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Typography AROUND ME

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HelveticaTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyArialCourierPalatino PalatinoCourierArialCenturyTahomaCompactaGeorgiaVerdanaTrebuchetGenevaTimesRomanHelvetica HelveticaTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyArialCourierPalatino PalatinoCourierArialCenturyTahoma Arial RegularrgiaVerdanaTrebuchetGenevaTimesRomanHelvet HelveticaTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyArialCourierPalatino PalatinoCourierArialCenturyTahomaCompactaGeorgiaVerdanaTrebuchetGenevaTimesRomanHelvetica HelveticaTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyArialCourierPalatino Arial is a universal source where everyone can have access. It has a contemporary design with soft curves for easy reading. It is a versatile source because it is made up of several styles like Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic, Narrow Bold, Narrow Bold Italic, Condensed, Light Condensed, Bold Condensed, and Extra Bold Condensed.

The extended Arial type family includes more styles: Rounded (Light, Regular, Bold, Extra Bold); Monospaced (Regular, Oblique, Bold, Bold Oblique).

Many of these have been issued in multiple font configurations with different degrees of language support. The most widely used and bundled Arial fonts are Arial Regular, Italic, Bold, and Bold Italic; the same styles of Arial Narrow; and Arial Black. More recently, Arial Rounded has also been widely bundled.

Most professional designers and typophiles think of Arial as a copied typeface from Helvetica. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

ArialRegularTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyCourierPalatino PalatinoCourierCenturyTahomaCompactaGeorgiaVerdanaTrebuchetGenevaTimesRomanArialRegular ArialRegularTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyCourierPalatino PalatinoCourierCenturyTahoma Helvetica GeorgiaVerdanaTrebuchetGenevaTimesRomaArialRegular ArialRegularTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyCourierPalatino PalatinoCourierCenturyTahomaCompactaGeorgiaVerdanaTrebuchetGenevaTimesRomanArialRegular HelveticaTimesRomanGenevaTrebuchetVerdanaGeorgiaCompactaTahomaCenturyArialCourierPalatino

Helvetica as originally designed includes 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. Helvetica is among the most widely used sans-serif typefaces, is also a popular choice for commercial wordmarks. A large number of variants of Helvetica were rapidly released to expand on its popularity, including new weights and languages like Helvetica Light, Inserat, Compressed, Rounded, Narrow, Textboox, Neue Georgian, World, Thai, Arabic.. Helvetica Neue is a reworking of the typeface with a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Helvetica is one of the most popular typefaces in the world. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning.

Arial X Helvetica

Arial X Helvetica

There are several glyps of the typefaces similar and some of them are different. Due the similarity Arial is often (unfortunately) mistaken for Helvetica, the differences between these two typefaces is explained in an article on iLT, both typefaces are shown next to each other making it easier to recognize.

Helvetica Designed in 1957 by Max Miedinger, Helvetica’s design is based on that of Akzidenz Grotesk (1896), and classified as a Grotesque or Transitional san serif face.

Originally it was called Neue Haas Grotesque; in 1960 it was revised and renamed Helvetica (Latin for Switzerland “Swiss”).

Arial Designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype (not Microsoft), it’s classified as Neo Grotesque, was originally called Sonoran San Serif, and was designed for IBM’s bitmap font laser printers. It was first supplied with Windows 3.1 (1992) and was one of the core fonts in all subsequent versions of Windows until Vista, when to all intents and purposes, it was replaced with Calibri.

Arial is everywhere!

So is Helvetica!

What it’s wrong to do is criticize Arial as a clone or rip-off of Helvetica. If Arial is a rip-off of Helvetica, then Helvetica is a rip-off of Akzidenz Grotesk; or we could simply say that they are both rip-offs of earlier Grotesque faces. The whole rip-off debate is a rather pointless one, I feel. Every face should be considered on its own merit.