{"id":63768,"date":"2020-11-06T08:25:34","date_gmt":"2020-11-06T06:25:34","guid":{"rendered":"https:\/\/www.grapheine.com\/graphic-design-en\/marques-helvetica-pour-les-fondus-de-la-typo"},"modified":"2023-09-13T01:07:54","modified_gmt":"2023-09-12T23:07:54","slug":"helvetica-brands-fond-typography","status":"publish","type":"post","link":"https:\/\/old.grapheine.com\/en\/logo-news\/helvetica-brands-fond-typography","title":{"rendered":"Helvetica brands, for those who are fond of typography"},"content":{"rendered":"

\"fondue-helvete\"
\nSorry for the Helvetica fans (huhu), this device is not for sale.<\/span><\/span><\/p>\n

We talked about it on Typorama<\/a>, and on the occasion of the 60th anniversary of this Swiss typeface <\/a>: Helvetica<\/strong> needs no introduction. Its efficiency, its neutrality, its rigorous forms make it THE typeface par excellence<\/strong>, even though it shares opinions among designers.<\/span><\/p>\n

The cult has spread far beyond its native land. It is seen everywhere on the world's biggest logos<\/strong> (Nestl\u00e9, Muji, Toyota, Lufthansa...), in the New York subway, on city signs... Helvetica, although neutral, does not make everyone agree.<\/span><\/p>\n

Neutral or Nazi, the Helvetica?<\/span><\/h2>\n

At the end of the 1960s, the rigor of Helvetica<\/strong> put an end to the rush of psychedelic typography - and helped to standardize the face of society at the same time, despite the hippies' displeasure.<\/span>
\nIt was also a hit at a time when color photography was just beginning to be used in advertising. It's just that it's perfect for not having a voice; Helvetica fades away without taking up space, at the service of the visual<\/strong> that surrounds it. Mac, Google, Youtube, Netflix or AirBnb have chosen it to enhance their communication supports. But is Helvetica so harmless?<\/span><\/p>\n

The great typographer Erik Spiekermann<\/a>, to whom we owe several of the top 100 most beautiful typefaces<\/a> and the creation of the agency United Designers Networks<\/em>, says: \"I have suffered from Typomania all my life, an incurable but not fatal disease\". Typomania, but also Helvetico-allergic, because he says he doesn't like the typefaces that everyone uses, \"Helvetica is boring <\/strong><\/a>: it's not a typeface, it's an attitude, or rather a lack of attitude<\/strong>. Swiss neutrality... ? He compares typography to an army of Nazi soldiers marching in close ranks. No doubt to illustrate its overwhelming power in the world of design, which comes to sweep everything away, almost like an automatism. \"Helvetica was designed to be characterless, and it is beautiful in that sense. But it doesn't work for the majority of messages<\/strong> that need an attitude, a voice. And it doesn't work in small print either, so it's not suitable for mobile.<\/span><\/p>\n

Neutrality is too expensive<\/span><\/h3>\n

If Helvetica can do beautiful things, it also has an exorbitant cost. This is probably why, in addition to the constraints linked to its (small) size, all those big digital companies have decided to get rid of it and create their own version inspired by Helvetica<\/strong>, in-house.<\/span><\/p>\n

\"typo-ibm-plex-flex-helvetica?id=1\"<\/span><\/p>\n

Hi guys, this is Helvetica. \/ Hi guys, this is the IBM plex. <\/span>It is more flex than Helvetica.<\/span><\/p>\n

To keep a neutral, clean and Swiss tone, while adapting to the constraints of small typefaces - on cell phones for example - and avoiding spending astronomical amounts of money. It must be said that IBM used to spend more than $1 million per year<\/a> to pay for its license to use Helvetica<\/strong> before creating its own typeface, IBM plex <\/a>!<\/span><\/p>\n

To rebound and face this threat, the Monotype foundry, owner of Helvetica<\/strong>, has released a new version (what do I say, new versionS) in 2019 with Helvetica Now<\/strong><\/a>. For a half-wary eye like mine I can tell you that I see almost no difference, but no doubt they have adapted the typeface to the rigors of the web, to get their customers back. Still, on the Monotype website, they announce that \"This is not a return. It's not a restoration. It's a statement.\" Who can compete with such audacity?<\/span><\/p>\n

From the Brand New<\/a> site, here is the new Helvetica<\/strong> (right), for those who want to play 7 differences. Look (really) closely, there are things happening with the t, the a, the c :<\/span><\/p>\n

\"helvetica-now\"<\/span><\/h2>\n

Helvetica\u00ae the brand<\/span><\/h2>\n

If used too mechanically, Helvetica can go from neutrality to Nazism, which is not a small character trait! So you might as well know how to use it. Because if Helvetica is more than just a monumental typeface and a must-have, it's also a trip for designers who are fond of typography<\/strong>. Helvetica, as an icon, has become a brand: we can now drink, wear or even smell Helvetica. Several brands have surfed on its values: cult, Swiss, design and neutrality, to create timeless products.<\/span><\/p>\n

1. Helvetica\u00ae my love
\n<\/strong><\/span><\/h2>\n

The first category of brands celebrating Helvetica<\/strong> is the one that devotes a quasi-religious cult to it. Helvetica is enthroned as a muse on a pedestal, in all its splendor, and in red, black and white of course.<\/span><\/p>\n

Helvetica that rolls doesn't gather foam<\/span><\/h3>\n

To celebrate the new Helvetica, the Monotype<\/strong> foundry launched a capsule collection of technical clothing in collaboration with the British cycling brand Milltag<\/strong><\/a>. Pre-sales were available until October 25, 2020. A true ode to typography, it featured Helvetica (the name, inscribed in the typeface) in white on a red background with a \u00ae, creating a brand of this typography \"to which designers are emotionally attached\"<\/strong> as Ed Cowburn, founder of Miltag, explains. We also find the inscription 1957, date of its creation. A sharp collection, for cyclists-graphic designers<\/strong>, or vice versa :<\/span><\/p>\n