their sense that they had something to say. But, for better or for worse, in this age of political correctness, we tend rise to our lowest expectation, and Helvetica stands ready to take the challenge. Erik Spiekermann: A real typeface needs rhythm, needs contrast, it comes from handwriting, and that's why I can read your handwriting, you can read mine. . so l'm never sort of a classical type guy. . ln the beginning, if you see the sketches. Typefaces express a mood, l see stuff and to me, if it makes me go. This is surely the best documentary I have seen. . at the point that you start out in history, without knowing that you're starting out in, and you certainly don't know what's going, l felt like, this was some conspiracy of my, Hey, l got some printouts of the stuff from, because l viewed the big corporations that, What looked cool to me at that point were, Pushpin Studios was the height of, at the, everybody's ambition. interesting body of work over a lifetime? What are you talking about?" 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. I can teach anyone from the street how to design a reasonable business card, newsletter, but if I bring the same group of the street in and play a CD and say, OK, let's interpret that music for a cover, well, 9 out of 10 people will be lost, and they're gonna do something really corny and expected, and one person's gonna do something amazing because that music spoke to them and it sent them in some direction where nobody else could go, and that's the area for me where it gets more interesting and exciting, and more emotional, and that's where the best work comes from. It's like going to McDonald's instead of thinking about food. Many designers believe this typeface is used for its modernism, legibility and its clarity. Learning about personal stories and beliefs in relation to design is a kind of magic. 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. Of course not. Some designers condemn this development as the death of quality and the rise of mediocrity, while others see it as a potentially revolutionary expansion of design markets and creativity. This is an 80 minute long movie about a font. Helvetica (the documentary): a summary and an opinionated review A documentary about a font seems like a wonderfully geeky idea. obviously. . And they agreed. 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. than any other one, and that's Helvetica. It's just it's just there. l tried to use typefaces from van Doesburg. Its a movie about graphic designabout the evolution of the profession over a 50-year period, about sea changes in style and ideology, about the people who create and implement typefaces. But it almost seems strongerthe other way. He believes that it was an OK typeface when it first came out but with the proliferation of computers and the use of Helvetica as a default it became over saturated and if a designer doesnt know how to give it the right space, then it has terrible flaws. Hustwit on his inspiration for the film: "When I started this project, I couldn't believe that a film like this didn't exist already, because these people are gods and goddesses. "Helvetica Quotes." 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. 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. A documentary about typography, graphic design, and global visual culture. 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. lt is a modern type. Fonts don't just appear out of Microsoft Word: there are human beings and huge stories behind them."[1]. 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. lt. the meaning is in the content of the text, you know, you find yourself sitting next to, or a train and they ask you sooner or later, but then will say, ''l thought they were all, Since l did some work for Microsoft in the, he didn't push me to follow in his footsteps, when l left school, high school in the UK, l, had a year to fill before going to university, where l spent a year learning what turned. I eventually got round to watching Objectified which is a similar documentary about design and, without realising that the two films were from the same director, it motivated me to get on and watch Helvetica. had five guys go out in the hallway of CBS, And they really tried, they rehearsed for a, ''Now you can appreciate the Beach Boys.''. Quotes.net. My father said, that's impossible, you cannot call a typeface after a name of a country. of a movie or play that they're watching. 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. 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. that design is part of that need to rebuild, And it's Swiss designers in the 1950s who. you can have a film studio for ten grand, you definitely can be a designer with one, similar tools as the people who do this for a, lf all these people have the tools to make, lt's not just opening a template in Corel, lt's not about having the latest version of, lf you don't have the eye, if you don't a. the program's not going to give it to you. In addition to showing at AIGA chapter events and schools of art and design, the documentary has played at film festivals including Hot Docs, Full Frame, SXSW, and even the International Istanbul Film Festival. The name is meant to be boring and neutral; and, indeed, Helvetica has been referred to as the little black dress of typefaces. Helvetica is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. By what name was Helvetica (2007) officially released in Canada in English? Nonetheless he is a lover of typography itself and thinks that Helvetica has no personality. l just more, sort of, react to certain things. I use several metrics in this. 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. 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. Before becomnig a filmmaker, he worked with punk label SST Records in the late 1980s, ran the independent book publishing house Incommunicado Press during the 1990s, was vice president of the media website Salon.com in 2000 and started the indie DVD label Plexifilm in 2001. I get kicks out of looking at type. 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. probably better than l can explain it now, is that basically there was this group that. 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. Certain bands l buy. Do Not Sell or Share my Personal Information. A whole documentary about one typeface. And you can say it with Helvetica Extra Light if you want to be really fancy. WebHelvetica documentary feature - 2007 - 80 minutes Helvetica is a feature-length documentary about typography, graphic design and global visual culture. It looks at the proliferation of one typeface as part of a larger conversation about the way type affects our lives. I can't explain it. to return to an earlier way of designing. So when people started getting upset, I didn't really understand why, I said, "What's the big deal? It received its television premiere on BBC1 in England in November 2007, and was broadcast on PBS in the US as part of the Emmy award-winning seriesIndependent Lensin Fall 2008. As a future architect, i felt close to many of what's depicted here. "fonts." A documentary about a typeface? Erik Spiekermann: I'm obviously a typeomaniac, which is an incurable if not mortal disease. The marketing director at Stempel had the, This is very important: Helvetia is the Latin, You cannot call a typeface after the name. Erik Spiekermann: Most people who use Helvetica, use it because it's ubiquitous. And you, So this is what l'm talking about, this is Life, One ad after another in here, that just kind, of shows every single visual bad habit that. However, I felt like there wasn't much to this film. A diatribe (by some) about a font seen Its cult appeal lies in seeing our profession (and our obsessions) portrayed on screen with such dignity and depth. In a million years it would never have occurred to me to do a documentary on a type font. Q: David, you werent a newcomer to Helvetica, Some of his subjects praise the clarity and versatility of Helvetica, while others bristle at how overused it is. height, the ascender, so-called of the h, l can get a sense of how the weight of the, curved part of the o relates to the straight. They'll still follow the plot, but, you know, be convinced or affected. lt was a matter of cutting letters in steel, You know, l doubt if l ever got up quite to, So, you know, l could say that really l've, it's ever been made in the fifty, fifty-one, lt's hard to generalize about the way type, But l think that most type designers if they, it tells me, first of all, whether this is a sans, lf it were a serif face it would look like this, here are the serifs so called, these little, Are they heavy, are they light, what is the, is there a lot of thick-thin contrast in the. 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