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Unter-Print.co.uk. Helvetica and Alternatives to Helvetica. Helvetica and Alternatives to Helvetica Helvetica is a classic. Helvetica is played out. Each of these statements is true to an extent. The world’s most recognizable typeface will soon star in a new film that documents both its omnipresence and its timelessness.

There are many reasons why Helvetica is so widespread. But invisibility isn’t always appropriate, particularly in advertising or branding where individuality is key. Cool, Crisp, Clean Much of Helvetica’s appeal comes from its cold, almost clinical modernity. Univers™ — Univers is widely considered Adrian Frutiger’s masterpiece. Why it’s not Helv: In some ways, even more spare (no beards or tails). Heldustry™ — In 1978, prolific photo type designer Phil Martin added “just the right touch of Eurostile‘s squareness” to Helvetica and created a new font for a cable TV news network.

Why it’s not Helv: You’ve probably never seen it. Why it’s not Helv: A single-story ‘a’ and tailed ‘l’. Neuzeit S™ — Wilhelm C. Getting Warmer Further Afield. Eye | opinion. Admiring Cooper Black is like being the most popular kid in school and falling in love with the ugliest person in the class. Sharing this secret, telling people – your friends – about it is hard, and must be done gradually, little by little, until you are comfortable enough to be seen in public together – holding hands, laughing, kissing, using Cooper Black.

At the beginning there will be guilt and shame. Some mockery is to be expected, but the rewards will be many and the pleasures enormous. The first step in fully understanding Cooper Black is to accept the fact that it is ugly: sexy ugly. How then, can a typeface with so much against it be so popular? Cooper Black typeface, designed by Oswald Bruce Cooper of Bertsch & Cooper, Chicago. With help from Herman: www.underconsideration.com/cooper. No Layout. Calling cards. How 76 graphic designers have art-directed their own identities. How 76 graphic designers have art-directed their own identities Logos, business cards, letterheads, brochures, websites, packaging: designers spend a lot of time creating other people’s identities, but what about their own? Liz Farrelly’s new book, Designers’s Identities, examines the way 76 practices from around the world have approached their own branding.

Packing in 1048 colour illustrations, the book sets an introduction to each studio on a copy of their letterhead, followed by examples of their printed and virtual presentation. It’s organised alphabetically, (and doubles up as a directory for the participating studios). Top: NB: Studio make each New Year mailer a collectable. Below: NB: Studio’s pack of cards – this mini portfolio contains images from favourite projects over the decade, packaged in an embossed box. Above: Marc&Anna customise business cards and correspondence with their collection of rubber stamp ampersands (below). New Channel 4 branding by Rudd Studio. Five years on from their rebranding work for the channel, Rudd Studio updates the Channel 4 splintering logo in a series of new on-air graphics packages... Keeping the famous logo centre stage – the original multi-barred "4" was the creation of Martin Lambie-Nairn in 1982 – Rudd Studio has created a series of new animations of the graphic, with this new work attempting a more "oblique" and "cubist" feel, they say.

The studio's Matt Rudd worked with animation director Oscar Gonzalez to develop a way of viewing the logo from two angles at once. "It seemed appropriate for the channel to see things in an unusual way," he says. "We were surprised at how the logo remained recognisable, even with only small details of it revealed. "We made many of the on air elements five years ago so that they would incorporate video or photographic images," Rudd continues. "This device has helped the Channel's latest identity to endure well, and we chose to keep it. " 48 Comments.