Best library free fonts • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Helvetica 65 Medium Font Helvetica 65 Medium font was added 19 February 2016. Helvetica 65 Medium font has font style. This font available for Windows, Linux and MacOS. Helvetica 65 Medium font already viewed 686 and downloaded 266 times. Also you can download related fonts for free: Impact Label Rev Reversed, Impacta LL, Impacted 20, Impact T, Impact, Impact Becker, Impact KOI8 and other.

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Download the helvetica 65 medium font family, which contains 3 fonts in various styles, including bold, regular and bold italic. Download the helvetica 65 medium font family for Windows, Mac, and Linux.

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About This Font Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann at the Haas type foundry in Switzerland. Originally called Die Neue Haas Grotesk, it was created based on Schelter-Grotesk and the goal of the new design was to create a neutral typeface that had great clarity, could be used on a wide variety of signage, and could compete with Berthold's highly successful typeface design: Akzidenz Grotesk in the Swiss market. In 1960, the typeface name, Neue Haas Grotesk was changed by Hass's parent company Stempel to Helvetica (Latin for Swiss) in an effort to make the design more marketable internationally. Today, Helvetica速 is a trademark of Linotype GmbH and is among the most recognized, used, and important typefaces in the world.

Versions are available in many different languages such as Cyrillic, Hebrew, Greek, Japanese, Hindi and Vietnamese. It is a popular choice for commercial word marks such as AT&T, BMW, Microsoft and many others. Linotype GmbH is a Monotype Imaging company.

Helvetica has regularly ranked among and since 1990.

For other uses, see. Helvetica, Eduard Hoffmann Date released 1957 Design based on Helvetica or Neue Haas Grotesk is a widely used developed in 1957 by with input from Eduard Hoffmann. Helvetica is a or realist design, one influenced by the famous 19th century typeface and other German and Swiss designs.

Its use became a hallmark of the that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. Over the years, a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance.

Developed by the Haas'sche Schriftgiesserei () of,, its release was planned to match a trend: a resurgence of interest in turn-of-the-century grotesque typefaces among European graphic designers that also saw the release of by the same year. Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer. Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. Originally named Neue Haas Grotesk (New Haas Grotesque), it was rapidly licensed by Linotype and renamed Helvetica, being similar to the for Switzerland,. The font name was changed to Helvetica in 1960. A directed by was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957. Different sans-serif designs take different decisions on the proportions of the capitals.

’s capitals are inspired by, with considerable variation in width. Helvetica’s are more uniform in width, following the grotesque model. Different designers have expressed different opinions on which style is preferable. Influences of Helvetica included Schelter-Grotesk and Haas'. Attracting considerable attention on its release as Neue Haas Grotesk, adopted Neue Haas Grotesk for widespread release. In 1960, its name was changed by Haas' German parent company to Helvetica (meaning Swiss in ) in order to make it more marketable internationally.

It comes from the Latin name for the of what became Switzerland. Intending to match the success of, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. The design was popular, and rapidly made available for systems as well as for the original metal type. Many imitations and knock-offs were rapidly created.

In the late 1970s and 1980s, Linotype licensed its version to and then and, guaranteeing its importance in digital printing by making it one of the core fonts of the page description language. The rights to it are now held by, which acquired Linotype; the advanced Neue Haas Grotesk release (discussed below) was co-released with Font Bureau. Characteristics [ ] • tall, which makes it easier to read in smaller sizes and at distance • quite tight spacing between letters • An rather than style, a common feature of almost all grotesque and neo-grotesque typefaces. • narrow t and f. • square-looking s.

• bracketed top flag of 1. • rounded off square tail of R. • concave curved stem of 7 • two-storied a (with curves of bowl and of stem), a standard neo-grotesque feature Like many neo-grotesque designs, Helvetica has narrow, which limit its legibility onscreen and at small print sizes. It also has no visible difference between upper-case 'i' and lower-case 'L', although the number 1 is quite identifiable with its flag at top left.

Its tight, display-oriented spacing may also pose problems for legibility. In situations where this matters, other designs intended for legibility at small sizes above all, such as, or or a such as, which makes all letters quite wide, may be more appropriate. Usage examples [ ] •. Helvetica used in a publication Helvetica is among the most widely used sans-serif typefaces. Versions exist for,,,,,,,,, and alphabets.

Faces have been developed to complement Helvetica. Helvetica is a popular choice for commercial, including those for (including ),,,,,,,,,,,,,,,,,,,,,,,,,,,,, and.

Used Helvetica as the system typeface of until 2015. Notably, from 1967 to 2013, the logo for featured two upper case As (AA) and a wordmark using the font. Helvetica has been widely used by the; for example, federal income tax forms are set in Helvetica, and used the type on the.

Helvetica is also used in the. The also uses Helvetica as its identifying typeface, with three variants being used in, and encourages its use in all federal agencies and websites. A hand-cut master used in the 1983 release of Helvetica Neue.

Helvetica is commonly used in transportation settings. New York City's (MTA) adopted Helvetica for use in signage in 1989. From 1970 to 1989, the standard font was Standard Medium, an American release of Akzidenz-Grotesk, as defined by New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including, in addition to some old signs in Medium Standard, and a few anomalous signs in Helvetica Narrow.

Helvetica is also used in the, the, Philadelphia's, and the. Used the typeface on the 'pointless arrow' logo, and it was adopted by Danish railway company for a time period. In addition, the former state-owned operator of the developed its own Helvetica-based font, which was also adopted by the and the. The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital systems and criticism from type designers including and, both of whom have criticised the design for its omnipresence and overuse.

Stargate Atlantis Stagione 5 Ita Download Adobe. Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk. Media coverage [ ].

An early Helvetica specimen in the asymmetric Swiss modernist style. An early essay on Helvetica's public image as a font used by business and government was written in 1976 by Leslie Savan, a writer on advertising at the.

It was later republished in her book The Sponsored Life. In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.

Winners were announced in the January 2008 issue of the LinoLetter. In 2007, director released a documentary film, (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer said, 'Helvetica was a real step from the 19th century typeface.

We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself.

The meaning is in the content of the text and not in the typeface.' The documentary also presented other designers who associated Helvetica with authority and corporate dominance, and whose rebellion from Helvetica's ubiquity created new styles.

From April 2007 to March 2008, the in displayed an exhibit called '50 Years of Helvetica', which celebrated the many uses of the typeface. In 2011 the displayed an exhibit called Helvetica. A New Typeface? The exhibition included a timeline of Helvetica’s consolidation over the last fifty years with a view to understanding its role in the history of design, as well as its antecedents and its subsequent influence. The itinerary started out with a selection of local works, highlighting the top-quality design of current and past creations whose common denominator is their use of Helvetica. Variants [ ].

Helvetica Inserat Helvetica Light [ ] Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. Helvetica Inserat (1957) [ ] Helvetica Inserat (German for advertisement) is a version designed in 1957 primarily for use in the advertising industry: this is a narrow variant that is tighter than Helvetica Black Condensed. It gives the glyphs an even larger and a more squared appearance, similar to. Strikethrough strokes in $, ¢ are replaced by a non-strikethrough version. 4 is opened at the top. Helvetica Compressed (1966) [ ] Designed by for.

It shares some design elements with Helvetica Inserat, but uses a curved tail in Q, downward pointing branch in r, and tilde bottom £. Carter has said that in practice it was designed to be similar to and to compete in this role with British designs and, as this style was popular at the time. The family consists of Helvetica Compressed, Helvetica Extra Compressed and Helvetica Ultra Compressed fonts. It has been digitised, for instance in the Adobe Helvetica release. It is used on the and 's laptops, desktops, ThinkVantage software, workstations, servers, ThinkPlus accessories logo. Helvetica Rounded (1978) [ ] Helvetica Rounded is a version containing rounded stroke terminators.

Only bold, black, bold condensed, and bold outline fonts were made, with outline font not issued in digital form by Linotype. Helvetica Narrow [ ] Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. However, the width is scaled in a way that is optically consistent with the widest width fonts. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica to 82% of the original width, resulting in distorted letterforms and thin vertical strokes next to thicker horizontals.

Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead. However, in Linotype's OpenType version of Helvetica Narrow, the distortions found in the Adobe fonts have been corrected. Helvetica Textbook [ ] Helvetica Textbook is an alternate design of the typeface, which uses 'schoolbook' to increase distinguishability: a seriffed capital 'i' and 'j' to increase distinguishability, a 'q' with a flick upwards and other differences. The 'a', 't' and 'u' are replaced with designs similar to those in geometric sans-serifs such as those found in. Language variants [ ] The Cyrillic version was designed in-house in the 1970s at D Stempel AG, then critiqued and redesigned in 1992 under the advice of. Designed the Helvetica Greek. Lebanese designer designed Neue Helvetica Arabic.

(Neue) Helvetica Thai (2012) [ ] Thai font designer of Cadson Demak Co. Created Thai versions of Helvetica and Neue Helvetica fonts.

The design uses loopless terminals in Thai glyphs, which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop). Initial release included 6 fonts in OpenType Com format for each family in 3 weights (light, regular, bold) and 1 width, with complementary italics. OpenType features include fractions, glyph composition/decomposition. Digitisations [ ] Neue Helvetica (1983) [ ]. Comparison of Helvetica,, and, a humanist design not based on Helvetica As one of the most iconic typefaces of the twentieth century, derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the font market of the 1960s and 70s onwards. Some of these were straight clones, simply intended to be direct substitutes. Many of these are almost indistinguishable from Helvetica, while some add subtle differences.

Substitute Helvetica designs that have survived into or originated during the digital period have included 's Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, 's Swiss 721, 's, 's Europa Grotesk and others. Nimbus Sans [ ] produced a modification of Helvetica called.

This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles. Florian Hardwig has described its display-oriented styles, with tight spacing, as more reminiscent of Helvetica as used in the 1970s from cold type than any official Helvetica digitisation. Arial and MS Sans Serif [ ] 's, designed in 1982, while different from Helvetica in several details, has identical character widths, and is indistinguishable by most non-specialists. The characters C, G, R, Q, 1, a, e, r, and t are useful for quickly distinguishing Arial and Helvetica.

Differences include: • Helvetica's strokes are typically cut either horizontally or vertically. This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts. • Helvetica's G has a well-defined spur; Arial does not. • The tail of Helvetica's R is more upright whereas Arial's R is more diagonal. • The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve.

• The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight snake-like curve. The design was created to substitute for Helvetica in digital printing, since Helvetica was a standard font design in this market. Arial (and many other clones of the period) are metrically identical to the PostScript version of Helvetica, so that a document designed in Helvetica could be displayed and printed correctly without IBM having to pay for a Helvetica license.

Microsoft's 'Helv' design, later known as ', is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more-uniform stroke widths within a glyph. CNN Sans [ ] In 2016, introduced a Helvetica Neue-inspired font designed by known as CNN Sans. The font was commissioned in 30 different weights to facilitate multi-platform usage across its properties. CNN Sans has some resemblance to Helvetica, while adding some few modifications in the characters, notably the numerical '1' having base, which Helvetica doesn't have.

Free Helvetica substitute fonts [ ], a version of URW's Nimbus Sans spaced to match the standard Linotype/PostScript version of Helvetica, was released under the in 1996, and donated to the project to create a free PostScript alternative. It (or a derivative) is used by much open-source software such as as a system font. A derivative of this family known as 'TeX Gyre Heros' has been prepared for use in the scientific document preparation software., a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica. It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002. Is a metrically equivalent font to Arial developed by at and published by under the SIL Open Font License. It is used in some GNU/Linux distributions as default font replacement for Arial.

Oracle funded the additional development of Liberation Sans Narrow in 2010. Google commissioned a variation named for. Much more loosely, was developed by Christian Robertson of as the system font for its operating system; this has a more condensed design with the influence of straight-sided geometric designs like. Derivative designs [ ] Some fonts based on Helvetica are intended for different purposes and have clearly different designs. Digital-period font designer has commented that in the 1970s 'everyone was modifying Helvetica with funky curls, mixed-case and effects'. Indeed, in one 1973 competition to design new fonts, three of the 20 winners were decorative designs inspired by Helvetica.

Forma (1968) [ ]. Helvetica Flair Designed by Phil Martin at Alphabet Innovations, Helvetica Flair is an unauthorised phototype-period redesign of Helvetica adding and -inspired capitals with a lower-case design.

Considered a hallmark of 1970s design, it has never been issued digitally. It is considered to be a highly conflicted design, as Helvetica is seen as a spare and rational typeface and swashes are ostentatious: font designer Mark Simonson described it as 'almost sacrilegious'.

Martin would later claim to have been accused of 'typographic incest' by one German writer for creating it. Helvetica Flair was one of several derivative fonts created by Martin in the 1970s (and a particularly questionably legal one, since it was directly named 'Helvetica'). Martin also produced 'Heldustry', a fusion of Helvetica and, and 'Helserif', a redesign of Helvetica with, and these have both been digitised.

Shatter LET (1973) [ ]. Top: Coolvetica, a freely licensed font based on Helvetica and Helvetica Flair (note curved designs of t and y as well as a narrow letter spacing commonly seen in pre-digital Helvetica samples). Bottom: conventional, digital Helvetica. In the digital period, Canadian type designer has released several digital fonts based upon Helvetica. The most widely known and distributed of these is Coolvetica, which Larabie introduced in 1999; Larabie has stated he was inspired by Helvetica Flair and similar variants in creating some of Coolvetica's distinguishing glyphs (most strikingly a swash on capital G, a lowercase y based on the letterforms of g and u, and a fully curled lowercase t), and chose to use a narrower letter spacing, more commonly seen in Helvetica samples from before the digital type era, for use in at the expense of decreased body text legibility. As of 2017, the single semi-bold version remains Larabie's most popular font, more than twice as frequently downloaded as any other font he offers; Larabie also offers the font in a wide variety of weights as a commercial product.

Larabie has also borrowed heavily from Helvetica and other Swiss typefaces in some of his other fonts, including Movatif and GGX88. Local Gothic [ ] Inspired by noticeboards using stencilled or plastic letters from a variety of sources, created the font 'Local Gothic', which randomly mixes capitals in the loose style of several popular American display capital fonts, Helvetica Bold among them. • Berry, John.. Adobe Systems. Retrieved 15 October 2015. • Shinn, Nick. Graphic Exchange.

Retrieved 1 July 2015. • ^ Kupferschmid, Indra.. Retrieved 5 October 2015. • Shaw, Paul.. Retrieved 1 July 2015.

• Majoor, Martin. 'Inclined to be dull'. 16 (63): 33–7.

• Shaw, Paul... Retrieved 26 June 2016. Retrieved 2009-06-08. • Shaw, Paul.. Retrieved 1 July 2015. • Shaw, Paul..

Paul Shaw Letter Design. Retrieved 22 May 2015. • Simonson, Mark.. Mark Simonson Studio. Retrieved 14 July 2015.

• Spiekermann, Erik.. Spiekermann blog.

Retrieved 15 July 2015. • Spiekermann, Erik.. Retrieved 14 June 2015. • Spolsky, Joel.. Joel On Software. Retrieved 15 July 2015.

• Herrmann, Ralf.. I love typography. Retrieved 27 July 2015. Fonts In Use. Retrieved 2009-02-20. • Rawsthorn, Alice...

Retrieved 11 January 2016. Treasury Board of Canada Secretariat. Retrieved 2015-06-19. A consistent typography is fundamental to corporate identity, and three faces from the Helvetica type family have been adopted for purposes of the FIP. They were chosen for their versatility, excellent legibility and contemporary design. • Campbell-Dollaghan, Kelsey.. Retrieved 30 April 2017.

Retrieved 2015-06-22. Retrieved 6 November 2016. Retrieved 6 November 2016. Retrieved 6 November 2016. • [Basic Elements of the Corporate Identity of the Metro of Madrid] (PDF). Metromadrid.es (in Spanish). Metro de Madrid.

Retrieved 2015-06-23. Retrieved 2013-09-21. • Majoor, Martin (Spring 2007).. Retrieved 3 August 2015.

• Spiekermann, Erik (1987). Baseline (9): 6–9. Retrieved 20 March 2016. • Lupton, Ellen.. Metropolis Magazine. Archived from on 7 October 2016.

Retrieved 4 July 2016. • Savan, Leslie (1994). The Sponsored Life: Ads, TV, and American Culture. Philadelphia: Temple University Press.. Retrieved 2009-06-08. Retrieved 2009-06-08.

Retrieved 2008-11-16. • 2012-08-28 at the.

At • de Jong, Cees W; Purvis, Alston W; Friedl, Friedrich.. Thames & Hudson..

Archived from on April 22, 2009. Retrieved 2009-06-08.

• Drucker, Margaret Re; essays by Johanna; Mosley, James (2003). New York: Princeton Architectural. Retrieved 2009-06-08. Retrieved 20 March 2016. Retrieved 2009-06-08. • (PDF) (magazine).: Svettisku.

December 2005. Archived from (PDF) on 2009-03-19. Retrieved 2013-09-21. • (in German).

• Wongsunkakon, Anuthin (2 March 2012).. Retrieved 25 May 2015. • (distribution). Anuthin + Cadson Demak. Archived from on 2010-03-22.

Retrieved 2009-06-08. • June 8, 2015, at the., typophile.com •.. Retrieved 28 November 2014. • Gruber, John (29 June 2010).. Retrieved May 25, 2015. It’s a subtle change, but Apple has changed the system font for the iPhone 4, from Helvetica to Helvetica Neue. The change is specific to the iPhone 4 hardware (or more specifically, the Retina Display), not iOS 4.

Apple Developer. Retrieved 18 October 2014.

The use of Helvetica Neue also gives users a consistent experience when they switch between iOS and OS X. • Stinson, Liz (2015-06-09).... Retrieved 2015-07-24. Retrieved 2009-06-08. August 6, 2003.

Archived from on 2008-07-04. Retrieved 2009-06-08. In the Comments Section: The biggest differences are the new Greek, Cyrillic and Hebrew designs, and the presence of Arabic support based on the radically redesigned Yakout Linotype (not a perfect match for the Helvetica, but the most appropriate in the Linotype Library; this is 'core font' Arabic support: not for fine typography). There is also a large maths and symbol set in each font (not complete maths typesetting support, but more than you'll get in most fonts). The only big change in the Latin is that the whole thing has been respaced.

The old Helvetica Std Type 1 and TT fonts inherited, via phototype, the unit metrics of the original hot metal type. This led to all sorts of oddities in the sidebearings, which were cleaned up during development of Helvetica Linotype. It is still quite a tightly spaced typeface by today's standards, but the spacing is now consistent. It was also re-kerned. Helvetica Linotype has also been extensively hinted for screen.

-- John Hudson •. Archived from on 2007-06-07. Retrieved 2009-06-08. • Macmillan, Neil. An A–Z of Type Designers. Yale University Press: 2006.. Retrieved 2013-09-21.

The Font Bureau, Inc. Retrieved 2013-09-21. Retrieved 2013-09-21. • Kupferschmid, Indra... Retrieved 4 August 2017. The Font Bureau, Inc. Retrieved 23 December 2013.

• Butterick, Matthew.. Retrieved 22 October 2014. Retrieved 16 July 2015. Retrieved 16 July 2015. • • • • • ^ Simonson, Mark.. Mark Simonson Studio Notebook. Retrieved 19 March 2016.

Many type manufacturers in the past have done knock-offs of Helvetica that were indistinguishable or nearly so. For better or worse, in many countries—particularly the U.S.—while typeface names can be protected legally, typeface designs themselves are difficult to protect. So, if you wanted to buy a typesetting machine and wanted the real Helvetica, you had to buy Linotype. If you opted to purchase Compugraphic, AM, or Alphatype typesetting equipment, you couldn’t get Helvetica. Instead you got Triumvirate, or Helios, or Megaron, or Newton, or whatever. Every typesetting manufacturer had its own Helvetica look-alike.

It’s quite possible that most of the “Helvetica” seen in the ’70s was actually not Helvetica. Retrieved 20 March 2016. • ^ Loxley, Simon.. Smashing Magazine. Retrieved 20 March 2016.

Type Design Information. Retrieved 20 March 2016. • Hardwig, Florian.. Fonts In Use. Retrieved 20 March 2016.

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Retrieved 1 April 2011. This article's use of may not follow Wikipedia's policies or guidelines. Please by removing or external links, and converting useful links where appropriate into. (March 2012) () Wikimedia Commons has media related to. • • • site for on • • • • • • — BBC News article • — article in, published May 25, 2007 • — article on the 50 years of Helvetica • Alternatives to Helvetica: two overlapping articles by Stephen Coles at and. • Alternatives to Helvetica: article at • • (book, exhibition, products) •.