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^ "Ascender Releases New OpenType Font Pack for Microsoft Office 2010".Archived from the original on 27 December 2014. Small Printer magazine, British Printing Society. Typographically Speaking: The Art of Matthew Carter (2. ed.). ^ Drucker, Margaret Re essays by Johanna Mosley, James (2003).There was no client in mind for Helvetica Compressed when we did it.
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It was released in 1968…part of a craze for condensed grots in Europe in the ’60s that encouraged me to propose to Mike Parker that I should design a series when I joined Merg in 1965. Hans-Jürg designed the Ultra Compressed under my eye. Helvetica Compressed was planned as a three-part family the Linofilm’s unit system…I designed Helvetica Compressed and Helvetica Extra Compressed, on my own before Hans-Jürg joined the company. "Matthew Carter's timeless typographic masthead for Private Eye magazine". ^ "Haettenschweiler font information"."Frederick Lambert: Graphic Design Britain". Archived from the original on 26 August 2005. "A Brief Introduction to Impact: 'The Meme Font '". ^ a b c d McNeil, Paul (9 November 2017).These included quirky interlocking characters, text figures and proportional and tabular figures. In July 2010, Ascender Corp introduced Impact 2010, an enhanced version with additional OpenType typographic features designed by Terrance Weinzierl and Steve Matteson. This release includes the alternate characters and an italic style. Lee digitised and self-released a variant, Impact Wide, in 2002 for online sale. An eccentricity preserved in the digitisation is the ampersand, which is only as high as the x-height, not the cap height. The common digitisation also simplifies the design somewhat, omitting the subtle bevelling of tittles on 'i' and 'j' and flared stroke ends seen on the original metal type release. The original design contained wider alternate forms for the letters 'J' and 'r', intended for letter positions at the start and end of words, which have generally not been included in digitisations.
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The design rights were acquired by Monotype, which ultimately licensed the design to Microsoft as part of a package of fonts for use with Windows in the 1980s and 1990s. Released at the end of the age of metal type as phototypesetting gained popularity, it was one of Stephenson Blake's last typefaces released in metal. Shown is the front page of Geoffrey Lee's own copy.
Impact was initially promoted with a brochure titled 'The Impact of Impact'. ) Other designs along the same lines from around the same period included the Letraset face Compacta, Matthew Carter's slightly earlier masthead of Private Eye (which is caps-only but based on a never-released typeface with a lower case), and the phototypesetting Helvetica Compressed, also by Carter and released a few years later.
(Schmalfette Grotesk was later digitised, with an added lower-case, as Haettenschweiler by Eraman Ltd. Use was limited as it was never made in metal as far as I know, and existed then in capitals and numerals only". Lee wrote that "many of us admired the vitality and colour of what we knew only as Schmalfette, and used it by old-fashioned cut and paste.
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Schmalfette Grotesk, illustrated in Lettera, a contemporary anthology series of lettering), which were complicated for British businesses to license and use.
Writing in 2004, the year before his death, Lee explained that the design goal was "to get as much ink on paper as possible in a given size with the maximum possible x-height" and to provide a home-grown metal type alternative to European designs in the style (e.g. As a display design, it was not released with an italic or bold weight.ĭuring the 1960s, there was a trend towards condensed, bold, "industrial" sans-serifs like Schmalfette Grotesk and Compacta, largely pioneered by West German magazine Twen, and Impact was intended to fit this trend. The face is intended for headlines and display use rather than body text. With narrow apertures and folded-up letterforms, the lower-case can be quite hard to read printed small, especially for people with vision problems. Ascenders are short, and descenders even shorter. Impact has a high x-height, reaching nearly to three-quarters the capital line. Its thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to "have an impact". Lee was an advertising design director and designed Impact with posters and publicity material in mind.
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