The first weights of Neue Haas Grotesk Font Family have been designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with artwork path by the corporate’s principal, Eduard Hoffmann.
Neue Haas Grotesk Font Family was to be the reply to the British and German grotesques that had change into vastly fashionable due to the success of functionalist Swiss typography. The typeface was quickly revised and launched as Helvetica by Linotype AG.
As Neue Haas Grotesk Font Family needed to be tailored to work on Linotype’s scorching steel linecasters, Linotype Helvetica was in some methods a radically remodeled model of the unique.
For occasion, the matrices for Regular and Bold needed to be of equal widths, and subsequently the Bold was redrawn at a significantly narrower proportion. During the transition from steel to phototypesetting, Helvetica underwent further modifications. In the 1980s Neue Haas Grotesk Font Family was produced as a rationalized, standardized model.
For Christian Schwartz, the task to design a digital revival of Neue Haas Grotesk Font Family was an event to set historical past straight. “Much of the warm personality of Miedinger’s shapes was lost along the way.
So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk Font Family back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).”
Schwartz’s revival was initially commissioned in 2004 by Mark Porter for the redesign of The Guardian, however not used. Schwartz accomplished the household in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.
Neue Haas Grotesk Font Family demo is for PERSONAL USE ONLY!