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Fonts of the Month: April

April is over, and as usual here are (arguably) the best fonts released in this past month. You will find new proposals for sans serif, serif, slab, script, handmade, display fonts that fits in every project that you can and can’t imagine.

 Click on the name of your favourite font, don’t lose any detail:

  1. Neue Haas Unica by Linotype
  2. Freeland by Trial by Cupcakes (30% off)
  3. Asterism Clean by Great Lakes Lettering (50% off)
  4. XXII Awesome Script by Doubletwo Studios
  5. Burford Rustic by Kimmy Design (60% off)
  6. TT Chocolates by TypeType (85% off)
  7. Cera Pro by type me! fonts (50% off)
  8. Sybilla by Karandash (75% off)
  9. Aristelle by My Creative Land (30% off)
  10. Webnar by The Northerm Block Ltd (70% off)
  11. Go Gipsy by Latinotype (65% off)
  12. Mina Chic by Resistenza (40% off)
  13. Amelia Rounded by TypoType (90% off)
  14. Adorn Smooth by Laura Worthington
  15. Solitas by insigne (85% off)
  16. Merlo Round by Btazej Ostoja Lniski (90% off)
  17. Windsong by TypeSETit
  18. Nord by Letterwek
  19. Spills by Comicraft (50% off)
  20. Sant’Elia Script by Yellow Design Studio (72% off)
  21. Chronica Pro by Mostardesign
  22. Filt Pro by Martin Lexelius Core
  23. Astoria by Alan Meeks (30% off)
  24. LiebeLotte by Liebefonts (30% off)
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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.

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You may have already seen these huge Vodafone billboards and posters around? You may not have realised that it was me who created the typeface for the whole campaign!

I finished up this project this just over a month ago at Grey London, working with some great art directors and designers so I’m pleased to finally show the results!

Still awaiting some proper shots of the current billboards around London, I’ll have those very soon and will post them up when they’re done!

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Fonts Of The Month: March.

March is gone! but the awesome fonts stay!. Many active type foundries work hard to give us creative and innovative proposals on typefaces, this month wasn´t the exception.

Here is the list of the best fonts released on March 2015. Click on the name of your favourite font, don’t lose any detail:

  1. Muller by Fontfabric (83% off)
  2. True North Textures by Cultivated Mind (50% off)
  3. Veryberry Pro by My Creative Land 
  4. Snackbar by Sideshow (86% off)
  5. Natura by Resistenza
  6. Bambino by Mindburger Studio (70% off)
  7. La Veronique by My Creative Land
  8. TT Bluescreens by TypeType (85% off)
  9. Pobla by Tipo Pépel (70% off)
  10. Diaria Pro by Mint Type (80% off)
  11. Tropen by Ahmet Altun (50% off)
  12. Nevo by Meat Studio (80% off)
  13. Volte by Indian type Foundry (50% off)
  14. Quantum Latin by  Indian Type Foundry (50% off)
  15. Betm by Typesketchbook (85% off)
  16. Luengo by The Northern Block Ltd (80% off)
  17. Nivea by Magpie Paper Works
  18. Qaskin by Aring Typeface
  19. Chiavettieri by Kostic (40% off)
  20. Redbird by Eurotype (25% off)
  21. Lust Hedonist by Postitype (40% off)
  22. Cardamon by Linotype
  23. Beauchef by Latinotype (75% off)
  24. Pancho by Indian Type Foundry (50% off)

Check the best font of the last year here: fontsoftheyear.com

Download it here: betype.co/fonts

The fonts Arial, Helvetica, Georgia, Lucida and Verdana are all named for daughters of the woman who designed them, expert typographer Caroline Roman. The rights to all those fonts and more are now owned by her son, Times New.