Helvetica Forever: Story of a TypefaceLars Müller, 2009 - 159 pagina's Designed in 1957, the Helvetica font is an icon of Swiss graphic design, which was a model of sober, functional communication throughout the world in the 1950s and 60s. The balanced and neutral appearance of Helvetica forgoes a high degree of expressivity - a quality for which it is both criticized and admired. This polarization has helped to gain it unparalleled notoriety. Helvetica is far and away the most widely used of all typefaces; according to a survey by the Berliner Fontshop-Archiv, it tops the list of the hundred best fonts of all time. This publication retraces Helvetica's fifty-year history, compares it to the well-known sans serif fonts of the twentieth century, and examines the phenomenon of its unparalleled spread. Numerous illustrations show a multitude of ways the font has been used in five decades from a wide variety of fields - from signal design to party flyers. AUTHOR: Lars Muller was born in Oslo 1955 and has been living in Switzerland since 1963. After doing his apprenticship as a graphic designer, and years of apprenticeship and travel in the USA and Holland, he opened a studio in Baden in 1982. In 1983, Lars Müller began publishing books on typography, design, art photography, and architecture. ILLUSTRATIONS 150 images |
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Pagina 43
... Futura had little hope of regaining the ground that had been lost to new designs such as New Haas Grotesk ( also see p.118 ) . Die schöne ERBAR GROTESK 14 GARNITUREN Ludwig & Mayer Schriftgreferei und Holzgerstefabrik Frankfurt a . M.
... Futura had little hope of regaining the ground that had been lost to new designs such as New Haas Grotesk ( also see p.118 ) . Die schöne ERBAR GROTESK 14 GARNITUREN Ludwig & Mayer Schriftgreferei und Holzgerstefabrik Frankfurt a . M.
Pagina 116
... Futura . Jan Tschichold felt typefaces like Gill Sans and Futura were too " designed " for his 1928 book Die neue Typografie ( The new typography ) . He preferred the more neutral and anonymous quality of the earlier grotesques such as ...
... Futura . Jan Tschichold felt typefaces like Gill Sans and Futura were too " designed " for his 1928 book Die neue Typografie ( The new typography ) . He preferred the more neutral and anonymous quality of the earlier grotesques such as ...
Pagina 117
... Futura , Paul Renner , Bauer , 1927 + ! ? " ; * & A B C D E F GHIJKLMNOP QRSTUVWXYZAOUAŒÇ abcdefghijklmnopqrstuvw xyzäöüch ck ff Â Â Â Â Â Â ß æœç 1234567890 & . , - : ; · ! ? ( ' « » § + * aaaa ggg Hamburges Drawings for the London ...
... Futura , Paul Renner , Bauer , 1927 + ! ? " ; * & A B C D E F GHIJKLMNOP QRSTUVWXYZAOUAŒÇ abcdefghijklmnopqrstuvw xyzäöüch ck ff Â Â Â Â Â Â ß æœç 1234567890 & . , - : ; · ! ? ( ' « » § + * aaaa ggg Hamburges Drawings for the London ...
Inhoudsopgave
An Impersonal Typeface for Today and Tomorrow | 19 |
Eduard Hoffmanns Journal | 70 |
Helvetica Some Thoughts on a New Typeface | 98 |
Copyright | |
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