And as these companies went out of business, the rights transferred to the surviving companies.” “Stempel controlled a lot of Haas, Haas controlled a lot of Stempel. Rhatigan already knew about Unica’s original release by the Swiss foundry Haas in 1980, and about the ambiguous rights that had played a part in limiting its prior adaptation for digital.Īt that time, “Haas was partially controlled by another foundry called Stempel, which did a lot of production work for Haas and Linotype through the chain of commercial interest of a lot of type foundries in the 20th Century,” Rhatigan said. I was fortunate enough to speak with Monotype’s Dan Rhatigan, who discovered the lost Unica phototypesetting files and is well-versed in its history. The font family was resurrected for the digital realm by Monotype’s Toshi Omagari, who gave it a facelift and added more weights, languages and letters.
While its parent typefaces prospered, Unica was not adapted for digital use, and the original phototypesetting files were lost-until now. Unfortunately, the Unica faded from use in the late ’80s as the world transitioned to desktop publishing and phototypesetting became obsolete. The typeface was meant to be less formal than Univers and less mannered than Helvetica-yet still as clean and versatile as both. Monotype announced the release of Neue Haas Unica, a contemporary and digital-friendly revival of the typeface Unica.Ĭreated in 1980 by Team ’77 for the Haas Type Foundry, Unica represented a marriage of Helvetica and Univers.
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