Miedinger was developed by Max Miedinger, Patrick Griffin and published by Canada Type. Miedinger contains 5 designs and family package alternatives. p > Helvetica's 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the film. Two times. We purchased the t-shirts and the buttons. We removed the tribute books and re-read the hate posts. We mourned the fading non-color of an old black t-shirt happily exclaiming that "HELVETICA IS NOT AN ADOBE TYPEFACE". We participated in long conversations discussing the benefits of the Swiss classic, that many sacred of typographic dreamboats, outliving its home builder and tenants to go on alone and saturate the world with the basic fact of its ideal 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 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 innovative disturbance and disturbed creativity. We then cruised without hesitation into the absurdities of analyzing Helvetica's role in globalization and approaching world blandness (China beware! Helvetica will invade you as calmly and transparently as a sheet of rice paper!). And at the end of a best celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: "We value Helvetica for getting us this far. We are now all set for release and await the arrival of the next head snatcher."

The excellent hype of Swisspalooza '07 triggered a take a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little bit biographical info readily available about Miedinger indicates that he was a typography specialist and type sales representative for the Haas foundry up until 1956, after which time he was a self-employed graphic designer - rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capability that he was commissioned to design the regular and strong weights of Neue Haas Grotesk typeface. His role in developing Helvetica was never actually trumpeted until long after the typeface obtained international popularity. And, once again remarkably, Miedinger designed two more typefaces that seem to have been lost to the dust of movie type history. One is called Pro Arte (1954 ), an extremely condensed Playbill-like slab serif that resembles numerous of its category. The other, made in 1964, is a lot more fascinating. Its original name was Horizontal. Here it is, lest it ends up being a Haas-been, presented to you in digital form by Canada Type under the name of its initial designer, Miedinger, the Helvetica King.

The initial film face was a simple set of strong, panoramically wide caps and figures that offer off a very first impression of being an ultra large Gothic incarnation of Microgramma. Upon a 2nd appearance, they are plainly more than that. This face is a quirky, extremely non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional services to typical problems (like thinning the midline strokes across the board to minimize obstructing in three-storey kinds).

This digital variation introduces 4 new weights, varying from Thin to Medium, along with the vibrant original. The Miedinger plan comes in all popular font style formats, and supports Western, Central and Eastern European languages, in addition to Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the typefaces.

Font Family:
· Miedinger Thin
· Miedinger Light
· Miedinger
· Miedinger Medium
· Miedinger Bold

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