British Inserat Mn Font Free Download

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I'm trying to identify what I think is a Helvetica variant found on the control panel of the 90s arcade game Total Carnage. It is similar to Helvetica Compressed/Extra Compressed or Inserat but it has more squarish curves and a straight-legged R, and the bowl of the P and bar of the A extend lower than the commonly-available versions of those fonts. The vertical strokes of the A are also equal weights. The image attached is a bit blurry unfortunately. This font seems familiar, but I can't find a close version. It may also be that it was commonly available decades ago but just isn't around now. Thanks for any tips!

The first version of the typeface (which later became known as Helvetica) was created in 1957 by Swiss type designer Max Miedinger. His goal is to design a new sans serif font that can compete in the Swiss market, as a neutral font that should not be given any additional meaning. The main influence on Helvetica was Akzidenz-Grotesk from Berthold; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.[10] Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas.[4][10][11] Wolfgang Homola comments that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced" than in its influences.[12]

In the late 1970s and 1980s, Linotype licensed Helvetica to Xerox, Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.[23][24] This led to a version being included on Macintosh computers and a metrically-compatible clone, Arial, on Windows computers. The rights to Helvetica are now held by Monotype Imaging, which acquired Linotype; the Neue Haas Grotesk digitisation (discussed below) was co-released with Font Bureau.[4]

Like many neo-grotesque designs, Helvetica has narrow apertures, which limits 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.[26][27] Its tight, display-oriented spacing may also pose problems for legibility.[28] Other fonts intended for legibility at small sizes such as Verdana, Meta, Trebuchet, or a monospace font such as Courier, which makes all letters quite wide, may be more appropriate than Helvetica.

Helvetica is commonly used in transportation settings.[38] New York City's Metropolitan Transportation Authority (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 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 signs in Helvetica Narrow.[39][40][41] Helvetica is also used in the Washington Metro, the Chicago 'L', Philadelphia's SEPTA, and the Madrid Metro.[42] Amtrak used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company DSB for a time period.[43] In addition, the former state-owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority.[44] The Helvetica 77 variation is used in street and house signage in Riga and other municipalities in Latvia, although common road signage in the country uses a version of DIN 1451.[45]

The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital desktop publishing systems, and criticism from type designers including Erik Spiekermann and Martin Majoor, both of whom have criticised the design for its omnipresence and overuse.[4][46] Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.[47]

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 Village Voice.[51] It was later republished in her book The Sponsored Life.[52]

In 2011, one of Google's April Fools' Day jokes centered on the use of Helvetica. If a user attempted to search for the term "Helvetica" using the search engine, the results would be displayed in the font Comic Sans.[57]

Designed by Matthew Carter and Hans-Jrg Hunziker for cold type.[62] 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 Schmalfette Grotesk and to compete in this role with British designs Impact and Compacta, as this style was popular at the time.[63] Carter, who also later designed Helvetica Greek, had designed a modernised version of Akzidenz-Grotesk for signage at Heathrow in 1961, and commented later "if we'd known about [Helvetica] I'm sure we would have used it, since it's a much better typeface than the one I drew. But the typesetting trade was very conservative then, and new type designs traveled slowly."[33][64] 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.

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. 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, with vertical strokes narrowed but horizontals unchanged.[66] Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead.[67]

The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing.[80] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family,[81] as well as the Cyrillic, and Greek letters.[82]

Neue Helvetica (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}German pronunciation: [n]), sometimes Helvetica Neue in some digital files,[83] 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.

Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including nine weights in three widths (8 in normal width, 9 in condensed, and 8 in extended width variants) as well as an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD.[84] Neue Helvetica also comes in variants for Central European and Cyrillic text.

iOS used first Helvetica then Neue Helvetica[89] as its system font. All releases of macOS prior to OS X Yosemite (10.10) used Lucida Grande as the system font. The version of Neue Helvetica used as the system font in OS X 10.10 is specially optimised; Apple's intention is to provide a consistent experience for people who use both iOS and OS X.[90][83] Apple replaced Neue Helvetica with the similarly looking San Francisco in iOS 9 and OS X El Capitan (10.11),[91] meaning OS X 10.10 was the only macOS version to use Neue Helvetica as the system font.

The family includes eight fonts in four weights and one width, with complementary italics (45, 46, 55, 56, 65, 66, 75, 76). OpenType features include numerators/denominators, fractions, ligatures, scientific inferiors, subscript/superscript.[96]

Thai font designer Anuthin Wongsunkakon of Cadson Demak Co. created Thai versions of Helvetica and Neue Helvetica fonts.[97][98] The design uses loopless terminals in Thai glyphs,[99][100] which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop).[101]

Unlike earlier digitisations, Schwartz created two different optical sizes (labelled Text and Display), which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in body text. The release includes a number of features not present on digitisations branded as Helvetica, stylistic alternates such as separate punctuation sets for upper- and lower-case text, "modernist" cedilla designs styled to match the comma and reduced-height numbers to blend into extended text.[112][b] Both optical sizes provide stylistic alternates for a straight-legged upper case "R", while the Display variant additionally provides stylistic alternates for a lower case "a" without tail.[113][114] It originated from an abandoned redesign plan for The Guardian newspaper. Writing for Typographica, Matthew Butterick described the release as better than any previous digital release of Helvetica "it's never looked better".[115] Users include Bloomberg Businessweek, the Whitney Museum, and for the album Midnights, Taylor Swift.[116][117][118] Schwartz's company Commercial Type have additionally developed a companion monospaced version, agate version for small sizes and stencil font.[119] The release does not include condensed weights or support for Greek and Cyrillic. e24fc04721