![neue haas grotesk uni type neue haas grotesk uni type](https://www.cufonfonts.com/images/thumb/14415/neue-haas-grotesk-text-pro-741x415-c7509ef193.jpg)
Handsomely illustrated with annotated examples, archival material depicting classic designs, and full character sets of modern typefaces, Revival Type is an essential introduction for designers and design enthusiasts into the process of reinterpreting historical type. When in the 1950s Eduard Hoffmann, President of the Haas type foundry in Switzerland, commissioned Max Miedinger to design Neue Haas Grotesk, it was an immediate success. This was both a matter of sales and national pride but the attempt failed. Updates and revisions of 20th-century classics such as Palatino, Meridien, DIN, Metro, and Neue Haas Grotesk (Helvetica) are also discussed. Originally released as Neue Haas Grotesk, it existed as handset metal type, and some of its original personality traits were lost in translation throughout its adaptation in digital form. Neue Haas Grotesk was developed by the Haas foundry in Mnchenstein, Switzerland, to counteract the preference of the leading modernist Swiss designers of the postwar period for Akzidenz Groteska typeface sold by H. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity.
![neue haas grotesk uni type neue haas grotesk uni type](https://64.media.tumblr.com/82d6ebbfa6d05ef68501657ff2420b05/tumblr_inline_pbfyediYlD1t2c5ln_500.jpg)
Gayaneh Bagdasaryan: We have all been taught in universities that letters should be drawn by eye. The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. Among these are variations on classic designs by John Baskerville, Giambattista Bodoni, William Caslon, Firmin Didot, Claude Garamont, Robert Granjon, and Nicolas Jenson, as well as typefaces inspired by less familiar designers, including Richard Austin, Philippe Grandjean, and Eudald Pradell. It was a case-study presentation with the main focus on type design. Examples include translations of letterforms not previously used as type, direct revivals of metal and wood typefaces, and looser interpretations of older fonts. Revival Type deftly introduces these fonts, many of which are widely used, and engagingly tells their stories. Many typefaces from the pre-digital past have been reinvented for use on computers and mobile devices, while other new font designs are revivals of letterforms, drawn from inscriptions, calligraphic manuals, posters, and book jackets. After returning to the United States, he worked at type studio Font Bureau, going independent in 2001. A graduate of Carnegie Mellon University in Pittsburgh, Pa., he worked for a time at MetaDesign in Berlin. An illuminating account of the design inspirations and technical transformations that have shaped the digital typefaces of the 21st century This fascinating tour through typographic history provides a visually rich exploration of digital type revival. Christian Schwartz, a type designer and one of the founders of the type foundry Commercial Type, lives and works in New York.