Tim Hortons Font [UPD]
Mostardesign Type Foundry is a French type foundry established in 2009 by Olivier Gourvat. Mainly focused on typeface design and custom design, the foundry produce high quality fonts such as Sofia Pro, Interval, Metronic Slab Pro and more recently Chronica Pro.
Tim Hortons Font
We absolutely love tim hortons lunch and coffee! We enjoy it whenever where ever. We picked up some delicious soup and sandwiches then headed to the cabin for lunch. We had to walk to the cabin through the forest so before we left we put the tailgate down and had our outdoor picnic. Wouldn't have had it any other way.
From 2017 to the present day, the logo changed minimally. There was a slight change in the color and font. The trademark had a darker shed of red because red is such an appetizing color. Also, the type size of the wordmark is currently bigger than in all the other logos.
The color of the Tim Hortons logo is currently deep red. The original logo had white, brown, yellow, and red colors. However, all the colors were dropped after transformation, and the appetizing color, red, was maintained. The font of the Tim Hortons logo has always been San-serif.
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This font is an adaptation of the typeface I designed for TJX Europe, which was used in their branding campaigns for the TK MAXX stores all over Europe. Most characters were given a major facelift and also a few extra ligatures were added in the process. Quintus comes with a regular and a bold version so it offers more variety in use. It also works well in all caps.
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. Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas. 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.
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. 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.
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. Its tight, display-oriented spacing may also pose problems for legibility. 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. 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. Helvetica is also used in the Washington Metro, the Chicago 'L', Philadelphia's SEPTA, and the Madrid Metro. Amtrak used the typeface on the "pointless arrow" logo, and it was adopted by Danish railway company DSB for a time period. 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. 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.
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. Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk.
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. It was later republished in her book The Sponsored Life.
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.
Designed by Matthew Carter and Hans-Jürg Hunziker for cold type. 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. 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." 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. Because of the distortion problems, Adobe dropped Helvetica Narrow in its release of Helvetica in OpenType format, recommending users choose Helvetica Condensed instead.
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. Neue Helvetica also comes in variants for Central European and Cyrillic text.
iOS used first Helvetica then Neue Helvetica as its system font. All releases of macOS prior to OS X Yosemite 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. Apple replaced Neue Helvetica with the similarly looking San Francisco in iOS 9 and OS X El Capitan.
The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing.John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family, as well as the Cyrillic, and Greek letters.
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.
Thai font designer Anuthin Wongsunkakon 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).
Derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the phototypesetting font market of the 1960s onward. 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.