Posts Tagged ‘neue haas grotesk’

by Matt Brinkerhoff

The dust has settled and the winners of the 2011 Web Font Awards have been chosen. Our panel of expert judges – composed of Dan Rhatigan, Jason Pamental and Josh Clark – pulled no punches and subjected our three finalists to the critique of a lifetime! Here’s how the judges ranked the winners.

3rd Place: SAM | Mamus Creative

SAM | Mamus Creative

While some may criticize the usage of a font so similar to other Web-safe options out there, MAMUS Creative managed to differentiate its entry by choosing less common weights of the Helvetica® face served by Web Fonts, creating an experience that reflects the high-end nature of SAM’s offerings. designer John Mamus has shown us that sometimes the smallest alterations can have a large impact on the final product.

“Here at the MAMUS studio, we are absolutely thrilled to have proper fonts at our disposal. It has already changed how we work. In fact, every new Web initiative we are working on makes use of Web fonts. What’s more, we can now align the brand typographical usage to match in print, Web, broadcast and beyond. It is an excellent time to be a creative person.”


2nd Place: Portfolio of Debbie Millman | Armin Vit

Debbie Millman | Armin Vit

Our judges were impressed by the use of the Neue Haas Grotesk™ design, also served by Web Fonts, to create a bold but accessible look for portfolio site of writer/educator Debbie Millman. Our judges also praised the layout, which held up well on mobile platforms. The man behind UnderConsideration and last year’s Judges’ Choice runner-up Armin Vit returns with another award-winning project.

“It was so exciting to control such a beautiful typeface through CSS and it rendered so nicely. Plus, of course, the artwork just came through behind it perfectly. This also led quite by accident to a very well proportioned mobile version of the site. The backgrounds were [acting up] on the iPad® and iPhone® devices, so I just stripped them away and the type by itself looked great. I couldn’t have pulled this off with Arial® — no offense.”

None taken, Armin.


1st Place: Fork Unstable Media | Fork Unstable Media

Fork Unstable Media | Fork

Our panel loved’s innovative Web design techniques, but it was its dedication to using Web fonts wherever possible that helped propel them to the top of the contest. You won’t find a single piece of traditional Web-safe or rasterized text on Self-hosting the Malabar™ Pro typeface from the Linotype® collection, FORK Unstable Media has truly taken its use of Web fonts to the next level.

Roman Hilmer, Creative Director at Fork on why Malabar was selected: “Karin came across Malabar at just the right time. We wanted a serif typeface that fit with our “antique” oracle concept but also brought in something new. It needed to look like it was carved in stone, but also be a bit of a showoff, and naturally work on the Web. Right away we all knew we wanted to use it as a Web font.”

Congratulations to all of the winners and many thanks to our media partners, sponsors, entrants and the entire community for your contributions to the 2011 Web Font Awards!

Matt Brinkerhoff
Matt Brinkerhoff holds a bachelor’s degree in E-Business from Champlain College and has experience in user experience, multivariate testing, design and Web development. Through his work as a freelance designer, Matt developed an affinity for typography years before joining the team.

by Matt Brinkerhoff

We’ve been hard at work adding new fonts to Web Fonts. Thanks to some new additions, the tally now exceeds 12,000 Web fonts. Here’s a rundown of what’s new.

Our latest foundry additions include Omnibus, Emboss and Tour de Force. Contributions from Omnibus include the Vega™ family, a group of designs that are equally at home in headings as they are in body text.  Designer Franko Luin sought to capture the details of 16th and 17th century text while creating a design that is as timeless as it is current.

The addition of the Emboss font foundry brings us 42 typefaces from Stephen Boss – typefaces inspired by linoleum cuts and comic books.  His Crossell™ typeface provides a perfect example of these stylistic elements.

Slobodan and Dusan Jelesijevic’s Tour de Force foundry adds 47 modern display typefaces, including slab serifs. The Oblik™ family contains modern serif and sans serif designs for a variety of applications.

The Vesta™ and Big Vesta designs by Gerard Unger are among the newest families in our Linotype® collection. Originally designed for signage during Rome’s “Jubliee 2000” celebration, Vesta features a wide variety of stroke widths while remaining economical on space.  One designer went as far as to call it “the missing link between serif and sans-serif.”

Also from Linotype and available for the first time in a digital format, the Neue Haas Grotesk™ family by Christian Schwarz is a revival of Linotype’s original hand-set metal face. The predecessor to Linotype’s iconic Helvetica® design, Neue Haas Grotesk boasts additional features that were left behind during Helvetica’s many digital adaptations.

We’re constantly adding new foundries and typefaces to both and Web Fonts in our quest to provide the most comprehensive collection of typefaces in the world. Check back soon as plenty more are on their way.

Matt Brinkerhoff
Matt Brinkerhoff holds a bachelor’s degree in E-Business from Champlain College and has experience in user experience, multivariate testing, design and Web development. Through his work as a freelance designer, Matt developed an affinity for typography years before joining the team.

by Allan Haley

The Helvetica® typeface didn’t start out with that name – or with the design it now has. The Helvetica story started in the fall of 1956 in the small Swiss town of Münchenstein. This is when Eduard Hoffmann, managing director of the Haas Type Foundry, commissioned Max Miedinger to draw a typeface that would unseat a popular design offered by one his company’s competitors.

Miedinger, who was an artist and graphic designer before training as a typesetter, came up with a design based on Hoffmann’s instructions, and by the summer or 1957, produced a new sans serif typeface which was given the name “Neue Haas Grotesk.” Simply translated this meant “New Haas Sans Serif.”

The Stempel type foundry, Haas’s parent company in Frankfurt, decided to offer the design to their customers in Germany. Stempel, however, felt that they would be unable to market a new face under another foundry’s name and looked for one that would embody the spirit and heritage of the face. The two companies settled on “Helvetica” which was a close approximation of “Helvetia,” the Latin name for Switzerland. (The “Helvetia” was not used because Swiss sewing machine and insurance companies had already taken the name.)

The original design of Neue Haas Grotesk for handset metal composition has also been modified several times since it was renamed Helvetica. Originally, Neue Haas Grotesk was produced for typesetting by hand in a range of point sizes from five to 72-point, but Helvetica soon also became a Linotype® machine-set typeface which led to changes to the design to simplify production. This, however, was at the expense of aesthetic nuances. For example, the regular and bold weights were redesigned for duplexing on two-letter matrices for linecasters. The result was a regular that spaced a little too open and a bold that was more condensed than the original. Machine-set Helvetica has also always been a “one-size-fits-all” design, whereby the same fonts were used to set type from very small text copy to headlines on billboards.

The subsequent phototype and digital fonts of Helvetica continued to incorporate several design revisions. The new digital version of the Neue Haas Grotesk™ typeface, however, takes Helvetica back to its origins.

Click here to learn more about the new, old Helvetica.

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.
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