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About Helvetica Now Font Family
Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition – which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 96 fonts, consisting of three distinct optical sizes: Micro, Text and Display, all in two widths. Each one has been carefully tailored to the demands of its size.
The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. The Micro sizes address an issue Helvetica has long faced – that of being 'micro type challenged'. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type, and their spacing is loose, providing remarkable legibility at microscopic sizes and in low-res environments. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. This includes a hooked version of the lowercase l (addressing a common complaint that the capital I and lowercase l are indistinguishable) as well as a rounded G, and a straight-legged R, a single storey a and a lowercase u without a trailing serif. In the past, designers had to nudge, trim and contort the design to create stylish display-type lockups with Helvetica.
Helvetica Now Display was designed and spaced with those modifications in mind—saving effort and providing more consistent (and more stylish) results. “Helvetica is the gold standard,' says Monotype Type Director Charles Nix. “To use it is to claim that you are the ultimate expression of whatever your brand aspires to be. Its blankness is its power.”
Helvetica Now
User Guide PDF.
Designers: Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber, Emilios Theofanous
Publisher: Monotype
Foundry: Monotype
Design Owner: Monotype
MyFonts debut: null
Helvetica® Now is a trademark of Monotype Imaging Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
About Monotype
The Monotype Library is one of the world’s largest and most comprehensive collection of typefaces, featuring original designs of historical importance and a fresh range of contemporary and fashionable fonts. The Monotype Library includes thousands of timeless classics, hand-crafted revivals and original designs from many of the most innovative type designers and foundries in history. This distinctive, award-winning library of premium fonts provides brands and designers with a broad and reliable selection of typefaces for expressive typography in print and on screen.
About Breul Grotesk Font Family
Taking inspiration from an attempt to marry art with industry of Bauhaus (1919), Brueul Grotesk is classic and straightforward, cutting back superfluous elements. A Sans Serif type, it’s like a design from the Machine Age. It comes in A and B sets to offer end variations—choose the bulbous terminals set if you need a less stern impression. It is then suitable for diverse demands. Brueul Grotesk has A and B sets with 16 weights each, giving you an all-purpose usage typeface.
Designers: Chatnarong Jingsuphatada
Publisher: Typesketchbook
Foundry: Typesketchbook
Design Owner: Typesketchbook
MyFonts debut: Oct 9, 2016
Breul Grotesk
About Typesketchbook
Located in the capital city of Thailand, Chatnarong Jingsuphatada started his type design career while working as a graphic designer. Throughout his career, whenever he was unable to find exactly what he needed for his own design projects, he began to create new typefaces rather than settle for ones that didn’t quite fit. He experimented with different designs for 2 years before launching his Superstore Font Foundry, and then in 2012, began selling his typefaces on MyFonts. He made his debut that year with Gusto, a font that explores the intersection of san serif and humanist styles. Finding a strength in his ability to combine different styles of fonts into one, he went on to create Quan, which consists of a very usable, clean and modern sans typeface and a more rounded sub-family. The Bangkok-based designer says, “Having worked as a graphic designer, I have gained insight into what designers want and need and what they look for in regard to how usable and interesting a font is. I try to create fonts that are multi-functional and attractive to suit today’s diverse fields of design. I draw inspiration from the creation and integration of different sets of fonts. This method offers me endless possibilities to design original typefaces that boast versatility and creativity.”
