![]() ![]() Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. Today, the original Helvetica family consists of 34 different font weights. Helvetica World supports a number of languages and writing systems from all over the globe. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. Helvetica is one of the most famous and popular typefaces in the world. These are fonts designed for book production and work well for text or heads. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. I cleaned up or redesigned all the glyphs. My old OpenType feature code was quite limited and clumsy. The stem width and modulation variances all needed to be fixed. So, at the end of 2016 I decided that Brinar really needed some help. It’s remained my bestseller until very recently. I kept a flare in place for the serifs and cupped the ends. So I went to Bergsland Pro, and eliminated the serifs. In 2006, I found myself needing a readable sans serif. It was still rough (though I impressed myself). I later redesigned and updated Diaconia into Bergsland Pro -released in 2004. ![]() So, I designed the Diaconia family (using the Greek word for minister). More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps-never both. ![]() At that point oldstyle figures, true small caps, and discretionary ligatures were rare. I needed fonts to show the typography I was talking about. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. But I loved the look and the readability. I’ve gone quite a ways from the original. In the specimen booklet there’s a scan from Linotype’s page many years ago. This is a font designed by Carl Albert Fahrenwaldt in 1929. This all started with a love for Minister. ![]()
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