Porque as palavras estão por toda parte (Because the words are everywhere) by Marilà Dardot
Helvetica marker.
The (Mostly) True Story of Helvetica and the New York City Subway by Paul Shaw
There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together, over nine pages, to tell a story that ultimately transcends the simple issue of Helvetica and the subway. »
Yesterday evening I watched ‘Helvetica’ again. The film that invites us to take a second look at the thousands of words we see every day. Something people that are in(to) design and typography always do. As I do too. So I really like watching en listening to people like Wim Crouwel, Massimo Vignelli, Rick Pynor, Neville Brody and even David Carson (although I hate his work) talking passionately about how they love or dislike Helvetica, as if we are part of a club that love type.
In this clip, Wim Crouwel. Talking about Modernism and how he is a Modernist and always will be. More from Swiss dots »
