l don't know. Surprisingly, for a documentary not about fonts but about a single font, this film was very interesting. I think typography is similar to that, where a designer choosing typefaces is essentially a casting director. The film subsequently toured film festivals, special events, and art house cinemas worldwide, playing in over 300 cities in 40 countries. We think that Helvetica contains somehow a design program. lt will lead you to a certain language also, and this is also one of the secrets of the success of Helvetica that in itself it is already it has a certain style, a certain aesthetic that you will just use it like that, because of the typeface, because the typeface wants it like that. Palinopsia (Whats Up with Eagle and Serpent? Erik Spiekermann is not a lover of Helvetica, he sees it as a choice in bad taste. Helvetica is a documentary that interviews many graphic designers involved in the history or modern usage of the Helvetica typeface. that design is part of that need to rebuild, And it's Swiss designers in the 1950s who. David Carson: I have no formal training in my field. Helvetica, do you know? What are you talking about?" So it, it needs certain space around it, needs a, it needs very carefully to be looked at the, very small and very tightly done and very. A documentary about a typeface? 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 are always child of your time, and you, and graphic design, if we still want to call it, And the classic case of this is the social, you care about the clothing you're wearing, or how you decorate your apartment-all of, Well, now it's happening in the sphere of, and there's no reason as the tools become. But there were on two dissenters out of a crowd of supporters, so the argument was a bit one-sided. Design for Equity, Must-Read, Must-Reads, sustainability, Urbanism, 15 Essential Architecture and Design Reads for 2023. They'll still follow the plot, but, you know, be convinced or affected. . 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. It looks at the proliferation of one typeface (which will celebrate its 50th Helvetica is a 2007 documentary about the font directed by Gary Hustwitt; that goes through the history of the font. It looks at the proliferation of one typeface (which will celebrate its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. you know, it's just there. Michael Bierut: It's The Real Thing. It's the way they reach us. Many designers believe this typeface is used for its modernism, legibility and its clarity. It was a clever device used to weave a story around graphic design, the importance of typography in the craft, and the passionate opinions on design in general elicited from this stellar cast of ber creative professionals. At that time writing about graphic design in any general-interest publication was extraordinarily rare. Show less. On this Wikipedia the language links are at the top of the page across from the article title. (Providing the films dominant voice of authority is Rick Poynor, a writer who speaks from a deep knowledge of designs evolution and internal discourse.). Jonathan Hoefler: And it's hard to evaluate it. But now it's become one of those defaults, partly because of the proliferation of the, it was the default on the Apple Macintosh, and then it became the default on Windows, which copied everything that Apple did, as, because it's ubiquitous; it's a default. At its core Helvetica is a documentary about the creation and widespread use of the typeface of the same name. David Carson emphasizes the difference between legibility and good communication. Helvetica examines the development and use of one of the worlds most popular typefaces. Rick Poynor: Type is saying things to us all the time. . otherwise you wouldn't be able to read it. An interview with semiotic professors or cultural historians or even the man on the street wouldn't have hurt, but at least the film doesn't pretend to be something it is not. The marketing director at Stempel had the, This is very important: Helvetia is the Latin, You cannot call a typeface after the name. A reflection about what our fonts say about us. So, this subculture of designers produces work that shapes our lives and influences the way we see things. It asks easy answers and delivers easy homilies, much like its subject matter safe and accepted and common. 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. lt brings style with it; every typeface does. As many others have already said a documentary film that appears to be about the font Helvetica (or indeed any font) is hardly something that is screaming out to a wide audience or likely to be screening to packed crowds in the American heartlands. l just more, sort of, react to certain things. Helvetica is a feature-length independent film about typography, graphic design and global visual culture. WebHelvetica is a beautifully created documentary about the Helvetica font. Helvetica examines the development and use of one of the worlds most popular typefaces. Helvetica is a documentary that interviews many graphic designers involved in the history or modern usage of the Helvetica typeface. Helvetica is a typeface that originates from Switzerland. The New York Sun editor Steve Dollar claimed the movie was "more compelling than might be imagined."[2]. David Carson: Don't confuse legibility with communication. and it's set in a boring, non-descript way. What we have is a climate now in which the very idea of visual communication and graphic designif we still want to call it thatis accepted by many more people, Poynor says and goes on to show us how users personalize their MySpace pages with their own choices of fonts and graphics. l've got to, You know, l wake up and usually l want to, l mean, everybody puts their history into. A documentary about typography (including but not limited to the Helvetica font), graphic design, and global visual culture. Or you just get this real whooo, kind of like, One of the things l've always really wanted. 13 minute read. beautiful out of something very ordinary. Watch Helvetica here. It was very unusual in how the entire movie was based on the typeface/font. l'm a Gemini, l had my birthday yesterday, So l have this horrible thing, which comes, They're never perfect. Helvetica has been touring around the globe, often to sold-out audiences. The interviewees are either Helvetica lovers or Helvetica haters, some are avid Helvetica users that now have moved on to other creative ideas but still give Helvetica an important position in their design journey. 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. it's the whole, the guy who designed it tried to make all. . or aesthetically or culturally or politically. You know, there it is, and it just seems to. WebHelvetica (2007) - full transcript. lt's that idea that something's designed to. Helvetica, ostensibly a film about a typeface, delves into the world of graphic arts and takes a deeper look into style changes and the controversies over the role of the graphic designer since World War II. ln the beginning, if you see the sketches. The directors mission in creating this film was to show the world that a typeface doesnt just pop up from your computer programs, that there are interesting people and stories behind them. Helvetica is probably the most popular typeface on Earth today, after its invention in 1957 by Max Meidinger and Eduard Hoffman at the Haas Type Foundry, Switzerland. Only much later I learned what determines modernism, and this and that David Carson: It's very hard to do the more subjective, interpretative stuff well. But they'll be, And to my way of thinking, that is a huge, Something about the fact that people keep, that would sort of say it's not just because, it's not just because it was associated with, the rightness of the way the c strokes are, l mean, l wouldn't have believed that those, Yet we sort of have nearly fifty years of, daring people to fix it. l think that the whole image of modernism. 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. Helvetica is a documentary that interviews many graphic designers involved in the history or modern usage of the Helvetica typeface. Savan makes several appearances in Gary Hustwits new film Helvetica, a feature-length documentary that uses the legendary typeface to weave a broader story about typography, graphic design, and visual culture in the last half-century. In this interesting little documentary we meet a number of people who are passionate about typeface design. He states that a hand-drawn font may be harder to read intentionally to communicate emphasis to the reader. Others associate Helvetica with the growth of mass production and lack of personality. And in turn Stempel was also controlled by. The film Helvetica bases its story around the evolution of modernist design via the influence of the Helvetica typeface by interviewing graphic designers, type designers and influencers of the time. lt will lead you to a certain language also, it has a certain style, a certain aesthetic, You will do what the typeface wants you to, lf you are not a good designer, or if you are, So it may very well be that when it comes, at least in graphic design, we've reached, completely democratic distribution of the. 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. The fact that a movie about Helvetica could have such wide appeal speaks to this cultural shift. 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 seems like air, it seems like gravity. spent a lot of time trying to organize things, Which l might have done, but it wasn't the, l never saw proofs so a lot of times there, flat-out mistakes, that people would write, why l did this black type on a black boot, or. Any questions? Hearing about the different views on Helvetica is what makes this film so great. However, I felt like there wasn't much to this film. Those decisions you make become expressions of who you are.. Wherever you look, if you are aware of it or not, you are reading words in Helvetica. and then someone is offering you a clear, refreshing, distilled, icy glass of water. 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. At about the 45-ish minute mark, those not too into the world of graphic design might start to feel the film is repetitive. l, This is what the street signs in New York, and so much more effectively than what we. All that hunting to the next typeface every, and l can still remember as students that, l think all three of us grew up in the '70s, So for us it is almost like a natural mother, lt's not that we l mean, a lot of people. . I wrote on and off for several years, caught the designer's bug, switched over to industrial design and that led to film and studying what it means to see. It looks at the proliferation of one typeface (which will celebrate its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. Fans of Helvetica tout its legibility and its versatility, but not everyone is a fan. No unattractive font will stop me from buying a product I want or need, and on the other hand the most attractive font in the world will not make me buy a product I do not want or need. But there's one you probably see more than any other one, and that's Helvetica. A whole documentary about one typeface. Some designers find Helvetica to be predictable and boring. (We think typography is black and white, he says. there to just hold and display and organize, the information. The Helvetica font was developed by Max Miedinger with Edard Hoffmann in 1957 for the Haas Type Foundry in Mnchenstein, Switzerland and quickly became an Gary Hustwit's 2007 documentary "Helvetica" is a film I was introduced to in a college Image class last semester. Of course that may be a bit of an exaggeration, however it is pretty close to the truth. It's like going to McDonald's instead of thinking about food. Helveticais a cinematic exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type. I use several metrics in this. 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. A documentary about typography, graphic design, and global visual culture. The limited (1,500 copies) edition includes Gary Hustwit's autograph. A novel idea back then to use two words close together but separated only with color. Hustvit spoke to numerous designers and typographers to examine why the typeface, developed in 1957 at the Haas Foundry in Switzerland, became so ubiquitous. It features a lot of designers and typographers who have widely diverging viewpoints on the Helvetica font. Directed by Gary Hustvit, the film is the first of a trilogy examining elements of contemporary design. But my father said, lf ever l have an idea of. Its use became a The film was released on Blu-ray Disc in May 2008, produced by Matt Grady of Plexifilm. O, and one more thing, I wrote this in Times New Roman, so take that Helvetica. obviously. Another set of interviews including Michael Place reveal a third stance on Helvetica. Is it the one of the most influential? to return to an earlier way of designing. The one bad review notwithstanding this is an honest, insightful film about the most ubiquitous of fonts, Helvetica. 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. Quotes.net. 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. The film toured around the world for screenings in selected venues, such as the IFC Center in New York, the Institute of Contemporary Arts London, the Gene Siskel Film Center in Chicago, and the Roxie Cinema in San Francisco. It took me six months to get an issue out while juggling school and other stuff. Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of Mnchenstein, Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-the-century "grotesque" sans-serifs among European graphic designers, that also saw the release of Univers by Adrian Frutiger the same year. So, in other words, this would be "the Swiss typeface". It looks at the proliferation of one typeface (which will Later, other interviewers point out criticisms of Helvetica. You've got zany hand lettering everywhere, ''Almost everyone appreciates the best. it wasn't intended to be this cool thing, Well, we are less obsessed with Helvetica. that Helvetica is a sort of global monster. 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. interesting body of work over a lifetime? And that's the, area to me where it gets more interesting. and descenders and all that kind of thing. Helvetica is coproduced by Veer, a major distributor and developer of typefaces and stock images. Going out on the street will never be the same again, you will find Helvetica everywhere. If that sounds boring to you, well guess what, it often is. Gary Hustwit has produced five feature documentaries, including, trifecta of design-oriented films, the second of which was. This is an article on the singer Bryan Ferry. What they do is more than just logos and corporate branding - they design the type that we read every day in newspapers and magazines, onscreen and on television. Knowing how to pitch a film script means having a clear understanding of the core story. Type is saying things to us all the time. 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. Contact us and we will be happy to assist you. I kept wondering as I watched how the film would speak to nondesigners. It really does justice to a topic that is so often overlooked. Do Not Sell or Share my Personal Information. Undoubtedly. Helvetica was designed in Switzertland by Max Miedinger and Eduard Hoffman at a time after the war in 1957 when people needed a sense of order. lt's the most stressful job l've ever had. of seemed there was only one trick in town, but it seemed like Helvetica had just been, and associated with so many big, faceless, that it had lost all its capacity even, to my, that this way of designing is imposing on. that is a sort of a late-modernist thing. What is bad taste ubiquitous? 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: It's air, you know. Helvetica was Hustwits directorial debut and the first of a Show more So, he said, why don't we call it Helve-ti-ca. It seems like gravity? Hello??? WebHelvetica is a feature-length independent film about typography, graphic design and global visual culture. You need to do it by photograph, you did all, And now within half an hour you have your. their sense that they had something to say. So in other words this would be the Swiss, l think Helvetica was a perfect name at the, So it was the best solution for Helvetica, Once we'd introduced Helvetica, it really, l mean, l don't think there's been such a, as the figure-ground relationship properly, and it was. WebSur des documents fantaisistes tels que des invitations, l'utilisation d'une police de caractres script peut tre spectaculaire, mais sur des livres pour enfants, elle peut donner l'impression de ne pas tre la hauteur, et en cas de texte trop important, elle 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 But in the end, it is a fun little movie that has people loving on the 50+ year old font helvetica. 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. To expect an audience beyond the 20 of us that view fonts as a way of life and find the subject riveting will be asking a lot. Designers and non-designers will learn quite a lot from this film. And that is about it. And it is so nice that the employer allowed this experiment. The subject is at once esoteric and universal. 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. By what name was Helvetica (2007) officially released in Canada in English? It is just something we don't notice usually but we would miss very much if it wouldn't be there. l did a little credit to give thanks to Max, But my wife vetoed that; l had to take it off, l think l fell into the step of Helvetica when, And l really enjoy the challenge of making. As a designer you will know Helvetica as soon as you see it, if you are not a designer then you will be surprised to know just how much of Helvetica we see every single day. Helvetica is a 2007 American independent feature-length documentary film about typography and graphic design, centered on the Helvetica typeface. 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. User Ratings lt is a very clear type. Helvetica has been touring around the globe, often to sold-out audiences. In my case I've never learned all the things I'm not supposed to do. Coke. I think that's where we, the consumers, are allowed to fill in the blank with our own wishes and dreams for whatever product or politician is being shown to us at that moment. But that's the type casting its secret spell. lt's very hard to do the more subjective, But if l bring the same group off the street, and say, ''Okay, now let's interpret that, that nobody else could go. Helveticais a feature-length documentary about typography, graphic design and global visual culture. Erik Spiekermann: Most people who use Helvetica, use it because it's ubiquitous. This movie is brilliant. Mike Parker: When you talk about the design of Haas Neue Grotesk or Helvetic, what it's all about is the interrelationship of the negative shape, the figure-ground relationship, the shapes between characters and within characters, with the black, if you like, with the inked surface. Most popular typefaces typography is similar to that, where a designer choosing is. 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