phil-martin/|website=Typographica|access-date=30 August 2014|archive-date=3 September 2014|archive-url=https://web.archive.org/web/20140903053109/http://typographica.org/on-typography/interview-phil-martin/|url-status=live}}</ref><ref>{{cite web|last1=Puckett|first1=James|title=Helvetica Flair (photo of specimen book)|url=https://www.flickr.com/photos/28813954@N02/6863179740/|website=Flickr|date=5 March 2012|access-date=22 July 2016|archive-date=16 September 2016|archive-url=https://web.archive.org/web/20160916135612/https://www.flickr.com/photos/28813954@N02/6863179740|url-status=live}}</ref> Martin also drew 'Heldustry', a fusion of Helvetica with [[Eurostile]],<ref name="Heldustry">{{cite web|title=Heldustry|url=https://www.myfonts.com/fonts/urw/heldustry/|website=MyFonts|publisher=URW++|access-date=19 March 2016|archive-date=24 March 2016|archive-url=https://web.archive.org/web/20160324072743/http://www.myfonts.com/fonts/urw/heldustry/|url-status=live}}</ref> and 'Helserif', a redesign of Helvetica with [[serif]]s,<ref name="Helserif MyFonts">{{cite web|title=Helserif|url=https://www.myfonts.com/fonts/urw/helserif/|website=MyFonts|publisher=URW++|access-date=19 March 2016|archive-date=30 March 2016|archive-url=https://web.archive.org/web/20160330193524/https://www.myfonts.com/fonts/urw/helserif/|url-status=live}}</ref> and these have both been digitised.<ref name="Font Wars: A Story On Rivalry Between Type Foundries" /><ref name="Helserif ad">{{cite web|last1=Coles|first1=Stephen|title=Twitter post|url=https://twitter.com/typographica/status/667307107457200128|website=Twitter|access-date=20 March 2016|quote=[From a Helserif ad:] "Look what happened to Helvetica. It grew wings."|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063157/https://twitter.com/typographica/status/667307107457200128|url-status=live}}</ref><ref name="Vintage Fonts: 35 Adverts From the Past">{{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|date=19 October 2015|access-date=20 March 2016|archive-date=21 March 2016|archive-url=https://web.archive.org/web/20160321213156/http://www.printmag.com/typography/vintage-fonts-35-adverts-from-the-past/|url-status=live}}</ref>
+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').<ref>{{cite web|last1=Simonson|first1=Mark|title=Interview with Phil Martin|url=http://typographica.org/on-typography/interview-phil-martin/|website=Typographica|access-date=30 August 2014|archive-date=3 September 2014|archive-url=https://web.archive.org/web/20140903053109/http://typographica.org/on-typography/interview-phil-martin/|url-status=live}}</ref><ref>{{cite web|last1=Puckett|first1=James|title=Helvetica Flair (photo of specimen book)|url=https://www.flickr.com/photos/28813954@N02/6863179740/|website=Flickr|date=5 March 2012|access-date=22 July 2016|archive-date=16 September 2016|archive-url=https://web.archive.org/web/20160916135612/https://www.flickr.com/photos/28813954@N02/6863179740|url-status=live}}</ref> Martin also drew 'Heldustry', a fusion of Helvetica with [[Eurostile]],<ref>{{cite web|title=Heldustry|url=https://www.myfonts.com/fonts/urw/heldustry/|website=MyFonts|publisher=URW++|access-date=19 March 2016|archive-date=24 March 2016|archive-url=https://web.archive.org/web/20160324072743/http://www.myfonts.com/fonts/urw/heldustry/|url-status=live}}</ref> and 'Helserif', a redesign of Helvetica with [[serif]]s,<ref>{{cite web|title=Helserif|url=https://www.myfonts.com/fonts/urw/helserif/|website=MyFonts|publisher=URW++|access-date=19 March 2016|archive-date=30 March 2016|archive-url=https://web.archive.org/web/20160330193524/https://www.myfonts.com/fonts/urw/helserif/|url-status=live}}</ref> and these have both been digitised.<ref name="Font Wars: A Story On Rivalry Between Type Foundries" /><ref>{{cite web|last1=Coles|first1=Stephen|title=Twitter post|url=https://twitter.com/typographica/status/667307107457200128|website=Twitter|access-date=20 March 2016|quote=[From a Helserif ad:] "Look what happened to Helvetica. It grew wings."|archive-date=21 June 2019|archive-url=https://web.archive.org/web/20190621063157/https://twitter.com/typographica/status/667307107457200128|url-status=live}}</ref><ref>{{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|date=19 October 2015|access-date=20 March 2016|archive-date=21 March 2016|archive-url=https://web.archive.org/web/20160321213156/http://www.printmag.com/typography/vintage-fonts-35-adverts-from-the-past/|url-status=live}}</ref>
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@@ Line 277: / Line 277: @@
 ===Unica===
 [[File:Unica77LLSpecimenCH.svg|thumb| ]]
-[[Unica (typeface)|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 mid 2010s, two digital versions were released: the Swiss foundry [[Lineto]] released LL Unica77 with input from Christian Mengelt,<ref name="Lineto.com">{{cite web|title=Lineto.com|url=https://lineto.com/typefaces/unica77|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134245/https://lineto.com/typefaces/unica77|url-status=live}}</ref><ref name="LL Unica77 (Lineto/Team'77) in use">{{cite web|title=LL Unica77 (Lineto/Team'77) in use|url=https://fontsinuse.com/typefaces/38634/ll-unica77-lineto-team-77|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134255/https://fontsinuse.com/typefaces/38634/ll-unica77-lineto-team-77|url-status=live}}</ref> while Linotype released Neue Haas Unica.<ref name="Neue Haas Unica in use">{{cite web|title=Neue Haas Unica in use|url=https://fontsinuse.com/typefaces/38883/neue-haas-unica|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134244/https://fontsinuse.com/typefaces/38883/neue-haas-unica|url-status=live}}</ref>
+[[Unica (typeface)|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 mid 2010s, two digital versions were released: the Swiss foundry [[Lineto]] released LL Unica77 with input from Christian Mengelt,<ref>{{cite web|title=Lineto.com|url=https://lineto.com/typefaces/unica77|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134245/https://lineto.com/typefaces/unica77|url-status=live}}</ref><ref>{{cite web|title=LL Unica77 (Lineto/Team'77) in use|url=https://fontsinuse.com/typefaces/38634/ll-unica77-lineto-team-77|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134255/https://fontsinuse.com/typefaces/38634/ll-unica77-lineto-team-77|url-status=live}}</ref> while Linotype released Neue Haas Unica.<ref>{{cite web|title=Neue Haas Unica in use|url=https://fontsinuse.com/typefaces/38883/neue-haas-unica|access-date=2 February 2022|archive-date=2 February 2022|archive-url=https://web.archive.org/web/20220202134244/https://fontsinuse.com/typefaces/38883/neue-haas-unica|url-status=live}}</ref>
 ===Chalet===
-[[House Industries]]' Chalet family is a series of fonts based on Helvetica, inspired by its many derivatives and adaptations in post-war design, and organised by "date" to '1960' (conventional), '1970' and '1980' (both more radically altered and "science fiction" in feel).<ref name="CreativeBloq Chalet">{{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|date=6 August 2014|access-date=29 August 2017|archive-date=29 August 2017|archive-url=https://web.archive.org/web/20170829204546/http://www.creativebloq.com/typography/greatest-fonts-92-chalet-81412558|url-status=live}}</ref> 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, "René Chalet" (''Chalet'' being French for a small wooden house, so a play on the design company's name).<ref name="House Industries: Le Must de Chalet Font">{{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|access-date=29 August 2017|archive-date=29 August 2017|archive-url=https://web.archive.org/web/20170829204657/http://www.fontblog.de/house-industries-le-must-de-chalet/|url-status=live}}</ref><ref>{{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}}</ref><ref name="VanderLans A Review of House Industries">{{cite web|last1=VanderLans|first1=Rudy|author-link1=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|access-date=29 August 2017|archive-date=30 August 2017|archive-url=https://web.archive.org/web/20170830003750/http://www.underconsideration.com/speakup/archives/002170.html|url-status=live}}</ref>
+[[House Industries]]' Chalet family is a series of fonts based on Helvetica, inspired by its many derivatives and adaptations in post-war design, and organised by "date" to '1960' (conventional), '1970' and '1980' (both more radically altered and "science fiction" in feel).<ref>{{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|date=6 August 2014|access-date=29 August 2017|archive-date=29 August 2017|archive-url=https://web.archive.org/web/20170829204546/http://www.creativebloq.com/typography/greatest-fonts-92-chalet-81412558|url-status=live}}</ref> 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, "René Chalet" (''Chalet'' being French for a small wooden house, so a play on the design company's name).<ref>{{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|access-date=29 August 2017|archive-date=29 August 2017|archive-url=https://web.archive.org/web/20170829204657/http://www.fontblog.de/house-industries-le-must-de-chalet/|url-status=live}}</ref><ref>{{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}}</ref><ref>{{cite web|last1=VanderLans|first1=Rudy|author-link1=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|access-date=29 August 2017|archive-date=30 August 2017|archive-url=https://web.archive.org/web/20170830003750/http://www.underconsideration.com/speakup/archives/002170.html|url-status=live}}</ref>
 {{clear}}
 ===Coolvetica===
 [[File:Coolvetica.png|thumb|Top: Coolvetica, based on Helvetica modifications such as Helvetica Flair. Note curved designs of 't' and 'y' as well as the narrow letter spacing commonly seen in pre-digital Helvetica. Bottom: Helvetica Bold.]]
-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 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', lowercase 'y' based on the letterforms of 'g' and 'u,' and a fully curled lowercase 't'), and chose to set a tight default spacing optimised for use in [[display type]].<ref>{{cite web|url=http://typodermicfonts.com/coolvetica/|last1=Larabie|first1=Ray|publisher=Typodermic Fonts|title=Coolvetica|date=7 September 1999|access-date=November 16, 2017|archive-date=17 November 2017|archive-url=https://web.archive.org/web/20171117122120/http://typodermicfonts.com/coolvetica/|url-status=live}}</ref> 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.<ref>{{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|access-date=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.|archive-date=April 18, 2018|archive-url=https://web.archive.org/web/20180418150848/http://www.howdesign.com/design-creativity/typodermic-fonts-raymond-larabie-type-technology-sci-fi-fonts/|url-status=dead}}</ref><ref name="Coolvetica MyFonts">{{cite web|title=Coolvetica|url=https://www.myfonts.com/fonts/typodermic/coolvetica/|website=MyFonts|publisher=Typodermic|access-date=17 November 2017|archive-date=17 November 2017|archive-url=https://web.archive.org/web/20171117122755/https://www.myfonts.com/fonts/typodermic/coolvetica/|url-status=live}}</ref><ref>{{cite web|url=http://typodermicfonts.com/coolvetica-crushed/|first=Ray|last=Larabie|title=Coolvetica Crushed|work=Typodermic Fonts|date=12 April 2019|access-date=12 April 2019|archive-date=20 April 2019|archive-url=https://web.archive.org/web/20190420010823/http://typodermicfonts.com/coolvetica-crushed/|url-status=dead}}</ref> Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88.<ref name="Movatif">{{cite web|last1=Larabie|first1=Ray|title=Movatif|date=29 April 2009|url=http://typodermicfonts.com/movatif/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331101158/http://typodermicfonts.com/movatif/|url-status=live}}</ref><ref name="GGX88">{{cite web|last1=Larabie|first1=Ray|title=GGX88|date=30 March 2010|url=http://typodermicfonts.com/ggx88/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331083355/http://typodermicfonts.com/ggx88/|url-status=live}}</ref>
+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 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', lowercase 'y' based on the letterforms of 'g' and 'u,' and a fully curled lowercase 't'), and chose to set a tight default spacing optimised for use in [[display type]].<ref>{{cite web|url=http://typodermicfonts.com/coolvetica/|last1=Larabie|first1=Ray|publisher=Typodermic Fonts|title=Coolvetica|date=7 September 1999|access-date=November 16, 2017|archive-date=17 November 2017|archive-url=https://web.archive.org/web/20171117122120/http://typodermicfonts.com/coolvetica/|url-status=live}}</ref> 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.<ref>{{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|access-date=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.|archive-date=April 18, 2018|archive-url=https://web.archive.org/web/20180418150848/http://www.howdesign.com/design-creativity/typodermic-fonts-raymond-larabie-type-technology-sci-fi-fonts/|url-status=dead}}</ref><ref>{{cite web|title=Coolvetica|url=https://www.myfonts.com/fonts/typodermic/coolvetica/|website=MyFonts|publisher=Typodermic|access-date=17 November 2017|archive-date=17 November 2017|archive-url=https://web.archive.org/web/20171117122755/https://www.myfonts.com/fonts/typodermic/coolvetica/|url-status=live}}</ref><ref>{{cite web|url=http://typodermicfonts.com/coolvetica-crushed/|first=Ray|last=Larabie|title=Coolvetica Crushed|work=Typodermic Fonts|date=12 April 2019|access-date=12 April 2019|archive-date=20 April 2019|archive-url=https://web.archive.org/web/20190420010823/http://typodermicfonts.com/coolvetica-crushed/|url-status=dead}}</ref> Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88.<ref>{{cite web|last1=Larabie|first1=Ray|title=Movatif|date=29 April 2009|url=http://typodermicfonts.com/movatif/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331101158/http://typodermicfonts.com/movatif/|url-status=live}}</ref><ref>{{cite web|last1=Larabie|first1=Ray|title=GGX88|date=30 March 2010|url=http://typodermicfonts.com/ggx88/|publisher=Typodermic Fonts|access-date=19 March 2016|archive-date=31 March 2016|archive-url=https://web.archive.org/web/20160331083355/http://typodermicfonts.com/ggx88/|url-status=live}}</ref>
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