![helvetica neue vs helvetica helvetica neue vs helvetica](https://www.underconsideration.com/brandnew/archives/helvetica_now.png)
It’s a typeface Apple actually used in iOS and MacOS for a brief period before it created its own San Francisco typeface that has since taken over its platforms. Then all my text files had the same problem youre having. That was our corporate font, and when we switch from Win XP to Win 8, we had to get a new version what worked with Win 8. Avenir is also very nice, in case the OP wants to consider it. Most notably, it would be digitized in 1983 as Neue Helvetica. Monotoype would refine Neue Helvetica (aka Helvetica Neue) as our digital tools evolved and the needs of displaying text did alongside them. I would probably use font-family:Helvetica Neue, Helvetica, Liberation Sans, Arial, sans-serif so those pcs with the font installed can see it, and those who. There are differences just between various versions of Helvetica Neue. Helvetica Neue is a very nice font, especially when kerned properly. It’s gone through several iterations over the years. Helvetica Now isn’t the typeface’s first major update.
![helvetica neue vs helvetica helvetica neue vs helvetica](https://i.stack.imgur.com/sex1Q.png)
It is the quintessential sans serif font, timeless and neutral, and can be. The trifecta of micro, display, and text really do feel like they cover everything. The Neue Helvetica sets new standards in terms of its form and number of variants. Try as I might, I couldn’t break the font. Playing with all of these options on Monotype’s own demo site, cranking up and down the sizes and weights, the typeface feels less like the buttoned up Helvetica you know–which often doesn’t look as wonderful on the screen as you might imagine it in your head–and more like the typographical equivalent of a self-healing cutting board. On top of that, Now features a slew of different weights from very thin to quite bold. “Helvetica Now Micro solves the decades-old spacing and legibility shortcomings” of Helvetica, by splitting the single typeface into three, says Charles Nix, type director at Monotype.