38 reviews
This is an 80 minute long movie about a font. People talk about the font, the history, the meaning and the significance of helvetica. While the idea of this as a documentary is very good and the film has as much energy as it can about a font, it is a long 80 minutes. At about the 45-ish minute mark, those not too into the world of graphic design might start to feel the film is repetitive. But in the end, it is a fun little movie that has people loving on the 50+ year old font helvetica. If that is your idea of a good time, you'll love this. If you say to yourself, "80 minutes about a typeface?" - this movie may not be for you.
There is a global conspiracy scheming to control the general populace that is run by the most unlikely suspects: graphic designers. Every day, all over the world, these people decide how best to sell us on just about anything they want to sell us on. Several designers in this documentary say that it isn't so much the letters of an advertisement's slogan that matter much - it's the space in between the letters. What's so important about the empty space? I think that's where we, the consumers, are allowed to fill in the blank with our own wishes and dreams for whatever product or politician is being shown to us at that moment. But that's not really what this movie is about.
Helvetica is the most commonly used typeface in the modern world. Crate & Barrel, Target, American Airlines, and Energizer are some of the more notable companies that use Helvetica and its derivatives in their corporate logos. Countless other businesses have used it in their advertising. The reason for this is that it was designed for the specific purpose of being as universally acceptable as possible. It is not exactly stylish in and of itself, though many designers have used it stylishly because the typeface is merely a tool of the designer. They can make it stick out or blend in to their liking, and these seem to be the two main schools of thought over the use of Helvetica. The old school designers like it for its simplicity and boldness where newer, younger designers mostly see it as a generic relic from the 60's. One man who calls Helvetica a symbol of conformity and socialism apparently doesn't understand the irony of his using a MacBook at the same time he states this.
This film is focused on the Helvetica typeface - its creation, its purpose, and its uses - but it speaks volumes about the design/advertising industry as a whole. There are thousands of people who are striving everyday to make the average Citizen Schmoe feel a certain way and think a certain thing, to control and exploit our buying and behavioral patterns. They may not all be shilling Tide, but it is alarming to see inside that culture. Like any trend in the art world, Helvetica has gone through ups and downs. It was designed in the 50's as an answer to the kitschy, colorful designs of the era. It was meant to be powerful and grounding, not light and airy. It was used heavily throughout the 60's, but the designers got tired of it and abandoned Helvetica's straight lines for "grungy" design in the 80's and 90's. Since Helvetica was built to have almost no personality, designers started giving their work more of that with handwritten text and goofy designs which would have been considered printing accidents in decades past. In fact, one man actually received praise for a mistake that was made in publishing. So the new designers of the 90's were going wild, the older men shook their heads, and our current generation of designers were learning how to use Helvetica in wild ways. The lifespan of the font has come, gone, and come again, much like leg warmers are bound to someday soon.
The reason Helvetica is still being used today is because it works. People see those solid, strong letters and they instantly feel secure in the idea it's portraying and comforted by its mere presence, which makes it "ideal" to some people for use as public signs labeling streets, restrooms, subways, etc. It's mind control in a font. It's pretty fascinating stuff, to be sure. But be careful out there, readers. Next time you have to choose between Mobil and Arco gas stations, just remember they're both using the safety of Helvetica to lure you in. And then make the decision to go electric.
http://www.movieswithmark.com
Helvetica is the most commonly used typeface in the modern world. Crate & Barrel, Target, American Airlines, and Energizer are some of the more notable companies that use Helvetica and its derivatives in their corporate logos. Countless other businesses have used it in their advertising. The reason for this is that it was designed for the specific purpose of being as universally acceptable as possible. It is not exactly stylish in and of itself, though many designers have used it stylishly because the typeface is merely a tool of the designer. They can make it stick out or blend in to their liking, and these seem to be the two main schools of thought over the use of Helvetica. The old school designers like it for its simplicity and boldness where newer, younger designers mostly see it as a generic relic from the 60's. One man who calls Helvetica a symbol of conformity and socialism apparently doesn't understand the irony of his using a MacBook at the same time he states this.
This film is focused on the Helvetica typeface - its creation, its purpose, and its uses - but it speaks volumes about the design/advertising industry as a whole. There are thousands of people who are striving everyday to make the average Citizen Schmoe feel a certain way and think a certain thing, to control and exploit our buying and behavioral patterns. They may not all be shilling Tide, but it is alarming to see inside that culture. Like any trend in the art world, Helvetica has gone through ups and downs. It was designed in the 50's as an answer to the kitschy, colorful designs of the era. It was meant to be powerful and grounding, not light and airy. It was used heavily throughout the 60's, but the designers got tired of it and abandoned Helvetica's straight lines for "grungy" design in the 80's and 90's. Since Helvetica was built to have almost no personality, designers started giving their work more of that with handwritten text and goofy designs which would have been considered printing accidents in decades past. In fact, one man actually received praise for a mistake that was made in publishing. So the new designers of the 90's were going wild, the older men shook their heads, and our current generation of designers were learning how to use Helvetica in wild ways. The lifespan of the font has come, gone, and come again, much like leg warmers are bound to someday soon.
The reason Helvetica is still being used today is because it works. People see those solid, strong letters and they instantly feel secure in the idea it's portraying and comforted by its mere presence, which makes it "ideal" to some people for use as public signs labeling streets, restrooms, subways, etc. It's mind control in a font. It's pretty fascinating stuff, to be sure. But be careful out there, readers. Next time you have to choose between Mobil and Arco gas stations, just remember they're both using the safety of Helvetica to lure you in. And then make the decision to go electric.
http://www.movieswithmark.com
- secretagent_007
- Dec 15, 2007
- Permalink
The one bad review notwithstanding this is an honest, insightful film about the most ubiquitous of fonts, Helvetica. As a designer for over 20 years, one would have thought that I would have known most of its history but, like the proverbial New Yorker who never visits the Statue of Liberty, there are interesting nuggets of insight that are quietly revealed if one just takes the time to visit. Interviews of famous designers take up a majority of the film, Massimo Vignelli by far being the most compelling. Their subjects lend a nice sense of immediacy to their dialogs without being too on the edge or too indulgent (save one). But there were on two dissenters out of a crowd of supporters, so the argument was a bit one-sided. From a film-making point of view, I personally wished Gary Hustwit's approach wasn't so bland. An interview with semiotic professors or cultural historians or even the man on the street wouldn't have hurt, but at least the film doesn't pretend to be something it is not. Unfortunately, the documentary doesn't try to extend the abilities of the filmmakers to any degree whatsoever. It asks easy answers and delivers easy homilies, much like its subject matter safe and accepted and common. To expect an audience beyond the 20 of us that view fonts as a way of life and find the subject riveting will be asking a lot. Is Helvetica the greatest font every designed? No, absolutely not. Is it the one of the most influential? Undoubtedly. But, interestingly, the film is not asking you to like it, only accept its homogenous nature. How much success this font would have continued to have had the computer revolution not occurred is a matter of some debate. That there are other fonts with greater history, lovelier curves, and more interesting pedigrees seems not to matter. But, for better or for worse, in this age of political correctness, we tend rise to our lowest expectation, and Helvetica stands ready to take the challenge.
This is surely the best documentary I have seen. I use several metrics in this.
A film is almost without exception a story. A documentary is usually presumed to be a found story, an existing one that the filmmaker merely exposes. We come to the thing expecting some coherent story, already formed, the problem having two threads: Can we trust the filmmaker? Does the story resonate? Often a solid position in one mitigates the other.
But real life at least the life I know has no stories that are blunt. Real stories, the ones that weave themselves through the world, are rich, only somewhat visible, immensely intriguing and often educational. I expect to be puzzled. If there are "two sides," I immediately mistrust the teller, because true movement is simply itself.
This film should be celebrated simply because it decides to present a story in its unformed state. We hear from designers young and old, clever and not. Some are geniuses and some see the genius of design and we have no idea which is which. They report profoundly different views on a typeface. Lest we think this is an irrelevant subject, the observations on the typeface are bridged by examples to show how thoroughly it has saturated.
So we are left with the same form as "Ten Tiny Love Stories," perspectives that surround the notion and instead of pulling out the answer, illuminated the mystery. The simple fact is that this is a powerful, mysterious force that makes us do things. The comparison of font design and romance is not misplaced: both somehow relate to the bricks of stories we use in constructing a life or for some of us a fort to protect from life.
So I can recommend this to you. I recommend seeing it with your partner, your real partner. And then sit with them quietly and reflect on the nature of clarity and knowing.
I can criticize this though. There is much that could easily have been said that wasn't.
Its usually presumed that spoken language is quite old and written language a relatively modern technology compromised to make it persist. In this context, type design is merely a matter of style, a choice.
But there is evidence that spoken language predates modern humans and evolved over time through collaborative toolmaking, most particularly weaving and stonechipping. Acts of hands. Shapes -- physical form, with symmetries. Spoken language in this history is itself an adaptation, and written language perhaps closer to the core of how we think. In this history, shapes matter. The process of creating form in story all manner of form matters. The story is how the story is shaped.
We bump against this intuitively. It was why the Macintosh was a giant step forward in the 80's, because storytellers could for the first time be storyshapers (publishers, in the corporate lexicon). And why Microsoft is such an evil. And why type design elements have become so deeply viral. The original features come from carved inscriptions and independently from monks' pens.
Anyway, from that Mac beginning came a focus on type as never before. And several design journals that struggled with the issues spoken about in this film. Pulling them out of print to put on screen should carry some more weight than we have here. I am hoping that some truly talented filmmaker is inspired by this.
The most edgy but still intelligent design and font design journal from the last decades is "Emigre," which you should peruse if this movie intrigues you. Also you might want to check out Darius, who was behind the first designed font.
My typeface is Vendetta.
Ted's Evaluation -- 3 of 3: Worth watching.
A film is almost without exception a story. A documentary is usually presumed to be a found story, an existing one that the filmmaker merely exposes. We come to the thing expecting some coherent story, already formed, the problem having two threads: Can we trust the filmmaker? Does the story resonate? Often a solid position in one mitigates the other.
But real life at least the life I know has no stories that are blunt. Real stories, the ones that weave themselves through the world, are rich, only somewhat visible, immensely intriguing and often educational. I expect to be puzzled. If there are "two sides," I immediately mistrust the teller, because true movement is simply itself.
This film should be celebrated simply because it decides to present a story in its unformed state. We hear from designers young and old, clever and not. Some are geniuses and some see the genius of design and we have no idea which is which. They report profoundly different views on a typeface. Lest we think this is an irrelevant subject, the observations on the typeface are bridged by examples to show how thoroughly it has saturated.
So we are left with the same form as "Ten Tiny Love Stories," perspectives that surround the notion and instead of pulling out the answer, illuminated the mystery. The simple fact is that this is a powerful, mysterious force that makes us do things. The comparison of font design and romance is not misplaced: both somehow relate to the bricks of stories we use in constructing a life or for some of us a fort to protect from life.
So I can recommend this to you. I recommend seeing it with your partner, your real partner. And then sit with them quietly and reflect on the nature of clarity and knowing.
I can criticize this though. There is much that could easily have been said that wasn't.
Its usually presumed that spoken language is quite old and written language a relatively modern technology compromised to make it persist. In this context, type design is merely a matter of style, a choice.
But there is evidence that spoken language predates modern humans and evolved over time through collaborative toolmaking, most particularly weaving and stonechipping. Acts of hands. Shapes -- physical form, with symmetries. Spoken language in this history is itself an adaptation, and written language perhaps closer to the core of how we think. In this history, shapes matter. The process of creating form in story all manner of form matters. The story is how the story is shaped.
We bump against this intuitively. It was why the Macintosh was a giant step forward in the 80's, because storytellers could for the first time be storyshapers (publishers, in the corporate lexicon). And why Microsoft is such an evil. And why type design elements have become so deeply viral. The original features come from carved inscriptions and independently from monks' pens.
Anyway, from that Mac beginning came a focus on type as never before. And several design journals that struggled with the issues spoken about in this film. Pulling them out of print to put on screen should carry some more weight than we have here. I am hoping that some truly talented filmmaker is inspired by this.
The most edgy but still intelligent design and font design journal from the last decades is "Emigre," which you should peruse if this movie intrigues you. Also you might want to check out Darius, who was behind the first designed font.
My typeface is Vendetta.
Ted's Evaluation -- 3 of 3: Worth watching.
Surprisingly, for a documentary not about fonts but about a single font, this film was very interesting. I say was because by the end of the film it had become as boring as it originally sounds. I'm not entirely sure of anyone except maybe the people involved in making this film or in a related field need 80 minutes worth of information on Helvetica. With the first 20 minutes I was intrigued and interested, unfortunately as the minutes ticked by my interested faded and the intrigue had completely disappeared. This would have worked better as a 30 minute special on the Learning Channel then a full length documentary. Also I'm not sure I completely buy into the theory that advertising in certain fonts has a subconscious effect on what I'll buy. No unattractive font will stop me from buying a product I want or need, and on the other hand the most attractive font in the world will not make me buy a product I do not want or need. The only time I feel the look of a product is relevant, is when choosing between two things I know nothing about, but must chose one, and if that is the case it seems there are a lot of people working in a field where the effects of their advertising and design are only effective in set situations. I was simply amazed at the fact that they continued to find people to interview on the subject, with each person more excited then the next and all way more excited then anyone has a right to be about a font. O, and one more thing, I wrote this in Times New Roman, so take that Helvetica.
Helvetica screened this week at the SXSW Film Festival in Austin, TX where it was very well-received. In a million years it would never have occurred to me to do a documentary on a type font. The film makers somehow came up with the idea of doing a cultural history of the Helvetica font which has become the almost universal default modern font over the past 50 years. Fonts are almost like the air we breathe. They play a very subtle and almost unnoticed and usually uncommented upon role in our daily lives. The social and psychological ways in which Helvetic informs all our lives are quite fascinating.
Helvetica is a humorous film that combines a series of interview clips with a variety of often rather quirky graphic font designers with shot of various street signs and corporate logos. The film provides a great deal of insight into the role of the Helvetica font in shaping Western culture. Helvetica is both entertaining and informative in that it provides great insight into a ubiquitous aspect of modernity about which most of us are completely oblivious. I hope that many people get the opportunity to see this unusual and insightful film, because it opens a fascinating window for better understanding our society. Since versions of Helvetica are also the default font on most computers, many of us type in Helvetica constantly without even realizing it.
As I walked home from the film, I couldn't help noticing that many of the street signs in Austin appeared to be in Helvetica.
Helvetica is a humorous film that combines a series of interview clips with a variety of often rather quirky graphic font designers with shot of various street signs and corporate logos. The film provides a great deal of insight into the role of the Helvetica font in shaping Western culture. Helvetica is both entertaining and informative in that it provides great insight into a ubiquitous aspect of modernity about which most of us are completely oblivious. I hope that many people get the opportunity to see this unusual and insightful film, because it opens a fascinating window for better understanding our society. Since versions of Helvetica are also the default font on most computers, many of us type in Helvetica constantly without even realizing it.
As I walked home from the film, I couldn't help noticing that many of the street signs in Austin appeared to be in Helvetica.
- JustCuriosity
- Mar 16, 2007
- Permalink
I do not interact with different fonts on a daily basis, however, I do appreciate good typography. This film was a good introduction in to the most important typeface in todays society. The film follows the timeline of the font, from it's inception 50 years ago, through a rebellion period and emerging as the 'defecto' font in everyday society (whether you realise it or not!).
I felt some parts of the film put too much emphasis on the importance of the font in relation to globalisation, commercialism and politics even relating the font to the Vietnam war and the current invasion of Iraq. However, the segments by Erik Spiekermann, Experimental Jetset and Michael C. Place were interesting and educational without being pretentious.
The film is well shot and the cinematography of the stills which artfully reveal the use of the font all around us are beautiful.
I felt some parts of the film put too much emphasis on the importance of the font in relation to globalisation, commercialism and politics even relating the font to the Vietnam war and the current invasion of Iraq. However, the segments by Erik Spiekermann, Experimental Jetset and Michael C. Place were interesting and educational without being pretentious.
The film is well shot and the cinematography of the stills which artfully reveal the use of the font all around us are beautiful.
Helvetica is a beautifully created documentary about the Helvetica font. Now you might think this is a dry and boring subject (as I did before I saw the film) but it is in fact a fascinating tale of design and it's implications.
I think this is a film for anyone who wants to know what design is all about. Never mind that it's based on the font it is a statement on design in general too.
The interviewed people are all extremely interesting and succeed in conveying their passions and convictions. The video work is convincing too and shows very well how common and you might say oversaturated the world is with Helvetica.
This Film WILL change how you see writing. It teaches how to look for the font and it's influence in writing and advertising.
Great film, definitely a must watch.
Oliver
I think this is a film for anyone who wants to know what design is all about. Never mind that it's based on the font it is a statement on design in general too.
The interviewed people are all extremely interesting and succeed in conveying their passions and convictions. The video work is convincing too and shows very well how common and you might say oversaturated the world is with Helvetica.
This Film WILL change how you see writing. It teaches how to look for the font and it's influence in writing and advertising.
Great film, definitely a must watch.
Oliver
- oliver-erlewein-IMDB
- Jul 28, 2007
- Permalink
I love the subject matter! A whole documentary about one typeface. If there is any that deserves the honour, it is definitely Helvetica. It really does justice to a topic that is so often overlooked. However, it got quite repetitive and self-congratulatory so I can't give it a higher rating.
- briancham1994
- Aug 9, 2020
- Permalink
I saw this film last night at the Rochester Institute of Technology in the company of hundreds of budding graphic designers, new media specialists, and fans of typography. I found it utterly engaging. It wasn't just a film about a font. It was a clever device used to weave a story around graphic design, the importance of typography in the craft, and the passionate opinions on design in general elicited from this stellar cast of über creative professionals.
I feel that this film has a broad appeal beyond typography aficionados, which is admittedly a small tribe. The passion behind the ideals expressed by the graphic designers is undeniable and infectious.
The film was beautifully put together. The effect of showing the ubiquitous use of this font in cities around the world, with people walking by, buses, taxis, and cars whizzing past, etc. all set to a totally perfect music was wonderful. These vignettes provided transitions between interviews with world renowned designers.
You might have trouble finding a screening of this film but if you see it coming to a theater or film festival near you don't miss it!!
I feel that this film has a broad appeal beyond typography aficionados, which is admittedly a small tribe. The passion behind the ideals expressed by the graphic designers is undeniable and infectious.
The film was beautifully put together. The effect of showing the ubiquitous use of this font in cities around the world, with people walking by, buses, taxis, and cars whizzing past, etc. all set to a totally perfect music was wonderful. These vignettes provided transitions between interviews with world renowned designers.
You might have trouble finding a screening of this film but if you see it coming to a theater or film festival near you don't miss it!!
The year 2007 marked the 50th anniversary of the Helvetica typeface. To most people, this little nugget of information (#fact if you will) means very little. Begin to show them however just how ubiquitous and ever-present Helvetica is in their everyday lives and you'll have their interest. Hustwit certainly got mine very early on.
From street signs to Nike advertising campaigns, from littering notices to shop billboards, Helvetica is omnipresent. We must see thousands of words and phrases a day that use the Helvetica typeface, yet far from wonder why the typeface is always identical, we don't even recognise they are in fact the same typeface. Hustwit's 'Helvetica' delves into this gap, one that didn't exist for the viewer before the film started, but quickly engages our curiosity: why is it used so uniformly? why does it look so...clear? what does that say about us? where did it come from? who creates this stuff? It is a courageous director who opens that can of worms, but Hustwit takes to it with relish.
Taking us back to Switzerland in the 1950s, the field of typography is laid out in full by a panoply of talking heads ranging from modern-day typographers, to graphic designers, to mere (and I use that reluctantly) artists. Perhaps fittingly, the issue of Helvetica's omnipresence remains the centre of attention for all those interviewed, how can they explain away the veritable phenomenon it has become? The range of responses elicited conveys a certain chasm in the field, the 'neutrality' that arises as the font's attraction is as much a joy and example of sheer artistry to one artist as it is depressing and mere bourgeois subterfuge to the next. The discussions of the aesthetic of the font, and of others' (failed) attempts to move beyond it, do risk at times moving beyond the film's appeal to the layman, but are forgiven for the passion they betray of the filmmaker and his subjects.
As a font, Helvetica is more than simply an inspiration for the corporations that depend on its neutrality and aesthetic to promote their goods. It is an instrument that both lures figures into the design industry for want of its use and pushes those opposed to its capitalist connotations into usurping its ideals and creating their own fonts.
Thus far, few have been successful and Helvetica reigns supreme on the street; have we reached the 'end of history' for typography? Helvetica may be its perfect form.
Concluding Thought: Nothing to do with typography, but who knew 'Helvetia' in Latin was Switzerland? (#fact)
From street signs to Nike advertising campaigns, from littering notices to shop billboards, Helvetica is omnipresent. We must see thousands of words and phrases a day that use the Helvetica typeface, yet far from wonder why the typeface is always identical, we don't even recognise they are in fact the same typeface. Hustwit's 'Helvetica' delves into this gap, one that didn't exist for the viewer before the film started, but quickly engages our curiosity: why is it used so uniformly? why does it look so...clear? what does that say about us? where did it come from? who creates this stuff? It is a courageous director who opens that can of worms, but Hustwit takes to it with relish.
Taking us back to Switzerland in the 1950s, the field of typography is laid out in full by a panoply of talking heads ranging from modern-day typographers, to graphic designers, to mere (and I use that reluctantly) artists. Perhaps fittingly, the issue of Helvetica's omnipresence remains the centre of attention for all those interviewed, how can they explain away the veritable phenomenon it has become? The range of responses elicited conveys a certain chasm in the field, the 'neutrality' that arises as the font's attraction is as much a joy and example of sheer artistry to one artist as it is depressing and mere bourgeois subterfuge to the next. The discussions of the aesthetic of the font, and of others' (failed) attempts to move beyond it, do risk at times moving beyond the film's appeal to the layman, but are forgiven for the passion they betray of the filmmaker and his subjects.
As a font, Helvetica is more than simply an inspiration for the corporations that depend on its neutrality and aesthetic to promote their goods. It is an instrument that both lures figures into the design industry for want of its use and pushes those opposed to its capitalist connotations into usurping its ideals and creating their own fonts.
Thus far, few have been successful and Helvetica reigns supreme on the street; have we reached the 'end of history' for typography? Helvetica may be its perfect form.
Concluding Thought: Nothing to do with typography, but who knew 'Helvetia' in Latin was Switzerland? (#fact)
- TheDocHierarchy
- Feb 25, 2012
- Permalink
This movie is brilliant. It's a documentary about the creation of the Helvetica font, sure. But it's also: a musing on the history of modern graphic design. A diatribe (by some) about a font seen as style-killingly ubiquitous. A visit to favorite graphic designs of years past. A reflection about what our fonts say about us.
If you are a graphic designer, you'll love it. If you live with a graphic designer, you'll shake your head and say, "Yup" in recognition. If you don't pay any attention to graphic design, you may think about it just a tiny bit more after seeing this movie. And you will definitely come out of it with SOME opinion about the Helvetica font.
If you are a graphic designer, you'll love it. If you live with a graphic designer, you'll shake your head and say, "Yup" in recognition. If you don't pay any attention to graphic design, you may think about it just a tiny bit more after seeing this movie. And you will definitely come out of it with SOME opinion about the Helvetica font.
- barbheninger
- Sep 17, 2008
- Permalink
As David Carson says, "there's a very thin line between simple and clean and powerful and simple and clean and boring". I'm afraid this could be on the second group.
I think that the speech of each person interviewed is truly interesting. Nevertheless, if I had could I would had definitely chosen a 1.5x speed. Typography is still in a boring era: don't make it worse.
I think that the speech of each person interviewed is truly interesting. Nevertheless, if I had could I would had definitely chosen a 1.5x speed. Typography is still in a boring era: don't make it worse.
- esthersolblau
- Sep 22, 2020
- Permalink
A documentary about a typeface? For those of us who take interest in such things, of course! But if you're one of those who never bothers to change the default font in your Word documents from Times New Roman, then I'd recommend you stay away from this film altogether.
Unfortunately, even those who are keenly aware of typefaces may find this movie disappointing. My main criticisms:
1. It spends long sequences showing us examples of Helvetica signage used in various contexts. Some are elegant and clean, many are torn old posters, ragged pieces of letters peeling off walls, etc. These sequences were artistic and okay at first, but maybe after the fourth one, you find yourself reaching for the fast-forward.
2. It spends the vast majority of its time in interviews with various designers discussing their impressions of the font's "meaning" or its impact in the history of design. This should have been perhaps 30% of the film, instead it is closer to 80%.
3. It doesn't spend enough time looking at the technical details of the font. There are occasional off-hand references by some of the interview subjects to various features of certain letters, but even those segments are not illustrated. I would have loved to see a side-by-side contrast between Helvetica and similar sans-serif fonts used earlier, or perhaps others created since then. In one sequence, we catch a glimpse of one of the original large-scale drawings for one of the letters; I would have enjoyed seeing more of those, larger on the screen, and with explanation of how the various parts work in relation to one another.
With its current affective emphasis, this would have been an acceptable 45-min. documentary, but at an hour and a half, it is far longer than it needs to be. I hoped to walk away with an understanding of what made Helvetica uniquely popular, but that was never clearly shown in any way.
Unfortunately, even those who are keenly aware of typefaces may find this movie disappointing. My main criticisms:
1. It spends long sequences showing us examples of Helvetica signage used in various contexts. Some are elegant and clean, many are torn old posters, ragged pieces of letters peeling off walls, etc. These sequences were artistic and okay at first, but maybe after the fourth one, you find yourself reaching for the fast-forward.
2. It spends the vast majority of its time in interviews with various designers discussing their impressions of the font's "meaning" or its impact in the history of design. This should have been perhaps 30% of the film, instead it is closer to 80%.
3. It doesn't spend enough time looking at the technical details of the font. There are occasional off-hand references by some of the interview subjects to various features of certain letters, but even those segments are not illustrated. I would have loved to see a side-by-side contrast between Helvetica and similar sans-serif fonts used earlier, or perhaps others created since then. In one sequence, we catch a glimpse of one of the original large-scale drawings for one of the letters; I would have enjoyed seeing more of those, larger on the screen, and with explanation of how the various parts work in relation to one another.
With its current affective emphasis, this would have been an acceptable 45-min. documentary, but at an hour and a half, it is far longer than it needs to be. I hoped to walk away with an understanding of what made Helvetica uniquely popular, but that was never clearly shown in any way.
- dbogosian-1
- Jun 17, 2009
- Permalink
As many others have already said – a documentary film that appears to be about the font Helvetica (or indeed any font) is hardly something that is screaming out to a wide audience or likely to be screening to packed crowds in the American heartlands. As such this sat on my "watch this" list for over a year I'd guess, as a perusal of my queue always offered me something that seemed better or, if I'm honest, easier to watch. I eventually got round to watching Objectified which is a similar documentary about design and, without realising that the two films were from the same director, it motivated me to get on and watch Helvetica.
Like Objectified I found that the film did a great job of laying out the topic in a clear and accessible manner. It builds a very effective and engaging discussion on the font in particular but also the wider arena of graphic design and typefaces that are all around us. The structure of the film is the foundation that makes it work – it doesn't jump into the deep end of the topic and it manages to be suitable for the casual viewer (which I am) while also avoiding being patronising to those that work in this sector. This is the groundwork and it is well built on by the selection and use of a very good collection of designers and experts in the field – almost all of whom are passionate, well spoken, interesting and, most importantly, not "up themselves" or self-important in the way that some of those in design or art can be.
These talking heads help the film maintain an open, accessible approach while the visual design and packaging of the film itself keeps everything lively for the eye and the ear as well – never going into the realm of a dry academic approach to the topic. So yes, Helvetica may sound like it is going to be a very niche film and as much fun as a holiday slideshow from a dull uncle but it is actually light, accessible and engaging due to the structure and design of the film and a great selection of contributors.
Like Objectified I found that the film did a great job of laying out the topic in a clear and accessible manner. It builds a very effective and engaging discussion on the font in particular but also the wider arena of graphic design and typefaces that are all around us. The structure of the film is the foundation that makes it work – it doesn't jump into the deep end of the topic and it manages to be suitable for the casual viewer (which I am) while also avoiding being patronising to those that work in this sector. This is the groundwork and it is well built on by the selection and use of a very good collection of designers and experts in the field – almost all of whom are passionate, well spoken, interesting and, most importantly, not "up themselves" or self-important in the way that some of those in design or art can be.
These talking heads help the film maintain an open, accessible approach while the visual design and packaging of the film itself keeps everything lively for the eye and the ear as well – never going into the realm of a dry academic approach to the topic. So yes, Helvetica may sound like it is going to be a very niche film and as much fun as a holiday slideshow from a dull uncle but it is actually light, accessible and engaging due to the structure and design of the film and a great selection of contributors.
- bob the moo
- Feb 13, 2010
- Permalink
- ispano_imdb
- Oct 3, 2015
- Permalink
- intellistar
- Jun 18, 2007
- Permalink
There was a time when I was editor, publisher, and writer of a small newspaper in Spain. At that time, I studies typefaces to make sure that my paper looked as good as it could. In light of that I was interested in this documentary about the most popular typeface designed.
Helvetica has been around 50 years, and is the "default" type according to Erik Spiekermann, who really gives an exciting discussion of the type.
Many others chime in on the pros and cons of Helvetica. It is a fascinating journey into design. Exploring where we have been and where we are going in even the simple areas of life helps us understand who we are.
Helvetica has been around 50 years, and is the "default" type according to Erik Spiekermann, who really gives an exciting discussion of the type.
Many others chime in on the pros and cons of Helvetica. It is a fascinating journey into design. Exploring where we have been and where we are going in even the simple areas of life helps us understand who we are.
- lastliberal
- Feb 25, 2009
- Permalink
A documentary about typography (including but not limited to the Helvetica font), graphic design, and global visual culture.
So, you might wonder how 90 minutes about a font could be interesting. That must be among the most boring things in the world, right? Not at all. We learn about the whole story of modern typography, and how hard it used to be to design a single letter.
We learn that there is a political message to letter shape choices -- to one woman, Helvetica is the font associated with the Vietnam war (and also Iraq). We get a certain feeling from different shapes, and this is one of them.
One man asks, is there a science of aesthetics that explains why this font is the perfect one? Why no one has been able to improve on it in 50 years? I find that an interesting question. No math went into designing it, but somehow it has an intrinsic style that seems to be the way we now view language.
So, you might wonder how 90 minutes about a font could be interesting. That must be among the most boring things in the world, right? Not at all. We learn about the whole story of modern typography, and how hard it used to be to design a single letter.
We learn that there is a political message to letter shape choices -- to one woman, Helvetica is the font associated with the Vietnam war (and also Iraq). We get a certain feeling from different shapes, and this is one of them.
One man asks, is there a science of aesthetics that explains why this font is the perfect one? Why no one has been able to improve on it in 50 years? I find that an interesting question. No math went into designing it, but somehow it has an intrinsic style that seems to be the way we now view language.
This is an intriguing documentary on typography, graphic design, and global visual culture. The origins and metamorphosis of the use of the type of font and the people involved. We see its structure and the psychology behind the font. How it got its name. Soon we see it everywhere.
I must admit I was more moved by the introduction of the film as they were using the lead type and setting up a proof press. I used the same equipment as a lad and always felt that something was missing when the technology changed, and it was less of hands-on function.
Besides the font, it is interesting to see how the graphic design industry works. The people involved in it and the end results; presented by Gary Hustwit.
After waiting for this documentary (which lends itself well to the Blu-ray treatment) you will want to "give them Helvetica."
You saw the film, now read the book.
"Helvetica: Homage to a Typeface" by Lars Müller.
I must admit I was more moved by the introduction of the film as they were using the lead type and setting up a proof press. I used the same equipment as a lad and always felt that something was missing when the technology changed, and it was less of hands-on function.
Besides the font, it is interesting to see how the graphic design industry works. The people involved in it and the end results; presented by Gary Hustwit.
After waiting for this documentary (which lends itself well to the Blu-ray treatment) you will want to "give them Helvetica."
You saw the film, now read the book.
"Helvetica: Homage to a Typeface" by Lars Müller.
- Bernie4444
- Dec 4, 2023
- Permalink
At its core Helvetica is a documentary about the creation and widespread use of the typeface of the same name. If that sounds boring to you, well guess what, it often is.
The film, directed by Gary Hustwit, begins with the birth of the typeface. It was created in 1957 by the Swiss with the hope to create a "perfect" sans-serif typeface. As a side note, a serif is apparently the little "feet" type accents that are on letters of certain typefaces, for example Times New Roman is a serif typeface. The film speaks with several type designers, a profession that I was unaware of, including the designer of Helvetica. Once the viewer has been given an adequate background on the typeface itself, the film begins to change. It wanders away from the typeface itself and becomes a documentary about graphic design. Graphic designers express both their love and hatred for the typeface as well as its effects on the larger world of design, becoming more of a film about modernism and post-modernism as it applies to this world.
Throughout the film, the director goes out into the world to shoot different signs and postings that utilize Helvetica. At the beginning, this is intriguing, often surprising the viewer with just how often this single typeface is used. However, as the director employs this technique more and more often, to the point where it seems built into the transitions, it becomes annoying. By the end, I felt like I was just being shown the same images in a film that no longer was truly just about the typeface itself.
If I were a graphic designer I may have found this film more intriguing and interesting, but sadly, this is not the case. It is shot well and the interviews seem to give a balanced opinion on the use of the typeface, but as a film, it is stretched thin, feeling overlong at its lean 80 minutes.
The film, directed by Gary Hustwit, begins with the birth of the typeface. It was created in 1957 by the Swiss with the hope to create a "perfect" sans-serif typeface. As a side note, a serif is apparently the little "feet" type accents that are on letters of certain typefaces, for example Times New Roman is a serif typeface. The film speaks with several type designers, a profession that I was unaware of, including the designer of Helvetica. Once the viewer has been given an adequate background on the typeface itself, the film begins to change. It wanders away from the typeface itself and becomes a documentary about graphic design. Graphic designers express both their love and hatred for the typeface as well as its effects on the larger world of design, becoming more of a film about modernism and post-modernism as it applies to this world.
Throughout the film, the director goes out into the world to shoot different signs and postings that utilize Helvetica. At the beginning, this is intriguing, often surprising the viewer with just how often this single typeface is used. However, as the director employs this technique more and more often, to the point where it seems built into the transitions, it becomes annoying. By the end, I felt like I was just being shown the same images in a film that no longer was truly just about the typeface itself.
If I were a graphic designer I may have found this film more intriguing and interesting, but sadly, this is not the case. It is shot well and the interviews seem to give a balanced opinion on the use of the typeface, but as a film, it is stretched thin, feeling overlong at its lean 80 minutes.
- airguitar57
- Jun 18, 2010
- Permalink
Helvetica, do you know? Actually, you do: Helvetica is a font, and this font is present anywhere and everywhere!
How to make 80 minutes-long documentary on a font? By combining reports from cities around the world and interviews with designers, this film tells the story of the Helvetica, since its Swiss origins, 50 years ago, to its multiple present uses.
With a perfect sense of rhythm, the film is served by a splendid image. The interviews are brilliant, with a pinch of humour. Also to note, a special mention goes for the music, especially composed for the film and based on the theme "Helvetica".
95 minutes of bonus provide extra details.
In conclusion, simply brilliant!
How to make 80 minutes-long documentary on a font? By combining reports from cities around the world and interviews with designers, this film tells the story of the Helvetica, since its Swiss origins, 50 years ago, to its multiple present uses.
With a perfect sense of rhythm, the film is served by a splendid image. The interviews are brilliant, with a pinch of humour. Also to note, a special mention goes for the music, especially composed for the film and based on the theme "Helvetica".
95 minutes of bonus provide extra details.
In conclusion, simply brilliant!
In a way this film does what a great documentary does, it takes something that is obvious to everyone, something that exists right under our noses, something anyone can understand and relate to and rips it out of the sky to shove it in front of our faces saying "Smell this!" Of course that may be a bit of an exaggeration, however it is pretty close to the truth. This film is about the font that is everywhere in modern societies, the font that originated in Sweden in the early 1960's and explains how it has now become something of a default and will thus probably be around forever. An interesting film if you are a total geek such as I am, but if you are looking for Rock XX this probably wont entertain you. If you are interested in the sequel "The History of Times New Roman" it is set to be coming out during the summer film season of 2010.
- TheTwistedLiver
- Feb 25, 2009
- Permalink
It is interesting how many subcultures there are concerning topics that most people rarely think about--model trains, Shaker furniture, Stone Age tools, and so forth. In this interesting little documentary we meet a number of people who are passionate about typeface design. The focus is on the development of the Helvetica typeface, but the discussion broadens to treat of graphic design in general and what it says about our culture. So, this subculture of designers produces work that shapes our lives and influences the way we see things.
The film shows ample examples of how ubiquitous the Helveltica typeface has become, to the point that we more or less accept it as the default, like it has always been with us. But in truth it was designed in Switzerland in 1957 ("Helvetica" is Latin for "Switzerland"). One thing that impressed me with the interviewees is that they view their profession not just as a commercial venture but as a personal life mission. They can speak eloquently about their craft. Each type character is viewed as a work of art and to them a typeface can be appreciated as others might appreciate a Monet painting. These people can become ecstatic when describing how inter-character spacing can make words things of beauty, or ugly. One guy tells the story of how his wife was trying to describe where a store was and he says, "Oh, you mean the store with that ugly font." The general feeling is that Helvetica is pretty much the end of the line in the evolution of modern, clean, simple, easily- read typefaces. Any further developments along those lines will be nothing more than alterations of Helvetica.
Of course there are those who view Helvetica as boring and pedestrian and strictly utilitarian, to be used only by those with no imagination. That view is represented by some of those interviewed. One of the more interesting parts of the film is a discussion of how companies use certain typefaces to express what they stand for. Giorgio Armani or Nieman Marcus are not likely to use Helvetica in their ads, whereas Walmart is.
Although touched on briefly, I would like to have seen more examples of typefaces that pre-existed Helvetica, making a stronger case for why Helvetica has come to dominate.
Almost everyone will come away from this film with a keener appreciation for typefaces and graphic design and the role they play in our lives. The final credits prove that using various Helvetica font sizes in different colors can have a most pleasing effect.
The film shows ample examples of how ubiquitous the Helveltica typeface has become, to the point that we more or less accept it as the default, like it has always been with us. But in truth it was designed in Switzerland in 1957 ("Helvetica" is Latin for "Switzerland"). One thing that impressed me with the interviewees is that they view their profession not just as a commercial venture but as a personal life mission. They can speak eloquently about their craft. Each type character is viewed as a work of art and to them a typeface can be appreciated as others might appreciate a Monet painting. These people can become ecstatic when describing how inter-character spacing can make words things of beauty, or ugly. One guy tells the story of how his wife was trying to describe where a store was and he says, "Oh, you mean the store with that ugly font." The general feeling is that Helvetica is pretty much the end of the line in the evolution of modern, clean, simple, easily- read typefaces. Any further developments along those lines will be nothing more than alterations of Helvetica.
Of course there are those who view Helvetica as boring and pedestrian and strictly utilitarian, to be used only by those with no imagination. That view is represented by some of those interviewed. One of the more interesting parts of the film is a discussion of how companies use certain typefaces to express what they stand for. Giorgio Armani or Nieman Marcus are not likely to use Helvetica in their ads, whereas Walmart is.
Although touched on briefly, I would like to have seen more examples of typefaces that pre-existed Helvetica, making a stronger case for why Helvetica has come to dominate.
Almost everyone will come away from this film with a keener appreciation for typefaces and graphic design and the role they play in our lives. The final credits prove that using various Helvetica font sizes in different colors can have a most pleasing effect.