Back in March I'd posted some pics of Issue Six and Seven and explained how they'd had quite an effect on me when I first saw them. More recently I re-discovered this, the next issue. Designed to a larger (A3) format, the sense of scale is powerful.
I think (and please, anyone who knows better do feel free to correct me) that Cartlidge Levene only designed these three editions of the Design Museum's magazine.
Even though I'd already bought it and it was waiting in the To Be Read pile, I thought it might have been too niche in that context. Now I'm half way through it I realise I couldn't have been more wrong. I can't think of any other graphic style/movement that was/is so inclusive. From the Arts and right through all levels of industry the Swiss style works, with dynamism, sensitivity and a super cool but still accessible sense of style - with clarity, purpose and economy at it's heart.
I don't know what other reviews are out there but, to me at least, I get the impression that Hollis ready knows his stuff, taking an extremely useful analytical approach at times.
The cut a long story short, Jay was damn right. This book should be essential reading.
With a predominence of Akzidenz Grotesk, Helvetica's forerunner, the book is lavishly illustrated with graphic design classics as well as more obscure examples you'll struggle to find anywhere else.
The only thing I find disappointing about the book is the rather uninspired cover but as soon as you open it that's forgotten.
Helvetiweek has given me the perfect excuse to retrieve those dusty Penrose Annuals from our loft. They're now installed within easy reach downstairs. Full of interesting things, for now though all you're getting is this ad from Linotype for the mighty H.
I really like that bit about how the font has, "roused great interest in the United States..."; they're so progressive in the New World aren't they?
Ironically, very few of these actually feature Helvetica. But then, why should they?
I have posted a few of these before, individually, but I thought they might warrant a collective post of their own. My entire collection fits neatly into a Moleskin Pocket Book. There's a few more on Flickr.
But if you think we're excited now, just wait until we're at the other end of Helvetiweek.
If anyone's got any amusing Helvetica-related anecdotes or dramatic Neue Haas Grotesk stories, do tell; following last week's request for stuff I've had next to naff-all, except for the rather exciting promise of Neue Grafik spreads from Joe Kral.
So this week I'm going to feature just Helvetica-related stuff and nonsense, with the emphasis on "related", meaning it's not necessarily going to be just a load of Helvetica. I'm hoping it's going to be OK.
Ever since our oldest boy was able to go, "toot, toot!" we've been going to the Transport part of this museum. I've lost count of how many times we've been but he and now his little brother never tire of the place. It's also only about ten minutes away from where we live.
It's not huge but the road and rail collection is very well formed and brilliantly layed out. There's plenty of things to see, climb on and fiddle with. And of course, what makes it for me is all the lovely, lovely vintage type. Typical of probably every transport museum, it's everywhere.
This is from another poster we're printing for the Helvetica screening. It's by Fairchild Semiconductor. I don't know Mr Semiconductor, or at least I don't think I do, and don't know his work intimately but I really like this poster. I think it's really interesting.
I like it because it's for the screening that we're very excited about and I actually like the look of it. And I like the idea. The message is coded. It's literally coded and it's conceptionally coded in that you have to work out what the hell it's all about and I like that. But it is all there if you look hard enough. It's cunning too but I won't say why, I'll let you work that out (you'll have to download the pdf to see it properly). It's its cunningness that I really like.