Helvetica grew in popularity throughout the 1960s and 1970s, and more versions of the family were introduced. This led to vast confusion: the same weight is often referred to by two different names, design features often vary from one face to another, and so on.

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Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

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Helvetica Inserat is a heavy condensed face with short ascenders and descenders. It was released in 1966 by the D. Stempel foundry. “Inserat” is German for advertising and, accordingly, is ideal for display uses such as advertising, billboards, and news headlines.

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The NeoPrintM319 family is based on a set of old rubber stamps, featuring Helvetica-like letters.

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A distorted, broken & cracked typeface.

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Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico.

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As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica.

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H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.

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Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it.

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Preface vs. Helvetica/Futura/Gill: a different strategy of text color.

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The typeface was designed at ParaType (ParaGraph) in 1989–2003 by Vladimir Yefimov and Olga Chaeva.

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FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker.

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married.

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Squarish could have been the Universe or Helvetica of the 1980’s, if only it was designed then.

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This font was actually designed by trying to teach my helper-monkey, Philip, to cut Helvetica out of a piece of cardboard.

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Wilton’s "Benjamin-Regular" is a delightful twist on a classic - reminiscent of Franklin Gothic, Helvetica and Frutiger with it’s own contemporary twist.

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Geoffrey Lee designed Impact for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat.

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Proxima Sans is a melding of elements found in other sans serif typefaces. It combines the stylistic details of geometric faces like Futura, Kabel, and Erbar with the proportions of grotesques such as Franklin Gothic and Helvetica. The oblique members of the family are optically balanced, not simply slanted geometrically.

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The English family of fonts began life as an attempt to crossbreed the strength of the ubiquitous Helvetica with the home-grown elegance of Gill Sans. A host of other influences began to creep in, a Rotis curl to the C for instance - perhaps it should be called Englisch.

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FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising.

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A next generation gothic with that clean legible corporate look, very simple yet very dignified. Great for text and head lines, just about any application.

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CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the ubiquitous Helvetica, Standard is an alternative that is considerably warmer and a bit more idiosyncratic.

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Since the arrival of desktop computers, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter composed in Times or Helvetica & printed with a laser printer at 300 or 600 dpi are of such quality that one can no longer distinguish it with a document produced by offset printing.

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SansFractions is a Helvetica/Arial-like fractions font. It comes in TrueType and PostScript Type 1 formats for Macintosh and Windows. Includes a complete set of fractions from 1/2 to 8/9, plus 16ths and 32nds in both vertical and diagonal orientation. Math symbols included also.

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FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising.

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FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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British designer Alan Birch was inspired by the way type looks on FAX transmissions when he created Bitmax. He began with Helvetica Medium and worked through a process of controlled distortions to create this commanding, high-tech style. Bitmax looks best when used in large display sizes for a limited number of words.

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Antique Olive was designed by Roger Excoffon for the French typefoundry, Olive, which it issued in different weights and widths from 1962 to 1966. In France, “antique” is the generic term for sans serif designs. Antique Olive was initially designed to rival the popular sans serifs Helvetica and Univers, but is almost humanistic in its design approach, with no indication of a mechanical look. Although the x-height is large and the ascenders and descenders are short, the design maintains an elegant, statuesque quality. Antique Olive is a distinctive typeface that can be used in a variety of ways, from text work to display.

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Brown Gothic is a compact sans serif face, with rounder letterforms than the usual condensed grotesques such as Helvetica, Univers, et al.

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Has altogether 60 designs, because it was originally produced as a Multiple Master typeface. The entire big family is grouped into eighteen independent, smaller four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L - Light, R - Regular, D - Demi; and those denoting widths are: XC - Extra Condensed, C - Condensed, M - Semi Condensed, E - Extended, XE - Extra Extended.

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An unorthodox font that increases the x height of Helvetica to the same size as the capitals; the scale and shape of the glyphs have been ITC-ed and fine-tuned.

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I have always been frustrated when looking for a bold condensed face. The choices were the usual? Helvetica Bold Condensed, Univers Bold Condensed or Alternate Gothic #2... all rather dated. I was looking for a really unique, clean, uncluttered sans serif face, so I decided to design one. I have since adapted it to many logo designs. So, in my terms and conditions, I decided to permit the modification of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

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The mid to late 1970s: an age of disco and more disco. In its day, disco was a relentless onslaught to at least three senses. 30 years later, all is forgiven. Pretend to celebrate those wretched days with a vintage disco t-shirt font derived from old, screwed up samples of the Helvetica of disco: Quicksilver. If you buy the OpenType format and use an application which properly supports OpenType fonts, custom letter pairs will magically wedge themselves into position to reduce repetition and properly recreate that sexy, tight disco t-shirt feeling.

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Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married.

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Coconut is a round and heavy unicase font with the techno, squarish, grid-based squeeze that of late seems part of almost every contemporary pop designs. It works as the 21st century display substitute to tired last-century horses like Frankfurter, VAG, or the rounded Helveticas, Futuras, and DINs out there.

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Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce.

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Celtica is a kind of Helvetica meets Hibernia; the font can happily be used anywhere a Celtic identity is required for a twenty-first century context.

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Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia, the Latin name for Switzerland).

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This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

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This typeface was initially released as Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland.

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Folio was designed by Konrad F. Bauer and Walter Baum and appeared with the Bauerschen font foundry in 1957. The designers based their ideas on Helvetica but Folio did not turn out to pose the competition they had hoped. The font has the same applications as Helvetica and is an extremely legible font. Folio is particularly good for text and has an objective, neutral character.

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Roman Sehrer, a seasoned German advertising professional, digitized his handwriting to create this family of three fonts.

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Apple system font designed as a bitmap by Susan Kare. Its name reflects the intention to imitate those epitomes of the Swiss style in type design, Helvetica and Univers.

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Designed by H.E. Meier for Stempel in 1968, this typeface was one of the first attempts to go beyond the Swiss sanserifs Folio, Univers and Helvetica by returning to the earlier humanist principles.

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Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers.

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The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939.

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Univers was designed by Adrian Frutiger on Swiss principles for Charles Peignot at Deberny & Peignot.

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