![]() ![]() ![]() Sans serif fonts are typically clean and perfectly legible because of the lack of extra ligatures and ornaments, which also allows for more generous spacing between letters, and more similarity between uppercase and lowercase symbols. The sans serif font style is showing that your brand is approachable and modern, but still trustworthy and serious. Sans serif, as that “sans” says, don't have the extra swooshes and ornamental endings that serif fonts do. Some of them are CBS’ eye (redesigned since), and the Harper’s Bazaar logotype. Although mainly created as print typography, Didot found its place on a vast number of logos throughout the years. Since then, it has been reworked and redesigned multiple times, one of which from famous type designer Adrian Frutiger.Įven though it dates from the 18th century, it’s still a prominent typeface, now digitized and available for classy logo designs. With the help of his brother Pierre, they designed and cut the letters for this linotype font, and it was on the cover of Voltaire’s La Henriade. Designer Firmin Didot started working on it in 1784, for the needs of their print shop, which was the official printshop for the King’s documents. The Didot font family is an old and unique one. Companies who use them try to exude a sense of refinement, tradition and respectability as the core characteristics of their brands. They tend to be perceived as more traditional and classic since they are the first kind of typography that dates back to the 18th century when old-style typography started being used in print. Serif typography has an extra decorative stroke at the endings of lines in the lettering and the so-called feet of letters. You’d think the reason for that is that they are free or cheap, but the truth is that they are so well-designed, that they tick all the boxes: legibility, versatility, style, class, flexibility for other alphabets, and glyphs. Whether it’s fonts for logos, advertisement design, books, or even web design and digital ads as of late, some popular fonts always make the final picks. “It’s going to be everywhere.From the traditional and classy serif, to techy and clean sans serif fonts, here’s what kind of typography is most used in graphic design. ![]() “You will see it everywhere, for everyone, for everything,” he adds. But Nix thinks that, like a software upgrade on a phone, eventually everyone will upgrade. Companies and their designers will have to buy the rights to license Helvetica Now, which means it won’t replace everything you see right away. “You’re following clearly what the master has done before you, and the big difference in our case is that we’re looking to make the type, the artwork, more suitable to the age in which we live.”Īs for the Helvetica you already know, it will remain on T-shirts and websites for now. “It is kind of like visiting the Metropolitan Museum of Art with an easel and canvas and painting a Rembrandt,” he says. Those details gave Helvetica its original charm, and Nix says Monotype's designers paid extra attention to bringing these back into Helvetica Now. Helvetica Now also restores some of the original characteristics of the font that have been lost along the way-a single-story lowercase "a," a capital "R" with straight legs. It’s like falling in love all over again.” To him, it's like looking at “someone you love, when the light hits them the perfect way on a Saturday morning, and you suddenly see them like you’ve never seen them before. Nix, who has spent two years reengineering the letters, hopes it will let designers see Helvetica in an entirely new way. It’s designed to be more legible in miniature, like on the tiny screen of an Apple Watch, and hold its own in large-scale applications like gigantic billboards. The new version, Helvetica Now, updates each of Helvetica's 40,000 characters to reflect the demands of the 21st century. Now, Monotype has given Helvetica a face-lift, in the hopes that it can restore some of the magic to the iconic typeface. Apple followed suit in 2013 with its own font. Google stopped using it in 2011, in lieu of a custom font that looks a lot like Helvetica, but better. Major companies, which had used Helvetica for years in branding and other materials, had begun to eschew the typeface. The whiff of Helvetica had begun to stink. A few years ago, Nix and others at Monotype decided a change was due. ![]()
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