I finally saw the much-trumpeted film. It was amusing; mainly for the characters in it – and I mean the designers, not the fontface. That helvetica is everywhere is no surprise. It is clean, bland, large, simple and good for signage. Generally.
But the designers was the funniest bits. Some of them are clearly off their rockers, and I love it. Especially Erik Spiekermann is a raving loony, a man with wit, opinions and a careless regards of others. “I am always on time, but always a year late”, he says. He despises Helvetica for having no contrast; no rhythm. He shrugs, and says bad design is everywhere.
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Helvetica, gods of fonts. I don’t like the a.
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Went through some old notebooks, boxes and piles of stuff before moving here.. and the in the process found my old, precious Letraset book- it used to be a treasure, and a priced possession. Hands up, all who have done plaka lettering; meticulously drawing up and painting letters on awful quality paper. Thought not. Not a common pasttime, exactly. Art school stuff. Initially flicking past the endless pages of sans serifs, grotesks, helveticas, looking at fonts impossible to draw with silly names, flourishes and elan. Basically, it’s a good deal easier to camouflage mediocre penmanship in a swirly, messy font, than in the grotesks… and we where into art, not geometry!