Max Miedinger

899 WordsNov 3, 20124 Pages
Max Miedinger was born December 24, 1910 in Zurich Switzerland. His career as a typeface designer spanned some 54 years. He began studying at the Kuntsgewerbeschule after training as a typesetter from 1926 until 1930. He worked at several positions until 1956 when he became a freelance graphic designer. About a year later, he developed Helvetica in collaboration with Edouard Hoffman. The creation made by Max Miedinger and Eduard Hoffmann was originally titled Neue Haas Grotesk, but this title was changed in 1960 in an attempt to market it internationally. It has been even more successful since. Helvetica has since grown to be widely used and developed into several popular variants that are seen in many places. In fact, they have become…show more content…
It contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek, 1254 Turk, 1255 Hebrew, 1256 Arabic, 1257 Windows Baltic, 1258 Windows Vietnamese, as well as a mixture of box drawing element glyphs and mathematical symbols & operators. In total, each weight of Helvetica World contains 1866 different glyph characters! Fonts: Pro Arte (1954), Haas-Grotesk, Helvetica (1957 onwards), Horizontal (1965). The film Helvetica debuted at the South by Southwest Film Festival in 2007. Since that time, the discussion based biographical movie has been shown in over 300 cities in 40 countries. Helvetica looks at the whole picture and describes the impact that typefaces like Helvetica have in our lives and in urban spaces. This film not only goes so far as to celebrate the 50th anniversary of the typeface but also goes on to use Helvetica as a catalyst to a conversation that speaks of graphic design and our society as a whole, and how it reacts to typography and the visual images we are bombarded with daily. Neue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, a Linotype subsidiary. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was René Kerfante. Erik Spiekermann was the design consultant and designed the
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