While reading for module three chapter eight, An Epoch of
Typographic Genius, stood out as the beginning of applying artistic design to
type and peaked my curiosity on the subject. Image 8-1, which consists of 24
grids and the typographic layout of every letter but W, instantly reminded me
of a movie I watched years ago called Helvetica. At the time I was taking a
beginning cartography class and we were studying the use of type faces in maps.
I remember thinking how I just took the design of type face for granted and how
I didn’t really understand what drove typographers to a particular design, so I
watched the movie again and will attempt to compare the motivations of
typographers. My impression from the chapter and movie in that not unlike art,
typography changes with demands which are driven by the trends of the time—typographers
constantly want something new and fresh.
Rather the basing type on calligraphy as it was in the very
early stages of design, in mid 1600s, under orders from the king, the French
mathematician Louis Simoneau sparked a revolution of drafting the design of
typeface using a grid. During the rococo era, French artists valued
extravagance and detail, and typographers followed this trend forming
decorative yet structured fonts using this new type design method. William
Carlson, who trained as an engraver, designed type described as “comfortable”
and easy to read. During the French Revolution the type that was popularized by
kings Louis XV and XIV were rejected and an Italian designer Giambattista
Bodoni was on the forefront of the modern era. Bodoni’s style demonstrated a
level of precision never scene before, with repeating structure indicative of
the advancements in printing.
Helvetica was invented in post WWII Switzerland when typographers
were trying to rebuild a new world through type. They wanted something clean
and legible and it caught on fast. Fonts were being created daily for the
immense amount of advertising perpetuated by our newly industrial society and
the Swiss wanted to infiltrate the mother of this phenomena, the United
States. Little did Helvetica’s designers
know that they would change the face of advertising. Ads of the 30s and 40s
(above) were complicated and busy, with lots of people smiling and fancy fonts
explaining complicated slogans. Typeface of the 60s and 70s (above) became
sleek and simple, to deliver short messages quickly. There seems to be two
outlooks on Helvetica amongst the designers and typographers interviewed in the
film. Some think Helvetica is the ultimate san serif font and that all the
subsequent san serifs are mere inadequate versions of Helvetica. Post modern
designers like Paula Scher often think Helvetica is overused and has become the
capitalist font. Scher even describes it as the font that supported the Vietnam War. Rock
and roll albums of the 60s and 70s (bellow) best exemplify this trend of moving
away from the simplicity of Helvetica, even though it was still very popular.
I learned several things have motivated typographers
throughout time. Everything from the political climate to artistic trends of
the generation, as well as technological advancements and the simple just the
urge to create something new, bring about new font designs through typography.
