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.”
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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. View the Helvetica Now User Guide PDF.A few years ago, Nix and others at Monotype decided a change was due. The Helvetica Now family is available in 48 weights from Light Micro to Extra Black Display, with matching italics.
“To use it is to claim that you are the ultimate expression of whatever your brand aspires to be. “Helvetica is the gold standard,’ says Monotype Type Director Charles Nix. Helvetica Now Display was designed and spaced with those modifications in mind-saving effort and providing more consistent (and more stylish) results. In the past, designers had to nudge, trim and contort the design to create stylish display-type lockups with Helvetica. 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. There’s also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica’s tone of voice.
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. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures. The Micro sizes address an issue Helvetica has long faced – that of being ‘micro type challenged’. 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. Each one has been carefully tailored to the demands of its size. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display. The font is currently #2 in Best Sellers.Įvery 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 contains 48 styles and family package options. Helvetica Now was designed by Max Miedinger, Charles Nix, Monotype Studio, Jan Hendrik Weber and published by Monotype.
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