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  1. Helvetica by Linotype 35.00 USD
    This typeface was initially released as Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland.


  2. Neue Helvetica by Linotype 35.00 USD
    This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

  3. Helvetica World by Linotype 149.00 USD
    Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia, the Latin name for Switzerland).

  4. Helvetica Monospaced by Linotype 89.00 USD
    Helvetica Monospaced was designed by Max Miedinger and published by Linotype. Helvetica Monospaced contains 4 styles and family package options.

  5. Helvetica Thai by Linotype 149.00 USD
    Helvetica Thai was published by Linotype. Helvetica Thai contains 6 styles and family package options.

  6. Helvetica Now by Monotype 35.00 USD
    Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition – which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding.



  7. Neue Helvetica Arabic by Linotype 149.00 USD
    Neue Helvetica Arabic was designed by Nadine Chahine and published by Linotype. Neue Helvetica Arabic contains 3 styles and family package options.

  8. Neue Helvetica World by Linotype 149.00 USD
    Corporate design and branding across global markets requires a universal typographic identity. The timeless, world-famous classic Neue Helvetica® typeface is now available as World fonts in the six most important styles. With support for a total of 181 languages, Monotype’s Neue Helvetica® World typeface family is suitable to meet the typographic and linguistic demands of large international brands, corporations, publishing houses, and software and hardware developers.

  9. Neue Helvetica Thai by Linotype 149.00 USD
    Neue Helvetica Thai was published by Linotype. Neue Helvetica Thai contains 6 styles and family package options.

  10. Neue Helvetica Georgian by Linotype 65.00 USD
    Neue Helvetica Georgian was published by Linotype. Neue Helvetica Georgian contains 8 styles and family package options.

  11. Helvetian Times by Elemeno 25.00 USD
    Helvetian Times is an unusual typeface. It clearly thinks it's a standard text font, but the offbeat letter shapes and inconsistent serifs combine to form something that defies conventional categorization.

  12. Neue Helvetica eText Pro by Linotype 65.00 USD
    A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

  13. PF Hellenica Pro by Parachute 69.00 USD
    The Golden Age of the Greek Civilization. The world’s history carved on stone. Hellenica Pro was created based on numerous photos from archaeological sites and several other historical references dating back to 1100 B.C.

  14. Timesquare by Campotype 25.00 USD
    The initial idea of timesquare typeface inspired by Helvetica when presenting the board information on a subway escalator in Time Square, Manhattan, New York. This confirms strength the legend of Helvetica is not lost amid rampant nice fonts in the site. Therefore it should not appropriate that this timesquare fonts come to rival the greatness of Helvetica. Fonts timesquare thrive (since 2008 for self used) of the basic forms of Helvetica to timesquare born in different shapes and sizes. The greatest challenge during development timesquare is both shape similarity to Helvetica directly, as well as to other fonts inspired by Helvetica.

  15. Miedinger by Canada Type 24.95 USD
    Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect 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 single 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 creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

  16. Preface by Shinntype 39.00 USD
    Preface vs. Helvetica/Futura/Gill: a different strategy of text color.

  17. PiS Neo Print M319 by PiS 38.00 USD
    The NeoPrintM319 family is based on a set of old rubber stamps, featuring Helvetica-like letters.

  18. Squarish by The Type Fetish 10.00 USD
    Squarish could have been the Universe or Helvetica of the 1980's, if only it was designed then.

  19. Benjamin by Wilton Foundry 29.00 USD
    Wilton's "Benjamin-Regular" is a delightful twist on a classic - reminiscent of Franklin Gothic, Helvetica and Frutiger with it's own contemporary twist.

  20. Cardboard by deFUNKT 35.00 USD
    This font was actually designed by trying to teach my helper-monkey, Philip, to cut Helvetica out of a piece of cardboard.

  21. Folio by Linotype 35.00 USD
    Folio was designed by Konrad F. Bauer and Walter Baum and appeared with the Bauer font foundry (Bauersche Gießerei) in 1957. The designers based their ideas on Helvetica but Folio did not turn out to pose the competition they had hoped. The font has the same applications as Helvetica and is an extremely legible font. Folio is particularly good for text and has an objective, neutral character.

  22. Celtica by K-Type 20.00 USD
    Celtica is a kind of Helvetica meets Hibernia; the font can happily be used anywhere a Celtic identity is required for a twenty-first century context.

  23. Franca by Rene Bieder 29.00 USD
    Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca).

  24. Ticketbook by Suomi 20.00 USD
    Univers and Helvetica Compressed are most often used for movie posters, but they lack variants. Therefore I made a compressed family with seven weights for more versatility.

  25. Impact by Adobe 35.00 USD
    Geoffrey Lee designed Impact for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat.

  26. YWFT QUE by YouWorkForThem 19.98 USD
    It has been said that a strong typeface is made stronger when it is applied to a thoughtfully considered composition. Helvetica, perhaps the strongest of all typefaces, even starred in its own film. But to every thing, there is a season, and we here at YWFT feel that for every beautiful, perfect Helvetica movie starlet, there is a twisted, long-haired, misfit smoking in the bathroom. And so we introduce you to YWFT QUE.

  27. Undercoat by Open Window 19.95 USD
    Undercoat offers a gritty twist on a classic font style (Helvetica). It was completely hand painted which makes the font an organic centerpiece to any of your grungy design applications.

  28. Helvetiquette by K-Type 20.00 USD
    An unorthodox font that increases the x height of Helvetica to the same size as the capitals; the scale and shape of the glyphs have been ITC-ed and fine-tuned.

  29. Syntax by Linotype 35.00 USD
    Designed by H.E. Meier for Stempel in 1968, this typeface was one of the first attempts to go beyond the Swiss sanserifs Folio, Univers and Helvetica by returning to the earlier humanist principles.

  30. Fonce Sans Pro by Ryan Ford 15.00 USD
    Fonce Sans Pro is a mono-weight, Swiss-style typeface with influences from great typefaces like Din, Helvetica, Interstate, and Trade Gothic. Its form is unique and sophisticated with an unmistakable Dutch style.

  31. Contax Pro by Type Innovations 39.00 USD
    Contax Pro is a contemporary design based on generous proportions and clean, crisp lines. Forget about 'Helvetica'. Look out 'Univers'. Contax Pro is the new geometric sans typeface series for the 21st century.

  32. Mena Grotesk by Compañía Tipográfica de Chile 30.00 USD
    In the neighbourhood of  Bajos de Mena (Puente Alto, Chile) there are many stores and shops with signs and printed posters using typefaces such as Arial or Helvetica. These typefaces are used for all different purposes, from 8 pts to gigantics sizes, because local people would work with what they have within reach, also in terms of fonts. «What is Helvetica doing here?» that is the question that led me to design Mena Grotesk, a sans serif typeface for Bajos de Mena.

  33. Tusker Grotesk by Lewis McGuffie Type 35.00 USD
    Tusker Grotesk is a headline typeface designed for robust and high-impact use. The initial inspiration for Tusker came from postwar typefaces like Haettenschweiler, Impact and Helvetica Inserat which use very high x-heights.

  34. Schelter Grotesk NF by Nick's Fonts 10.00 USD
    This forerunner of Helvetica made its debut as Breite Grotesk in the 1886 specimen book of the Schelter & Giesecke foundry in Leipzig. This classic face still retains its freshness, even after more than a century.

  35. Revolte by Wiescher Design 39.50 USD
    Whenever I see clippings on TV of demonstrations, protesting against this or that, with people holding up signs, I am surprised about the signs being professionally printed or plotted in Helvetica or Futura condensed. I've even seen signs in Zapfino!

  36. Upton by Letter Omega Typefoundry 20.00 USD
    Upton is a modern Condensed Grotesk Font Family. The initial inspiration for Upton came from the Hiroshima made by Wim Crowel and from other neutral Grotesks like Helvetica and Akzidenz. Upton is a narrow neutral geometric Grotesk designed for headlines and posters.

  37. Oddlini by sugargliderz 44.00 USD
    Inside my head, there are a number of forms of Sans Serif typefaces, and I cannot put aside any single one of them. Even if they were in the way of the reading process, I still think they form splendid letters. For me, when I hear for example "Sans Serif", then immediately Helvetica comes to my mind, even though I don't think that it is the best Sans Serif out there. Of course it is a great typeface, but I believe that one should not be fixated on the association of Sans Serif = Helvetica. It is just that Sans Serif goes hand in hand with Helvetica after all, and I don't think it is exaggerated to say that everyone throughout the world would agree. In my head there is no conflict about this either, and I readily agree with this thinking. However, just because of that I don't necessarily spend time studying Helvetica in detail and analyzing its subtleties in order to progress with a design. I am just clear about the fact that the mental picture of a typeface which I deem important when working on a design is a grotesque typeface like Akzidenz Grotesk. Of course I don't intend to recut it, but to reverse the way of thinking even further, and have often designed with the vague image of, for example, an old unrefined typeface in mind.


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