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Myth of Helvetica
VLADANA KREKLOVA
BA Graphic Design
Prague College, School of Art & Design, 2011
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Acknowledgements
I would like to thank my tutor Simon Gray for great
leadership and guidance throughout the whole process
of writing my dissertation.
I would also like to thank Stephen Douglas for proof-
reading my dissertation and for correcting some
language errors and to my family for all of their support.
Vladana Kreklova
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Contents
Introduction................................................................................................................... ......5
The world before Helvetica
European avant-garde movements................................................................................. ......6
Constructivism and Bauhaus......................................................................................... ......7
Helveticas timeline
After the Second World War.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .. .. ..9
Post-modernists........................................................................................................... ....12
Helvetica now............................................................................................................... ....14
Design of Helvetica
Why Helvetica is considered well designed font............................................................... ....15How Arial affects perceptions of Helvetica...................................................................... ....17
Is Helvetica a retro font?................................................................................................ ....18
Is there a routine in the use of Helvetica?........................................................................ ....19
How Helvetica was used then and now........................................................................... ....19
How usage of Helvetica has changed and the importance of legibility................................ ....20
Conclusion.................................................................................................................... ....21
Bibliography................................................................................................................. ....22
List of Illustrations......................................................................................................... ....23
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Helvetica is one of the most commonly used typefaces.
It has been around for more than fty years and it is still
very popular. Many people say it is so popular because
of its neutrality, but we have to realise that no typeface is
neutral. The neutrality of Helvetica is a myth and probably
that myth is one of the reasons that made Helvetica so
popular. Although Helvetica has been used many times
before in informational systems, airports, city signage
and many corporate identities as well as in works of art,it has still kept its independence.
This work will explore the story of the typeface that has
been celebrated all around the world, but also hated by
some. Lets have a look at the crucial time periods and
usage of the font that some could say is timeless. Why
was Helvetica designed in the rst place and what is the
future of Helvetica?
Introduction
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CONSTRUCTIVISM AND BAUHAUS
The year 1917 was crucial for Russian artists as that
was the time of the great Russian revolution. Russian
artists wanted to bring art into the new society as apart of a reconstruction. Their style constructivism
showed the rejection of traditional materials and they
concentrated on photography, paper on board and
metal. As Richard Hollis says (2006), Constructivism was
for Russians more an ideology than a style. In Europe,
artists and designers were similar to Constructivist.
They were reducing the visual constructions by using
simple geometrical elements. All their projects were
relying purely on colour and the application of modern
technology. If we compare the avant-garde in Russia
and in Europe we can see that they were all inuenced
by the political situation and that their ethos was in a
way similar. Constructivists and Dadaists were both
standing for the idea of destroying the old approaches
to art, but they were coming from different directions.
Constructivists emphasised rationality, whereas
Dadaists were anarchic and emphasised spontaneity
and chance. Constructivism was popular outside of
the Soviet Union as well, especially in Germany, but it
became a style used all over Europe.
In 1919 a new design college was opened in Weimar in
Germany. This new institution was known as the Bauhaus
and many Avant-garde artists such as Russian Wassily
Kandinsky and Swiss Paul Klee were teaching in that
college. The early Bauhaus was inspired and affected
by the post-war political atmosphere in Germany. They
used elements of Cubism, Expressionism and Dadaism.
Richard Hollis (2006) states the fact, that after 1921, the
schools Expressionist style gave way to Constructivism.
In that year, the leader of the Dutch De Stijl group
Theo van Doesburg moved to Weimar. De Stijls visual
philosophy was a very abstract and distinctive geometric
approach. All of their paintings, design and architecture
were relying on strong bold colour. Van Doesburgs use
of typography was very geometrical and his style was the
start to a typographical revolution and Bauhaus design.
Constructivists and Dadists, including Van Doesburg,
founded the New Typography as a movement that
started to use a type in a new way. A former student
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Collage of Constructivists designs
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Bauhaus poster, Joost Schmidt, 1923
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of the Bauhaus, Herbert Bayer, became one of the
most inuential graphic artists of Bauhaus. In 1927 he
designed a typeface that combined capitals and lower
case into a single alphabet, which was called Universal
(Dodd,2006). From then on, all Bauhaus literature had
no capital letters. Another very important artist of that
period was Jan Tschichold, who wasnt a member of
the Bauhaus, but was impressed by the schools work.
He was a teacher of typography from Leipzig. When he
went to the rst Bauhaus exhibition, he was fascinated
by the work and he was very much inuenced by it. He
wrote an article called Elementary Typography, where he
describes the approaches towards to a new typographic
design. This work was very popular and became a kind of
manifesto. After that, he wrote his most famous piece of
work called The New Typography. It was a very detai led
guide on how to use modern typography. Tschichold
elaborated ten basic principles that were supposed to
be used in modern typography. (Hollis, 2005) We can
have a look at this spread, where Tschichold describes
one of his ideas on how to use typographical design.
Very soon after releasing the book, typographers and
printers started to work and design according to its
rules.
05
Jan Tschichold, The woman without a name, part two
Poster
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A spread from Jan Tschischolds 1928 book Die Neue Typographie
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A spread from Jan Tschischolds 1928 book Die Neue Typographie
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AFTER THE SECOND WORLD WAR
After all the horrors of the Second World War, people
started to be idealistic. Again as with the First World War,
the Second one both inuenced and had a huge impact
on artists. Many post-war architects were inuenced
by the Swiss architect Le Corbusier, who developed a
system of dimensions and structures for buildings based
on the human body and classical proportions. American
painters such as Jackson Pollock or Mark Rothko
were introduced to Europe and Pollocks large multi-
layered drip paintings and Rothkos rectangular colour
panels were an instant hit. All these inuences were
something fresh for the Europe broken by the war. In
the design world, in the early 1950s, designers wanted
to rebuild and reconstruct, to make new things, to be
more open, democratic and optimistic. The designers
felt responsible for the social impact they would make.
This is the period when we get the emergence of the
so called international typographic style or Swiss style
(Poynor, Helvetica 2007). Thats when Helvetica comes
to the world. The rational typeface which can be applied
to all kinds of information from city signage and science
systems to corporate identities.
Helvetica was designed in Switzerland in 1957. The
need for that typeface was obvious. All graphic design
and corporate identities were until then very illustrative,
usage of fonts was random, mixed, hand drawn and
very busy, almost childish. All different styles were used
together with effects and materials, that made it look
almost home-made. Adverts and editorial designs from
Life magazine from the 1950s show all the habits that
Helveticas timeline
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Adverts in Life Magazine in 1950s
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to make a modern version of Akzidenz Grotesk, which
was a traditional 19th century German sans serif. The
typeface that Miedinger produced was released as Neue
Haas Grotesk (Dodd, 2006). The original name was too
long and didnt sound very good, especially because
the font was aiming to be sold in America, so when
they released the typeface in Germany in 1961, it was
renamed as Helvetica, the Latin word for Switzerland.
It was a real step from the 19th century. Helvetica was
more neutral and machined. Designers of that period
were used in typography and graphic design then. In the
1960s, there was a desire for more legibility and clarity.
All graphic design as was known until then was replaced
by bright photographs and modern, bold, strong,
straightforward typeface, that delivers the message in
a clean, crisp design, that catches the attention. It was
Helvetica. We can compare and contrast more adverts
from Life magazine, and see how different they are from
the ones of the 1950s. Helvetica changed the graphic
design of that era.
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Coca-cola advert in Life Magazine in 1950s
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Coca-cola advert in Life Magazine in 1960s
As the economic situation was desperate after the war,
it then improved in the 1950s, type-foundries started
to come back to their full production. Type-foundries
were competing with each other by coming up with new
typefaces. The growing demand for typefaces made the
Haas Foundry in Switzerland want to develop a new fresh
typeface. In the mid 1950s directors Edouard and Alfred
Hoffmann briefed their in-house designer Max Miedinger
loved neutrality and believed, that typeface should not
have a meaning in itself. The meaning was supposed to
be in the content of the text. Simon Loxley (2006) says,
that Helvetica was popular because of two main factors.
It was a clean, representative Swiss style. But also, it has
been said that Helvetica hasnt got any distinguishing
features, so it couldnt offend anything or anyone. It has
a friendly feel.
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There was another popular font release that year. It
was a typeface called Univers, produced in another
Typefoundry in Paris. Univers was less mechanical than
Helvetica, and it was more open line of type. According
to Richarch Hollis (2006) Univers was internationally
successful, but for Modernists it wasnt as neutral, so
for large posters and the headings in books, the choice
was again Helvetica.
The style of that time was called Swiss formalism and
graphic designers were using that characteristic grid
structure in their work. For example, Karl Gerstners
poster from 1957 shows a kind of mechanism and
layering.
Wim Crouvel, one of the biggest designers of the
modernist era, is actually called gridnik for his famous
use of grids. He says, When I start to design, rst I
invent a grid and then within the grid I play my game,(Helvetica, 2007). His work includes a logo for the city
of Rotterdam, a collection of postage stamps and a
famous calendar, that uses a type in a cut-like way. His
postage stamps are one of the examples of his usage
of Helvetica. The stamps were designed in The Stilj
Movement, which was a Dutch art movement. 13Wim Crouwel,The Stijl stamps 1983
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Karl Gerstner - poster 1957
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Univers typeface
Crouvel used the work of an artist, Theo van Doesburg,
and because the illustration was already from that
particular period, he decided to use the most neutral
typeface Helvetica. For all designers of that era,
neutrality was important and grids were a tool to create
an order, so their designs are clean, clear and readable.
Everything had to have its reasoning and be rational.
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POST-MODERNISTS
By 1979, especially in America, there was a reaction
against Helvetica. Designers wanted to get away
from the orderly clean smooth surface of design. the
horrible sleekness of it all, as they saw it, says Rick
Poynor (Helvetica, 2007). A younger generation of
graphic designers was questioning the perception of
Modernism. Modernism and all the things that came
from its idealism started to be routine and designers felt
it needed a change. They realised the type should be
its own medium, that can speak. In the post-modern
period, designers were breaking things up. They were
going away from the clean, slick and smooth surface
of design. They wanted to produce something thats
more alive, something with energy and vitality. Designers
wanted to express subjectivity and their own feelings
about the world. They believed that the way something
is presented denes the way people react. When on a
design of a book cover, poster or leaet is used three
different typefaces, the message could be read differently
each time, because every typeface has its own style andmakes people feel differently about the way it looks.
It was Odermatt & Tissi in Switzerland, the home of the
International Style, that were one of the rst that came
with the New Wave. The designs they produced were
ignoring everything that has to do with the clarity and
order that were the norm in Swiss design. They used
bold letter-forms that overlapped each other in colourful
heaps and angled columns with coloured panels. In
Britain, it was Neville Brody, who started the rebellious
movement. When punk rock began to cause outrage in
the music industry, Brody started to design typefaces,
logotypes and record sleeves for Fetish Record in Dada
and Futurist style (Dodd, 2006). Brody then started to
work for the magazine The Face. The design of the
magazine was very different from any other known
designs before. First, it was just a big experiment and
the design was shocking. Later on, Brodys usage
of typography was considered more playful and
adventurous and started to be very interesting and
wanted. He was then designing his own typefaces, that
were used in the magazine and The Face became a kind
of style bible (Loxley, 2006)
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Covers of The Face Magazine
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Offset brochure - Rosemarie Tissi, 1981
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Helvetica was absolutely a no-no for post-modernists.
As Paula Scher describes (Helvetica, 2007), Helvetica for
her was mainly the type for big corporations and at that
time, it looked a little fascistic to her for its sleekness. It
was her, who started to design diagrams, maps, charts
and all types of information, that one would usually
nd in encyclopaedias, in a different, alternative way
(Poynor, 2003). Her design for the cover of AIGA annual
was about American graphic design. So she made an
illustration of the United States and lled the illustration
with information of how many percent of people use
Helvetica, which she based on the election for Reagan.
Another great graphic designer David Carson explains,
that if you want to say some important message and
you write it in a boring typeface, the message could
get lost. If something is legible doesnt mean that it
communicates. What is more important, is that it doesnt
mean it communicates the right thing. All his work when
he was starting to do design was a big experiment.
He just did how he felt it was supposed to be. He has
never being formally trained as a designer and thats is
probably why his work was so innovative and impulsive.
He realised much later, that there were some kind of
rules in the usage of type.
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Cover of book with David Carsons work
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Stefan Sagmeister, poster
for Lou Reeds Set the
Twilight Reeling (1996)
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Paula Scher, cover of magazine AIGA
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One of Paula Schers maps - NYC Transit
Neville Brody in the Helvetica lm explains, why the
choice of typeface is so important. The way the message
is dressed is crucial especially in advertising. He gives
an example of an advert for a jeans. If it is written in a
grange font it will say that the product will be ripped
street wear. If it is written in Helvetica, the product will
be clean and the customers would feel safe, and they
wouldnt stand out.
If we compare the time periods of art movements of
avant-garde and post-modernists, we can see a bigsimilarity. They all wanted to use type in a very expressive
and unusual way. Helvetica for them was that neutral
typeface without any expression, and that is why post-
modern artists hated it and never used it. For Stephan
Seigmester, Helvetica and the whole of modernism was
disappointing and simply boring (Helvetica,2007).
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HELVETICA NOW
Helvetica is just as popular now as it was when it rst
appeared. It is difcult to say what is popular these days,
what is the trend. We all live in a free world and everyone
has a different style and different opinion on what looks
good and what is in the now style. The design studio
Experimental Jetset is a graphic design collective from
the Netherlands, who use Helvetica in most of their
designs. Danny van den Dungen says that they use it
mainly because it takes a lot of energy to hunt for the
new typeface all the time. When they were students, they
were looking for a different font, then realised somebody
else had used it, so they had to search again. So they
use Helvetica, because everybody uses it and it is very
adaptable. They are not against experimenting that has
been done by post-modernists like David Carson. What
they do is just an extension of that. They experiment
with Helvetica. Because Helvetica is a reasonably old
typeface, it is sometimes used in a retro style. Some of
Experimental Jetsets designs are like that, but some are
very modern. If we have a look at the work of Michael C
Place, we nd different kinds of Helvetica use. What he
is trying to do is to make Helvetica speak in a different
way and he is denitely one of the designers that really
enjoy using the font. His poster Symbolism is a perfect
example of different ways of using Helvetica.
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Experimental Jetset, Stedelijk Museum CS -Logotype
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Experimental Jetset, Drum & Bassline yers22
Michael C. Place - Symbolism poster
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WHY IS HELVETICA CONSIDERED AWELL DESIGNED FONT?
Helvetica has been used many times in free art as well
as in many corporate identities. People dont even
realise that the most famous logos are designed with
Helvetica. For example, American Airlines was one of
the rst identities designed with Helvetica and it hasnt
been changed since. The revolutionary thing about that
logo is that the name is written as one word in Helvetica
typeface and is just differentiated by two different
colours. Red and blue, so emblematic of America. Other
famous logos are for instance Jeep, The North Face or
BMW. What is interesting is that every logo evokes a
different mood although they all uses the same typeface.
As Jonathan Hoeer (Helvetica, 2007) says: American
Apparel uses Helvetica and it looks cheeky. American
Airlines uses Helvetica and it looks sober. We can go
and examine each use of Helvetica and we realise that it
is the typeface that gives the designer a free hand to use
it in the way it needs to be used.
Leslie Savan, media writer (Helvetica, 2007) describes,
Design of Helvetica
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Collage of logos
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that governments and corporations love Helvetica
because on the one hand, it makes them seem neutral
and efcient, while the smoothness of the letters makesthem almost human. That is a quality they all want.
Helvetica has been used in IRS or EPA. Massimo Vignelli
designed New York City Transit Signage, but Helvetica
has been used all around the world at airports, for
subway signage and all the warnings and information
signs in streets. Although Helvetica is supposed to be
the neutral typeface, it is interesting that people, mostly
designers, notice when Helvetica is used somewhere. If
it was that neutral, shouldnt it be invisible, unnoticeable?
So should we think that Helvetica is a perfect typeface?
If we have a look at all designs made from Helvetica,
it seems to be perfect. Many posters and corporate
identities are designed using Helvetica and the letters
are just right. Typographer Matthew Carter (Helvetica,2007) admits that he is glad that nobody asked him
to redesign Helvetica, because he wouldnt know
what to do. Helvetica is just right. There were some
improvements to Helvetica, but none of them was
actually any better24Massimo Vignelli
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Massimo Vignelli
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Massimo Vignelli
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HOW DOES ARIAL AFFECT THE
PERCEPTION OF HELVETICA?
When Helvetica was created, it was used by many
designers at that time for either their free art or for
commercial purposes. Many corporations started to
use the typeface for their identities. Helvetica became
even more popular when it was licensed by Apple and
included with every Macintosh computer. Apples rival
Microsoft needed something strong like Helvetica.
Microsoft, which is a company without any taste as
Steve Jobs once said, didnt want to pay Linotype any
money, so they asked Monotype to design for them a
new typeface. Of course if you have a perfect typeface,
you cant change it. It cant go better, so it went worse,
says Eric Spiekerman (typefan101, 2009). Arial is a
typeface that people probably know about a bit more
than Helvetica. It is a fact that majority of people use
Microsoft computers rather than Macintosh, so Arial is
more available to them. Designers spot Helvetica and
know the difference immediately, so the fact that it
could be confused with Arial by the public doesnt mean
that the perception of Helvetica could be damaged. In
the end it is the designers who use that typeface for
commercial purposes.
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Arial vs Helvetica
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IS HELVETICA A RETRO FONT?
Considering Helvetica was designed more than fty
years ago, it is still used a lot. We can see that many
companies are still trying to have a new identity and
they are trying to use Helvetica as their new image.
For example GAP with their famous logo in a serif font
were just trying to renew their brand by changing their
trademark. Their original logo was being used for over
twenty years. The company felt that they needed a
change, so they decided to re-brand themselves with
a logo in Helvetica and their famous blue box was just
stuck in the corner of the sign. Immediately, customers
started to give their opinion of the new image and in
the end, the company came back to their original logo.
It wasnt a successful use of Helvetica at all, but it just
shows that Helvetica is still in fashion, because people
still want to use it. It is still a very modern typeface, but
it has to be used right and it illustrates that Helvetica
isnt neutral.
If we have a look at the past and go through the phases of
the 1960s modernism and the 1970s post-modernism,
we realise that Helvetica can be either loved or hated.
Even designers of today are in these two groups.
They either say, that Helvetica is a perfect, clean, clear
typeface or that it is a boring, overused default type.
As David Carson says (Helvetica, 2007), there is a very
thin line between simple and clean and powerful, and
between simple and clean and boring. Famous designer
Eric Spiekerman (Helvetica, 2007) admits that Helvetica
was a very good typeface at the time. It answered the
demand and what was needed, but now it became one
of those defaults, that are everywhere and people just
use it because it is just there.
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Original GAP logo
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Attempt for a re-brand
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HOW USAGE OF HELVETICA CHANGED
SINCE IT CAME OUT AND HOW
LEGIBILITY IS IMPORTANT.
Helvetica can be used the same way as it used to be
and still look good. It might look like a retro style, but
it doesnt need to be. The thing about that typeface is,
that it gives a designer the opportunity to do whatever
they can. Which brings us to the question, is it neutral
then? We should have a closer look at the art of legibility,
because that is a very important part of type design. It
could do a lot with the design and use of a type. It can
change the mood and the style. We dont realise it, but
we dont read letter by letter. We see the whole word
and it goes straight to our brain, and then it is up to its
legibility as to how long it takes to actually realise what
word we are reading. If the text isnt perfectly legible, we
have to spend more time to read it. It could be only a
second, but it could make a difference to the experience
of reading.
Text needs to be legible especially in situations where
people need to only skim read information and recognise
the important information immediately without having to
spend extra time to read it. For example while scanning
pages, reading signs or skimming through catalogues
or lists. Ruari McLean says (1992) that for instance,
in newspapers, yers and all advertising leaets, the
headlines should pop right off the page into a readers
brain. The same is with a table of contents or parts of
lists, a reader should be able to absorb the names of the
parts while just sliding down the page.
According to Ruari McLean, the legibility of typeface
depends of course on the qualities of the typeface
itself, but also on how it is used. If a good typeface is
used badly, it could be actually less legible then a poor
typeface with a legibility that was properly done and the
typeface was used well.
Helvetica is a typeface that is naturally legible, but as
Erik Spiekerman says (Helvetica, 2007), it needs a lot
of white space around. Although it is considered as a
very legible typeface, it needs to be used very carefully.
He says that a real typeface needs rhythm and contrast
as found in handwriting, and apparently Helvetica hasnt
got any of that. It is very heavy, so a designer needs
to very carefully consider the spacing. The fact is, that
when Helvetica is used well, it is beautiful.
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After exploring the background of Helvetica, the
development and impact of different art styles, it could
be easy to say that Helvetica is neutral. If we think about
the fact opinions are so divided, how could Helvetica
possibly be neutral? The fact that although people think
it is invisible and is the air of the city, how come that
everyone within the design industry notices it when they
see it? It seems to be efcient and clean, but still, maybe
thats what distinguishes it so much that it is probably
even more visible and noticeable. If some people have
such strong feelings about its design, either positive
or negative, that leaves us with the conclusion that its
neutrality really is a myth.
Conclusion
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Baines P. & Haslam A. (2005), Type&Typography. Laurence King Publishing
Computer Arts(2011) January, issue 183
Computer arts projects(2009) June, issue 124
Computer arts projects(2010) February, issue 133
Robin Dodd (2006) Form Gutenberg to Opentype. The Ilex Press Limited
Stephen Eskilson (2007) Graphic design: a new history.Laurence King
Helvetica (2007) Directed by Gary Hustwit [Film] USA: Swiss Dots Ltd.
Lars Muller (2008)Helvetica, Homage to a typeface. Lars Muller Publishers.
Steven Heller and Georgette Ballance (2001) Graphic design history.Allworth Press
Richard Hollis (2005) Graphic design, a concise history.Thames & Hudson Ltd.
Richard Hollis (2006) Swiss graphic design: the origins and growth of an international style, 1920-1965. Yale
University Press.
David Jury (2006) What is typography?. RotoVision
Simon Loxley (2006) Type: the secret history of letters. I.B.Tauris
Ruari McLean (1992) Manual of Typography.Thames & Hudson Ltd.
Jan Middendrop (2004) Dutch type. OIO Publishers
Pincas, S. and Loiseau, M. (2008)A History of Advertising.Taschen GmbH
Rick Poynor (2003) No more rules: graphic design and postmodernism.Laurence King Publishing
Typefan101 (2009) Erik Spiekermann - Extra Interview. Available at : http://www.youtube.com/
watch?v=F691weEVpwc (Accessed: 1 November 2010)
Rudy Vanderlans (2003) Helveticanism, interview with Experimental Jetset, Emigre magazine, May 2003
Massimo Vignelli (2007) Vignelli from A to Z.The Images Publishing Group Pty Ltd
Massimo Vignelli, Lella Vignelli (2004)Design Is One.The Images Publishing Group Pty Ltd
Robin Williams (1998) The Non-Designers Type Book. Peachpit Press
Bibliography
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List of illustrations
Front cover picture,http://ilovetypography.com/love/
01 (page 06) - F.T. Marinetti, Les mots en liberte futuristes, 1919; http://tia4310.blogspot.com/2008/09/
presentation-slides.html
02 (page 06) - F.T. Marinetti, Les mots en liberte futuristes, 1919 ; http://blog.semanticfoundry.
com/2009/01/25/from-heidegger-to-twitter-thoughts-on-self-interaction-design/
03 (page 07) Collage of Constructivist designs; http://dontcomehereomg.blogspot.com/2010/05/from-
constructivism-to-modernism.html
04 (page 07) Bauhaus poster, Joost Schmidt, 1923; Robin Dodd (2006) Form Gutenberg to Opentype. The Ilex
Press Limited
05 (page 08) Jan Tschichold, The woman without a name, part two Poster; http://agcira.blogspot.com/2009_08_01_archive.html
06 (page 08) A spread from Jan Tschischolds 1928 book Die Neue Typographie; Robin Dodd (2006) Form
Gutenberg to Opentype. The Ilex Press Limited
07 (page 08) A spread from Jan Tschischolds 1928 book Die Neue Typographie; Robin Dodd (2006) Form
Gutenberg to Opentype. The Ilex Press Limited
08 (page 09)Coca-cola adverts in Life Magazine in 1950s; http://oldbike.wordpress.com/vintage-bicycle-
adverts-1920s-1950s/; http://www.smashingmagazine.com/2008/04/21/celebration-of-vintage-and-retro-design/
09 (page 10) Coca-cola advert in Life Magazine from 1950s; http://www.adglitz.com/category/ad-folklore/
10 (page 10) Coca-cola advert in Life Magazine in 1960s;http://josh-in-reel-life.blogspot.com/2010_07_01_
archive.html
11 (page 11) Univers typeface;http://www.assertivemagazine.com/wp-content/uploads/80-beautiful-fonts-
typefaces-for-professional-design/univers-std.gif
12 (page 11) Karl Gerstner - poster 1957; Robin Dodd (2006) Form Gutenberg to Opentype. The Ilex Press
Limited
13 (page 11) Wim Crouwel,The Stijl stamps, 1983; http://www.neshanmagazine.com/A%20package%20
from%20Europe-11.htm
14 (page 12) Covers of The Face Magazine; http://shapersofthe80s.com/
15 (page 12) Offset brochure - Rosemarie Tissi, 1981; http://www.clearmag.com/assets/2010/06/p300-
Rosemarie-Tissi-brochure-1981-668x859.jpg
16 (page 13) Paula Schers design of cover for AIGA Magazine;http://blog.eyemagazine.com/?p=386
17 (page 13) NYC Transit by Paula Scher;http://joelaz.com/post/107337876/nyc-transit-by-paula-scher-detail-
view-artist
18 (page 13) Cover of book with David Carsons work; http://pantagruel.typepad.com/devnull/2008/05/20-
design-remin.html
19 (page 13) Stefan Sagmeister, poster for Lou Reeds Set the Twilight Reeling (1996) ; http://2143.tumblr.
com/post/24240434/stefan-sagmeister-poster-for-lou-reeds-set-the
20 (page 14) Stedelijk Museum CS - Logotype ;http://www.experimentaljetset.nl/
-
8/10/2019 Helvetica Paper
23/23
21 (page 14) Paradiso Amsterdam, Drum & Bassline - fyers; http://www.experimentaljetset.nl/
22 (page 14) Michael C. Place - poster; Computer arts projects(2009) June, issue 124
23 (page 15) Collage of logos;each logo downloaded from google.co.uk
24 (page 16) Massimo Vignelli, NYC Transit signage;http://www.apartmenttherapy.com/ny/artwork/massimo-
vignelli-updates-his-new-york-city-subway-diagram-048963
25 (page 16) Massimo Vignelli, NYC Transit signage;http://www.ickr.com/photos/dsostatic/3947688462/
26 (page 16)Massimo Vignelli, NYC Transit signage; http://www.apartmenttherapy.com/ny/artwork/massimo-
vignelli-updates-his-new-york-city-subway-diagram-048963
27 (page 17) Arial vs Helvetica,http://ilovetypography.com/2007/10/06/arial-versus-helvetica/
28 (page 18) Original GAP logo,http://pittsburghtrademarklawyer.wordpress.com/2010/10/12/gap-scraps-new-
logo/
29 (page 18) Attempt for a re-brand, http://www.donniebelldesign.com/blog/?p=255
30 (page 19) Helvetica tattoo, http://ilovetypography.com/2009/01/05/to-a-typetastic-new-year/
31 (page 19)Helvetica chair, http://www.hastell.com/
32 (page 19) Helvetica biscuit cutters,http://laughingsquid.com/helvetica-cookie-cutters/
Number of words: 4905
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