Neue Haas Unica

Neue Haas Unica by Toshi Omagari: A subtle reworking of Helvetica

The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it.

In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as “Team ’77” to adapt Max Miedinger’s font Helvetica®. When drafting their updating proposals, Team ’77 not only took into account the characteristics of the new typesetting technique but also considered the features of other sans serif fonts, among which was the bestselling Univers® by Adrian Frutiger. They decided to christen the sensitively optimized result “Unica” – a combination of parts of the names of its prominent predecessors; Univers and Helvetica. The font was released in four weights, each with corresponding italic, for use in phototypesetting but was never actually subsequently digitalized.

The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the “b” and “d”, appear more delicate and have a slightly more pleasing effect.

In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase “a”, in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the “k” was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase “J” was also significantly curtailed.

In addition to many minor alterations, such as to the length of the horizontal bars of the “E”, “F” and “G” and to the angle of the tail of the “Q”, the leg of the “R” was extended and made more diagonal.

In the case of the numerals, the upper curve of the “2” was reduced and the lower loops of the “5” and “6” were correspondingly adapted. The sweep of the diagonal of the “7” was also reduced.

Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team ’77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica™ a total of nine weights, from Ultra Light to Extra Black.

He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals

At first glance, Neue Haas Unica may appear to be very similar to Helvetica while none of the modifications can be said to be exactly revolutionary or incisive; in end effect, however, the many tiny changes have resulted in a subtle transformation of the character of the typeface. The discreet borrowings from Univers tone down to some extent the technological rigor and provide a touch more vitality and dynamism, giving Neue Haas Unica a warmer appearance.

With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

Hey developers - I’ve had an odd error come through on my latest project. It hasn’t launched so I can’t share, but here are some details:

• Facebook page
• Issue seems to be in IE7-8 only
• Using custom @fontface fonts
• Cannot reproduce issue on VirtualBox

The issue is that the fonts load fine when the page loads originally in IE7-8, when the user goes to an interior page all @fontface fonts revert to their web-safe font backups. They will stay that way (even returning to the first page that had the fonts loaded) until the cache is cleared. The fonts load & stay loaded on the same test machine in Chrome & Foxy.

Anyone have any ideas?

Fonts finally fixed, love @fontface!

Finally fixed font viewing problems on Firefox! YES, FINALLY. For those of you who have viewed my blog on Firefox for ½ a year now, this is how it has looked on every other browser, well except Internet Explorer. Who uses that anymore?

Website builders, no more font frustration:@fontface css method is a dream. No more need for web-safe fonts! The reason why people stick to normal fonts on websites is because they want the fonts to be consistently read on every internet browser (and only the most boring and dull font types can ensure that), since every browser renders the font differently. The beauty of @fontface means you no longer have to create images whenever you want to use a font that cannot be read via an internet browser AND your font can be viewed consistently the same in every browser (which @fontface excels at compared to some other methods)… with some exceptions.

The .eot files that is supposed to render the font looking consistently the same on IE will only work starting from IE9 (which is the current version if you don’t count IE10 for windows 8), which means the general population that does not download any other internet browser and sticks with what came with their pre-packaged Windows is probably viewing your website in the ugliest manner possible. Then again, those sort of people probably wouldn’t have found your website, right? Or cared what it’s supposed to resemble. Who uses IE anymore?

Also, if you are trying to make font viewing consistent on your Tumblr on a Firefox browser, it is a bit more tricky. The firefox platform does not let you embed the fonts in the normal @fontface way, so you must use base64 decoding for the truetype file .tff (which firefox reads). It wasn’t this clear in the forums, because I take it most people use a prepackaged theme on tumblr and could care less about web-risky fonts, so there isn’t much talk about it. If you’re not one of those, follow these directions to make your Tumblr look rad.

Icons for typos

Es muy sabido desde los tiempos del Winamp que el uso despritespara los iconos es una gran ventaja que permite mantener el orden al máximo y el uso de recursos como memoria y ancho de banda al mínimo.

Mi inquietud sobre cómo usar un grupo de iconos para web que use pocos recursos me llevó a la técnica de usar fuentes como sistema para iconografía web.

En 24 ways explican de manera clara cómo usar una fuente como sistema iconográfico. El truco es @fontface utilizando Pictos como fuente. Pictos está al alcance de todos por $49 con un diseño profesional.

Para razones de prueba encontré Modern Pictograms de The Design Office. Es una excelente opción para probar el nuevo sistema. Puedes descargar el @fontface Kit de FontSquirrel.

Pero, ¿y si quiero usar mi propia iconografía como tipografía?
Entonces IcoMoon puede ser una gran solución para este desafío. IcoMoon es un servicio que permite usar tus iconos y crear una fuente con ellos; y gracias a FontSquirrel puedes tener aplicar la magia a la web.

VALUCO is a bold, ultra-display, beveled typeface inspired by the beveled gas-pipe typography of ubiquitous OPEN/CLOSED signs. Comprised of three overlapping typographic layers (in both standard diagonal and coarse vertical hatching), VALUCO is appropriate for those who are unafraid to majestically broadcast their message with industrial-strength.

Made by Aesthetic Apparatus

anonymous asked:

Ju, eu segui o tutorial do ilovethemes que vc disse, mas quando fui hospedar a fonte, apareceu assim: "Você não tem permissão para fazer o upload deste conteúdo." O que faço ? :(

Eita porra. Não sei, meu bem. Tenta ver se é a extensão do arquivo. Muitas extensões de fonte são .ttf e algumas são .otf, vê se mudando resolve alguma coisa. :c

CSS: Bulletproof @font-face

If it looks like crap, and smells like crap - then its a crap. No matter if Microsoft renames its browser 1000 times over, it will always be an aweful browser. Our team has spent a week, trying to figure out why our svg fonts were not shown in ANY version of IE. Turns out, it was caused by font filename limitation, mentioned in a short remark in Paul Irish’s blog.