Helvetica Paper

8/10/2019 Helvetica Paper

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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

03

Collage of Constructivists designs

04

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

06

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

25

Massimo Vignelli

26

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.

28

Original GAP logo

29

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/


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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