In regards to this post I'm going to make, I will temporarily switch my fonts for "the effect" and to somehow "get a point across". Off the top of my head, Helvetica gave people and designers a sense of clarity and simpleness, something which designers of that time period had never pursued. Because of it's block-y and edgy sides, people find that Helvetica did the job to get the point across marketing and branding designs. It made cold, hard statements and it leaves a strong impression in the viewers head.
“It’s the real thing. Period! Coke. Period! In Helvetica. Period! Any questions? Of course not. Drink Coke. Period! Simple.” - Michael Bierut from the film Helvetica.
Of course that doesn't mean every one in the whole wide world agreed with it. (Due to postmodernist perception) After some time, Helvetica became a mere "tool" for designers, opting out creativity and going for the easy way out - recycling Helvetica without a second thought. As a result, things became dull. All in all, Helvetica is a masterpiece of a typeface, loved by many and is a classic no one can beat, but as designers, we should really think out of the box and create something that's of our own. A unique sense of taste and aesthetic just like what Helvetica did during its era. We shouldn't just reuse what our predecessors left for us, but to see it as a sign of change and a step taken by the brave and the bold.
The film Helvetica was directed by Gary Hustwit back in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957.
19 graphic and type designers were interviewed and their views and comments on Helvetica were filmed and documented. These are the wonderful people that contributed their thoughts and time into giving the next generation a deep insight of the all-so-famous typeface:
(in order of appearance in film)
Hermann Zapf
Danny van den Dungen
Manuel Krebs
Dimitri Bruni
The development and exponential growth of Helvetica was very much the product of modernism. However, it was not designed from scratch. Helvetica's genre: neogrotesque have already stated clearly that Helvetica is an improved and cleaned-up typeface of an original. This is because you can't be"neo" without having an original. The original is from the German grotesks and the US/British grotesques. Helvetica was first named as Neue Haas Grotesk in 1957, later became Helvetia which means Switzerland in Latin. Unfortunately, they were not allowed to name a typeface with a country's name, which then lead to what we all now know as Helvetica- the Swiss typeface. Interestingly enough, Helvetica also means "the fish that no one admits to liking but which is consumed more than any other". Inspired by Eduard Hoffmann in 1957 for the Haas Type Foundry in Munchenstein, Switzerland and designed by Max Miedinger, they thrive to make typography more modern and rational - which is what Helvetica is all about.
Massimo mentioned that typography is actually not about the letters itself, but the space (the white) between the letters that made a difference. The space between the black and the white speaks volumes, and it makes up what the designer is trying to convey.
"In a sense it's like a music, it's not about the notes, it is the space you put in between the notes that makes the music." - Massimo Vignelli from the film
Typography to Wim, is to create order; and creating order, is typography. This leads to his designs being calculated and aligned, using grids to guide him and to create that perfect
"I invented the grid and within the grid I played my game, but always along the sides of the grid so that there is a certain order in the grid. That's why I use grids, that's why they call me gridnik." - Wim Crouwel from the film
"A design should have some tension and some expression in itself. I like to compare it with the lines on a football field. It is a strict grid. In this grid you play a game and these can be nice games or very boring games." - Wim Crouwel
Mike thinks that the inter-relationship of the negative shape with the letters and the figure ground relation between the letters and within the letters makes up Helvetica.
"The counters and the space between characters just hold the letters. You can't imagine anything moving, it is so firm. It's not a letter that's bent to shape, it's a letter that lives in a powerful matrix of surrounding space." - Mike Parker
Heavy quoting aside, Helvetica gives the designers a sense of clarity and straightforwardness. It is designed to be rational and intelligent, to deliver a message across without exaggeration and or confusion. Helvetica has a vibe of neutralism, whereby the typeface and font itself has absolutely no meaning at all, focusing all its attention and context in its content.
In Leslie's opinion, governments and corporations love using Helvetica because on one hand it makes them seem neutral and efficient, but it's the smoothness of the letters that makes them seem almost human. And of course we know how the governments and corporations are like, so that is self-explanatory. By doing so, they became more accessible, transparent and comfortable to people, even if it's only the looks that they're going for. It can also give them a clean and official look, while adding a side of efficiency to their work.
Example of a government agency with the use of Helvetica
Additionally, Helvetica seems to be perfect and right to Matthew Carter, whom is a type designer that considers a letter's proportion, its thickness, height of the ascender, weight difference and the wholesome feel of it when it's side by side with other letters to form words.
To Jonathan, Helvetica seems like the ultimate typeface in the entirety of typeface that's ever existed. It has a sort of finality in its design that when you look at it you'd think it's already perfect and you can do nothing to change it and make it better. Furthermore, even when Helvetica's been used for direct and clear purposes, it can also mean a lot of things depending on the designer.
"Designers and I think readers invest so much surrounding in a typeface, American apparel uses Helvetica and it looks cheeky, and American airline uses it and looks sober."
- Jonathan Hoefler
In contrast, Helvetica is like a glass of icy, clear water whereas designs back in the 50's with all their goofy colours and shapes make then feel like dust and sand in your mouth. In short, Helvetica was a fresh and clear change during that time when everything was more "goofy".
There will always be people who disagree with you, the usage of Helvetica is no different. Erik didn't fancy the use of this particular typeface because he sees no difference and variety in it. He self-proclaims himself as a typo maniac, bordering to the more dangerous side of being a typographer.
"The guy who designed it tried to make all the letters look the same. Helloooo. That's called an army, that's not people because people doesn't have the same fucking helmet on."
- Erik Spiekermann
Mass producing designs with Helvetica!
Neville adds in that typography affects a person's emotional point of view while looking at a design. The typeface and font a designer picks greatly affects the ambience of the design. For example, a marketing slogan that uses Helvetica gives a person the feeling that the item is branded, meaning it's well-known and widely accepted. This way, a person can fit into a crowd without any trouble, and he or she will never stand out.
In short, Helvetica is so overused it's starting to feel dull and tasteless. Designers who originally use Helvetica as something of an idea by now has become a mere routine that everybody follows.
David also comments that what is legible doesn't mean it communicates, because Helvetica may be simple and straightforward, but that doesn't mean it can express everything perfectly. It is like a very important message is said in a boring and non-descriptive way which results in the message being lost.
"There's a very thin line of being simple, clean, and powerful and simple, clean, and boring."
- David Carson
In conclusion, Helvetica may be an impressive and universal typeface, but that doesn't mean it can stop us designers from creating what we feel is appropriate. Creation means yearning for a change, a shift in the tides, to make things that people will love. Helvetica received a lot of wonderful and positive feedback, but it's not the only good typeface out there.
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