By Max
Miedinger with art direction by Eduard Hoffmann at Haas.
Design began in 1956; first shown as Neue Haas Grotesk
in 1957. Revised at Stempel and released for the Linotype as Helvetica in 1959 [Kupferschmid].
Other styles were adapted from Commercial-Grotesk (schmalhalbfett, schmalfett,
Compact), or added later (extended widths, c.1962; Helvetica Condensed, 1963; Black Italic by Alfred
Gerber, 1965; Helvetica Inserat by Arthur Ritzel, 1966; and
Helvetica Compressed by Matthew Carter, 1966)
[Helvetica Forever] [Reichardt 2011].
Adopted by Letraset in 1964, initially as New Haas
Grotesque in two weights.
Revised at Linotype in 1982 as Neue
Helvetica (more systematic) and again at Monotype in
2019 as Helvetica Now (three size-specific
subfamilies). See also More…
By Max Miedinger with art direction by Eduard Hoffmann at Haas. Design began in 1956; first shown as Neue Haas Grotesk in 1957. Revised at Stempel and released for the Linotype as Helvetica in 1959 [Kupferschmid]. Other styles were adapted from Commercial-Grotesk (schmalhalbfett, schmalfett, Compact), or added later (extended widths, c.1962; Helvetica Condensed, 1963; Black Italic by Alfred Gerber, 1965; Helvetica Inserat by Arthur Ritzel, 1966; and Helvetica Compressed by Matthew Carter, 1966) [Helvetica Forever] [Reichardt 2011].
Adopted by Letraset in 1964, initially as New Haas Grotesque in two weights.
Revised at Linotype in 1982 as Neue Helvetica (more systematic) and again at Monotype in 2019 as Helvetica Now (three size-specific subfamilies). See also Neue Haas Grotesk (Font Bureau/Linotype, 2012), a restoration of the original in two size-specific subfamilies.
