“give words a colouring through type”
“helvetica is ubiquitous, like gravity”
“communication is created to tell us what to think and buy, so designers have an enormous responsibility.
“typography is the space between the letters”
Helvetica spells out loud and clear ‘Modern!’- Massimo Vignelli,
Graphic Design in the 1950’s was all about idealism, the possibility of a idealistic solution to everything. Design is to reconstruct and rebuild, so design is a social responsibility. Emergence of International Typographic Style (Swiss) style. Helvetica provides a functionality, it is for everything, for everyone.
“creating order is typography”- Gridnick**
Prior to the computer would have to use crazy techniques, ‘computer does not create better design, just quicker’.
‘Helvetica is neutral, no meaning itself, “the meaning is derived from the context of the text”.
Matthew Carter
Font designer, made type by every means it could be made.
“experience is reading something. It is the acid test of how well a typeface preforms”.
Helvetica sliced off the terminals giving a cleaner, resilient approach. Simply a modernised version of Akidenz Grotesk, a 19th century German san-serif.
Swiss payed more attention to the background more. A Helvetica letter should “live in a powerful matrix of surrounding space”.
Helvetica= ‘The swiss typeface’ in Latin
A brand using Helvetica is like restoring an identity to its “shining beauty”, getting rid of the aged fads and handwritten scripts to a universally modern typeface. Really, only time will tell if Helvetica will be forever default, but 50 years would suggest otherwise.
Helvetica is simple, “neutral and efficient. Smoothness of letters makes them almost human, suggests that they are more transparent and accessible- or at least look that way”.
Helvetica is ‘clean, official, efficient’.
Designers invest time when considering the accompanying typography and surroundings. The visual merchandising team will need to consider the departmental structure to ensure coherence, inspiration can also be taken through the typeface to create postmodern features of their own.
Helvetica says everything
Modernist typeface ideal is the ‘crystal goblet’, the audience is unaware that the typeface is even there. It is anonymous and ambiguous, simply used to communicate directly.
“choosing a typeface is like a casting director choosing their cast’,
Helvetica has been made so readily available it proves it is the ultimate universally legible and conclusive typeface
Bodoni looks dated in comparison- mastheads still use it but print intentions may differ?
Rhythm and contrast in writing makes it legible.
Helvetica doesn’t further individualism.
“Telling an audience ‘this is for you’ by a typographic choice and instant type recognition”- wouldn’t quite work with helvetica as it is so globally used, unlike Marlboro
“Typeface is a weapon”- Neville Brody. The way type is dressed influences the consumers decisions. “Clean, fit in, stand out- all interchangeable through typeface choices”.
Helvetica is a badge saying “we’re part of modern society” and “we will not be a dangerous force” (unlike May 68’).
“Tells you your problems are okay or ‘contained’, showing an emotive idealism/utopia via a font”.
Lars Muller rejects Helvetica typeface as the “typeface of capitalism” and changes it to “the typeface of socialism” as it is so readily available for encouraged participation and interaction everyone.
“…by a certain point Helvetica has cost all capacity to look nice. It was a dull blanket of sameness, something born out of idealism and routine- there was need for a change” hence the introduction of postmodernism and the incorporation of theatre and fine art to the design process.
Helvetica also has a darker corporate culture side, where the globalization and usage of it it became so large, if companies used Helvetica they were in favour/support of the Vietnam War through the mass domination and influence in society. As everyone was using helvetica, it was easier to associate blame.
Postmodern period was to product something with vitality
Sagmeister stated that the content and tone is reflected through overall aestetics and type layouts. If it is unengaging and corporate it reads “i will bore the shit out of you!”.. what about windows? What do windows say?
Introduced and perfected experimental, personalised type for appropriate mood, artistic direction in type. Influenced by his own subjectivity.
“Postmodernism was a rise against Helvetica”- Massimo Vignelli
David Carson contributed in throwing modernism’s organisation out the window. His experimental, trial and error style was less planned or structured than that of Tshicholds grids, as well as playing on emotions as this is “where the best work comes from”.
“Do not confuse legibility for communication”. Often pieces which are difficult to read may be better as they include involvement from the reader. Carson thinks a dog should “bark”.
Typography was so broken by 90’s it resolved its issues with a clear head, drawing on the best aspects throughout the 20th century artistic practice. The legibility and functionality of modernism, the experimental emotive quality of postmodernism and the utopic quality of surrealism and realism.
Dali, Surrealism and Futurism were much more subjective than modernism
Helvetica raised “dangers of globalisation” as it can be easily altered through spacing.
“Beauty out of ordinary” (1:06:40) “get a response from design”
“Need to find more structure in design, it can’t have too much expression”- Maniel Krebs
Helvetica will lead you to a certain language - Krebs
Graphic communication can be a reflection of personal identity. A certain font can be an expression of what a brand is or stands for and what the clothing you are selling is like. It can explain you as a person who you are and what you stand for.
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