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They'll still follow the plot, but, you know, be convinced or affected. And you can say it with Helvetica Extra Light if you want to be really fancy. otherwise you wouldn't be able to read it. There's nothing ''extramarital'' about that. Helvetica is a 2007 American independent feature-length documentary film about typography and graphic design, centered on the Helvetica typeface. Directed by Gary Hustwit, it was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957 and is considered the first of the Design Trilogy by the director. The film subsequently toured film festivals, special events, and art house cinemas worldwide, playing in over 300 cities in 40 countries. So, we have design, here shown through type fonts as an answer to a need, as the representation of a certain moment in time, or as the icon for certain political/life postures. The designer has an enormous responsibility. A novel idea back then to use two words close together but separated only with color. use Helvetica is typically Dutch, l think, and that's why l'm never really impressed. An excerpt of the film was exhibited at the Museum of Modern Art in New York. Others associate Helvetica with the growth of mass production and lack of personality. If that sounds boring to you, well guess what, it often is. Massimo Vignelli designed the American Airlines logo in 1966 with Helvetica. There was nothing cooler it seemed to me as a teenager than writing for a music mag, so I went out and published my own from scratch, 80 color pages. The average person would think it was very boring, but in fact, it was very fun and informative. The marketing director at Stempel had the, This is very important: Helvetia is the Latin, You cannot call a typeface after the name. Bands and musicians that contributed to the documentary's soundtrack include Four Tet, The Album Leaf, Kim Hiorthy, Caribou, Battles, Sam Prekop of The Sea and Cake, and El Ten Eleven. Michael Bierut: Everywhere you look you see typefaces. Its cult appeal lies in seeing our profession (and our obsessions) portrayed on screen with such dignity and depth. Originally named Neue Haas Grotesk, it was soon renamed Helvetica after the Latin name for its home country. Helvetica, do you know? However, I felt like there wasn't much to this film. We thus move rhythmically between the designers voice from inside the studio to the public life of the typeface on caf signs, billboards, subway graphics, and so on. l think that the whole image of modernism. And that's the, area to me where it gets more interesting. If there is any that deserves the honour, it is definitely Helvetica. Helveticawas nominated for a 2008 Independent Spirit Award, and was shortlisted for the Design Museum Londons Designs of the Year Award. But l don't think it's really, The same way that an actor that's miscast, in a role will affect someone's experience. You can watch it here, via Documentary Lovers. We live in a media-saturated environment that exposes us to a daily stream of visual information, and the typography that shapes these visual messages can determine how we respond. Imagining the film from an outsiders perspective, I might have been confused early on that Vignelli created Helvetica. A documentary about typography, graphic design, and global visual culture. Helvetica is a feature-length independent film about typography, graphic design and global visual culture. Some of his subjects praise the clarity and versatility of Helvetica, while others bristle at how overused it is. There's no choice. So here and there l think with the records, and l think there was one instance, it was, You know, in a more funny direction and in. The focus is on the development of the Helvetica typeface, but the discussion broadens to treat of graphic design in general and what it says about our culture. Type is saying things to us all the time. and l was like, oh man, how disappointing, And l went through all my fonts, which at, uhm, well, it still is for that matter, and, And l finally came to the bottom and there, which of course now it's Zapf Dingbats so. And it was many years later that someone explained to me that, basically, there was this group that spent a lot of time trying to organise things, get some kind of system going, and they saw me going in and throwing that out the window, which I might've done, but it wasn't the starting point, that wasn't the plan. You know, that's called an army. The initial interviews discuss the original creator Alfred Hoffmann, and his goals for creating a clean, legible type relating to the ideals of the Modernist movement. | Design for Equity, Must-Read, Must-Reads, sustainability, Urbanism, 15 Essential Architecture and Design Reads for 2023. that Helvetica is a sort of global monster. Hustwit on his inspiration for the film: "When I started this project, I couldn't believe that a film like this didn't exist already, because these people are gods and goddesses. Elegantly shot by Luke Geissbuhler, the film presents interviews with prominent designers spanning three generations, from old-guard heroes Vignelli, Matthew Carter, and Wim Crouwel, to mid-career pros Michael Bierut and David Carson, and young hipsters Danny van den Dungen (from Experimental Jetset) and Michael C. Place (formerly with the Designers Republic). Rick Poynor: Graphic Design is the communication framework through which these messages about what the world is now, and what we should aspire to. It's the way they reach us. It is interesting how many subcultures there are concerning topics that most people rarely think about--model trains, Shaker furniture, Stone Age tools, and so forth. It's a little worrying, I admit, but it's a very nerdish thing to do. Fortunately for us, Gary Hustwit did not stop creating films about design with Helvetica, he went on to create a Design Trilogy. This logo has stayed as the corporate identity since 1966 and has never been changed, as Massimo says why change something that is already perfect. And the Swiss pay more attention to the background, so that the counters and the space between characters just hold the letters. I saw this film last night at the Rochester Institute of Technology in the company of hundreds of budding graphic designers, new media specialists, and fans of typography. Type is saying things to us all the time. Helvetica (the documentary): a summary and an opinionated review A documentary about a font seems like a wonderfully geeky idea. Just because something is legible doesn't mean it communicates and, more importantly, doesn't mean it communicates the right thing. Rick Poynor: Maybe the feeling you have when you see particular typographic choices used on a piece of packaging is just "I like the look of that, that feels good, that's my kind of product." Interviewees in Helvetica include some of the most illustrious and innovative names in the design world, including Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Stefan Sagmeister, Michael Bierut, David Carson, Paula Scher, Jonathan Hoefler, Tobias Frere-Jones, Experimental Jetset, Michael C. Place, Norm, Alfred Hoffmann, Mike Parker, Bruno Steinert, Otmar Hoefer, Leslie Savan, Rick Poynor, Lars Muller, and many more. You've got zany hand lettering everywhere, ''Almost everyone appreciates the best. It looks at the proliferation of one typeface as part of a larger conversation A visit to favorite graphic designs of years past. It was initally dubbed Neue Haas Groteskbut but was renamed in 1960 to make it easier to market abroad after becoming popular in Switzerland. interesting body of work over a lifetime? Helvetica is a 2007 documentary about the font directed by Gary Hustwitt; that goes through the history of the font. Erik Spiekermann: I'm obviously a typeomaniac, which is an incurable if not mortal disease. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance. And in turn Stempel was also controlled by. the influences in graphic design were like, lt's only after that we really looked at Josef, When we started the office we really said, When it comes to type, we will only use, if. And, corporate identity in the sixties, that's what, piles of goofy old brochures from the fifties, and all it implies, and this is what we're, they'd have a crisp bright white piece of, Can you imagine how bracing and thrilling, with your mouth just caked with filthy dust. Amazingly, most of us walked out in wonder. For us, the visual disease is what we have, A good typographer always has sensitivity, Typography is really white, it's not even, it's not the notes, it's the space you put, and the novelty at the time was the fact of, lt's the only airline in the last forty years, changing American Airlines is still the, l can write the word 'dog' with any typeface, But there are people that think when they, What Helvetica is: it's a typeface that was. "fonts." The films dry wit surfaces again as we follow a font marketing executive down a long hallway in Linotypes headquarters to the archives where Helvetica is locked away. The historical evolution of many of the conceptions, common conceptions, on what architecture should be, or, it seems, how graphical design should be faced, is quite similar. lt's been around for fifty years, coming up. Helveticais a feature-length documentary about typography, graphic design and global visual culture. lt brings style with it; every typeface does. Gary Hustwit has produced five feature documentaries, including I Am Trying to Break Your Heart, the award-winning film about the band Wilco; Moog, the documentary about electronic music pioneer Robert Moog; and Drive Well, Sleep Carefully, a tour film about the band Death Cab for Cutie. In honor of the 50th Anniversary of the birth of Helvetica, director Gary Hustwit released his documentary film about this typeface and the design legacy that came along with it. It is considered the most widely-spread font in the Western world. in a very elegant way, in a very fast way. Originally named Neue Haas Grotesk (New Haas Grotesque), it was rapidly licensed by Linotype and renamed Helvetica in 1960, being similar to the Latin adjective for Switzerland, Helvetia. And that is about it. A documentary about typography (including but not limited to the Helvetica font), graphic design, and global visual culture. Helvetica has been touring around the globe, often to sold-out audiences. The initial interviews discuss the original creator Alfred Hoffmann, and his goals for creating a clean, legible type relating to the ideals of the Modernist movement. l see stuff and to me, if it makes me go. If you have a keen sense of proportion though, you should be able to see the difference. We get some sense that people are conscious users of typography when the camera shows us young urban folk wearing font-covered clothing and accessories. A whole documentary about one typeface. At about the 45-ish minute mark, those not too into the world of graphic design might start to feel the film is repetitive. And we expected to walk out of the 2-hour class bored-stiff. But there's one you probably see more than any other one, and that's Helvetica. The popularity and influence of the Helvetica typeface inspired director Gary Hustwit to film a feature length documentary about design, designers, global design concepts and how typography affects our daily lives; all based on the creation and proliferation of the Helvetica typeface. . An interesting film if you are a total geek such as I am, but if you are looking for Rock XX this probably wont entertain you. Erik Spiekermann: Most people who use Helvetica, use it because it's ubiquitous. Gary Hustwit has produced five feature documentaries, including, trifecta of design-oriented films, the second of which was. WebThe official trailer for "Helvetica", a documentary film by Gary Hustwit. Rick Poynor: Type is saying things to us all the time. Tip #5: Fonzies Favorite Letter. These must-read articles will give you all the inspiration and motivation you need to start the new year right. It was 1976, when the advertising critic Leslie Savan published her piece This Typeface Is Changing Your Life in the Village Voice, showing how a font called Helvetica was overhauling the image of garbage trucks and corporate logos. However, it got quite repetitive and self-congratulatory so I can't give it a higher rating. Helveticaencompasses the worlds of design, advertising, psychology, and communication, and invites us to take a second look at the thousands of words we see every day. Architects and designers from top firms along with influencers and experts will examine strengths and weaknesses of current design thinking and practices, exploring issues like research, technology, and wellness. What are you. Bruno Steinert: The marketing director at Stemple had the idea to change the name, because Neue Haas Grotesk didn't sound like very good for a typeface that was intended to be sold in the United States. Or you can say it in Extra Bold if it's really, l can write . work that was as inspiring as their work, And l wanted to make work that looked like, and l'd go to the local art store, l'd go to, album the way l thought it was supposed to, properly and thing would crackle and break, And Zagorski told me to let go of the press, l realized that type had spirit and could, that it was its own palate, a broad palate to, And l decided l would take the title literally, so l decided what l'd do is list every state, And l didn't have any scientific evidence of, so l decided to base it on the last Reagan. Any questions? It's oh, it's brilliant when it's done well. No, absolutely not. I can't explain it. Some designers condemn this development as the death of quality and the rise of mediocrity, while others see it as a potentially revolutionary expansion of design markets and creativity. Any Questions? l tried to use typefaces from van Doesburg. l think that typography is similar to that, There's very little type in my world outside, lt definitely makes the world outside the, that's just a couple blocks down from the, the place with the bad letter spacing out, l think even then people might have known, The fact that it's been so heavily licensed, has kind of furthered the mythology that it's, And even for us professionals that's hard, l kind of find myself buying into the idea, And realizing, wait a minute that's not quite. l just more, sort of, react to certain things. Helvetica encompasses the worlds of design, advertising, psychology, and communication, and invites us to take a second look at the thousands of words we see every day. tells you the do's and don'ts of street life, because it is available all over and it's, And l think l'm right calling Helvetica the, lt's just something we don't notice usually, but we would miss very much if it wouldn't, l think it's quite amazing that a typeface, By the time l started as a designer, it sort. Designers and non-designers will learn quite a lot from this film. I think typography is similar to that, where a designer choosing typefaces is essentially a casting director. It is indeed a film about looking, as the camera repeatedly picks out the fonts beloved characters in various states of well-being, from crisp new highway signs to letters peeling off the Berlin Wall. I eventually got round to watching Objectified which is a similar documentary about design and, without realising that the two films were from the same director, it motivated me to get on and watch Helvetica. Helvetica was Hustwits directorial debut and the first of a Show more lt's. oh it's brilliant when it's done well. They play a very subtle and almost unnoticed and usually uncommented upon role in our daily lives. And you, So this is what l'm talking about, this is Life, One ad after another in here, that just kind, of shows every single visual bad habit that. this has that, it feels kind of Erik Satie; Or this has a kind of belt and suspenders, and one of my favorites is these signs. As someone who studies ubiquitous socio Helvetica is a documentary that interviews many graphic designers involved in the history or modern usage of the Helvetica typeface. I get kicks out of looking at type. Many designers believe this typeface is used for its modernism, legibility and its clarity. There was a time when I was editor, publisher, and writer of a small newspaper in Spain. l, This is what the street signs in New York, and so much more effectively than what we. Helvetica or Neue Haas Grotesk is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann. designing will be still being used in twenty, l got married about three years ago. Jonathan Hoefler: And it's hard to evaluate it. Helvetica is a feature-length independent film about typography, graphic design and global visual culture. use and the letter spacing and the colors. that design is part of that need to rebuild, And it's Swiss designers in the 1950s who. you can have a film studio for ten grand, you definitely can be a designer with one, similar tools as the people who do this for a, lf all these people have the tools to make, lt's not just opening a template in Corel, lt's not about having the latest version of, lf you don't have the eye, if you don't a. the program's not going to give it to you. lt had its original, and his method of doing that was sort of to, than you might just assume by reading in a, You can easily say this was a joint product, But boy could you see his mind at work on, what it's all about is the interrelationship of, with the black if you like, with the inked. Related Videos 1:16 Typecast Typecast 1:38 The Frankenstein Theory The Frankenstein Theory 3:16 Borat: Subsequent Moviefilm Trailer It really does justice to a topic that is so often overlooked. Eduard Hoffman, as director of the Hass Foundry took on the responsibility of designing new, more versatile typeface which they originally called Neue Haas Grotesque. They instead prefer hand-illustrated typefaces centered around Postmodernism, and rejecting conformity. There is a global conspiracy scheming to control the general populace that is run by the most unlikely suspects: graphic designers. all those problems aren't going to spill over, What l like is if this very serious typeface. Undoubtedly. What are you talking about?" Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. Other designers dislike Helvetica on the grounds of ideology. I think even if they're not consciously aware of the typeface they're reading, they'll certainly be affected by it, the same way that an actor that's miscast in a role will affect someone's experience of a movie or play that they're watching. Lars M?ller: And I think I'm right calling Helvetica the perfume of the city. On New Yorks packed subways, violations of personal space are unavoidablean inevitability that emboldens more predatory behavior. . (You know, the one that looks like this .) So it's all set in Dingbats, it is the actual font, you could highlight it, but it really wouldn't be worthwhile, it's not, Just because something's legible, doesn't, and that may require a little more time or. Now you might think this is a dry and boring subject (as I did before I saw the film) but it is in fact a Offering a perspective from outside the profession, Savan talks about Helveticas social role in cleaning up corporate images. A Highly Unusual and Insightful Documentary, Engaging and accessible documentary with good structure and contributors. What is bad taste ubiquitous? Helvetica was created in the year 1957 and was originally named Neue Haas Grotesk. You know, there it is, and it seems to come from no where. Tobias Frere-Jones: The sort of classical modernist line on how aware a reader should be of a typeface is that they shouldn't be aware of it at all. It looks at the proliferation of one typeface (which will celebrate its 50th They didn't know what they were caring for. the more you appreciate it when it's terrific. dealing with mother in laws is just horrific. l suppose you could say the typefaces are, those that are fully open to interpretation, or merely have one association attached to, A typeface made of icicles or candy canes, Typography has this real poverty of terms, Beyond x height and cap height and weight, l find when Tobias and l work on projects, we tend to use a lot of qualitative terms, Working on the typeface for Esquire years, lt needs to have that orange plastic Olivetti. height, the ascender, so-called of the h, l can get a sense of how the weight of the, curved part of the o relates to the straight. just a beautiful big glass of ice-cold Coke. Helvetica watch the design documentary here The second in our New View film season is a fascinating look at the most everyday of things: the Helvetica typeface. Interviewees in Helvetica include some of the most illustrious and innovative names in the design world, such as Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Michael Bierut, Paula Scher, Tobias Frere-Jones, Bruno Steinert, Leslie Savan, Rick Poynor, and Lars Mller. It looks at the proliferation of one typeface (which will Alfred Hoffmann: [showing book of type samples] Here are the first trials of Neue Haas Grotesk, which was the first name of Helvetica. Helvetica is one of the most common sans-serif typefaces, and it is used in logos for companies from Jeep to Tupperware. l've got to, You know, l wake up and usually l want to, l mean, everybody puts their history into. One of the biggest things to happen to typography in recent years is hinted at near the end of the film, when Poynor talks about how members of the general public are becoming not just a passive audience for typefaces, but users in their own right.
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