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Versions of the font that are now commonly used are descended from an upper-case only design called Schmalfette Grotesk (German for bold condensed sans-serif) by Walter Haettenschweiler that was published in 1954. Schmalfette was published in the book Lettera (1954) which Haettenschweiler had written with Armin Haab. [1]
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Schmalfette Grotesk was later digitised, with an added lower-case, as Haettenschweiler by Eraman Ltd. [10]) Other designs along the same lines from around the same period included the Letraset face Compacta, [8] Matthew Carter's slightly earlier masthead of Private Eye (which is caps-only but based on a never-released typeface with a lower case ...
Compacta was reportedly designed to be similar to stencilled alphabets of the 1920s and to the 'much lusted-after' Schmalfette Grotesk, an upper-case only predecessor to Haettenschweiler, which had tended to attract attention among British designers but was not available in the United Kingdom.
Lucida Grande (former Mac OS X system font, used from Mac OS X 10.0 to Mac OS X 10.9) Designer: Charles Bigelow, Kris Holmes Class: Humanist : Lucida Sans Designer: Charles Bigelow, Kris Holmes Class: Humanist : FS Me Designer: Jason Smith Class: Humanist : FF Meta Designer: Erik Spiekermann Class: Humanist : Microsoft Sans Serif Designer ...
Examples of grotesque typefaces include Akzidenz-Grotesk, Venus, News Gothic, Franklin Gothic, IBM Plex and Monotype Grotesque. Akzidenz Grotesk Old Face, Knockout, Grotesque No. 9 and Monotype Grotesque are examples of digital fonts that retain more of the eccentricities of some of the early sans-serif types. [10] [11] [12] [13]
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From 1970 to 1989, the standard font was Standard Medium, an American release of Akzidenz-Grotesk, as defined by Unimark's New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial , in addition to some old signs in Medium Standard, and a few anomalous ...