#Difference between helvetica now and neue movie#
The first of them, eventually under the name Helvetica, emerged as the most popular.īut contrary to the implications of the eponymous 2007 movie by Gary Hustwit, this success was neither immediate nor pre-ordained. In 1957 three typefaces, all designed in the same neo-grotesque manner, were released: Neue Haas Grotesk by Eduard Hoffmann and Max Miedinger, Univers by Adrian Frutiger, and Folio by Konrad F. But suppose we apply such thinking to something more mundane: the popularity of a typeface. It has usually been applied to momentous events such as the expulsion of the Moors from Spain, the American Civil War, the two World Wars or the assassination of John F. Speculative historical thinking, or counterfactual history, whether by historians or novelists, tries to imagine what might have happened if the outcome of a key moment in the past had been different. But how did it get there…and why didn’t Univers get the spotlight instead? It also uses a lot less resources compared to the current fonts.Helvetica is, by all accounts, a typographic celebrity. Such high flexible ability helps the characters to adjust to fit varying sizes and proportions of display screens, from large to small, high definition to low definition. No matter whether they are used on print media or display screens, especially nowadays when there’s an incredible variety of gadgets and display technologies. Suppakit Chalermlarp: The variable font technology enables designers to have more fun using all these different characters because it grants everyone endless possibilities.
This was before it was later developed into the One variable font file technology, which includes every width and weight within the font’s variation axis. The conversation grants us a better understanding in grasping the variable font, which was born from the mutual agreement between big tech companies including Adobe, Apple, Microsoft and Google in 2016. This is a part of Suppakit’s insights and opinions about the typeface. Recently after the launch of Helvetica Now Variable, we had a chance to talk with Suppakit Chalermlarp, the co-founder of Katatrad, a type design studio and Thailand’s leading digital type foundry. Particularly at a size smaller than 6 points, such as the small display screens of smart watches or smartphones. But the most crucial reason behind their decision to readjust the font that had been heavily used by almost every sector was due to the fact that Helvetica becomes difficult to read when used in smaller spaces. When digitalised, these alternatives were not included, hence the Monotype team’s attempt to bring them back. Even the punctuation had different variations, from sharp to round edges. For instance, the ‘R’ with had a straight leg whereas the ‘a’ was actually the letter ‘d’ with no leg, and the clean ‘U’ was found without any additional projection. They discovered that in the first thirty years, some of the Latin letters of the Helvetica typeface had more than one variable to use. They looked up and found the design process, the hot lead typesetting technique, as well as the transportation of the type metals to different countries including various ways about how the font had been used. They researched the information and traced back the font’s first version designed by Max Miedinger and Eduard Hoffmann back in 1957. Back in 2015, Monotype’s team of font designers at the studio’s Germany office were developing an idea for a new version of Helvetica. Before we dive deeper into the story of Helvetica Now Variable, let’s go back and talk about Helvetica Now.