Friday
Sunday
week 1
Illustrated Tutorial: on the History of Printing.
Tutorial: on Victoriana and the Industrial Revolution.
Design History Lesson One:
Technological advances drive the development of Design History.
Before printing technology came to Europe books were copied by hand one page at a time. Scribes in monasteries did all the time consuming job of book copying. Because of the time and effort involved very few existed. Books that were copied were of a religious nature.
Although book printing had not arrived in the 15th century the woodblock print was quite popular. It is essentially the same as today’s rubber stamp technology, except the art was carved out of wood instead of rubber with a chisel and hammer. There no detail or tones and the lines are coarse.
The first major technological innovation in printing was the “punch and mould” system.
Individual letters were carved out of steel to make a punch and a brass matrix (mould) was made from the punch. The molten lead was poured into the matrix and when the lead hardened an exact duplicate of the punch design was created. This process allowed for the creation of many copies of each letter in the alphabet. The result was “movable metal type”. This was Guttenberg’s’ contribution.
Casting type by hand was laborious but because the type was reusable the process was more efficient than copying books by hand.
Once the metal type is cast, lines of type can be composed, one letter at a time. This is called typesetting. A line of type would be composed on a “composing stick”. Individual lines of type are then put together to form a page. Once the page is printed, the form is taken apart and the type is then cleaned and sorted in preparation for composing the next page.
Guttenberg’s invention spread like wildfire throughout Europe. Soon every town had a print shop. In the early years a printer was not just a printer, he needed to be a metal smith, typographer, designer, editor, proof reader and publisher as well.
As books became affordable, literacy levels in Europe rose dramatically.
Papermaking:
In the beginning parchment (sheepskin) and vellum (calfskin) were the preferred material for printing books, since they lasted longer. Sometimes one book required the skins of 300 sheep.
As demand for printed books increased, so did the demand for cheaper material, so paper became popular. Up until 1860, paper was made of rags, other material, like grass was used until wood pulp became the preferred material.
The next major invention was called intaglio or gravure printing. Artwork was carved into copper plate. Ink was pushed into the indentations and then squeezed out onto paper. This process was used mostly for illustrations and was often combined with movable type by sending a sheet of paper through two different presses.
Lithography
In the beginning lithography artists drew on porous stone using a grease pencil. Because ink and water don’t mix, the printer was able to apply ink only to the greasy area of stone. The inked area is then transferred to a sheet of paper. Sometimes lithographic posters, like those of Tolouse Lautrec, were made life sized in 8 or more colours. Each colour had to be drawn on a separate stone in perfect registration with the other stones.
The job cases in a printers workshop contained individual pieces of metal type. These cases had an upper portion and a lower portion. The capital letters were kept in the uppercase and the others in the lowercase.
Tutorial: on Victoriana and the Industrial Revolution.
Design History Lesson One:
Technological advances drive the development of Design History.
Before printing technology came to Europe books were copied by hand one page at a time. Scribes in monasteries did all the time consuming job of book copying. Because of the time and effort involved very few existed. Books that were copied were of a religious nature.
Although book printing had not arrived in the 15th century the woodblock print was quite popular. It is essentially the same as today’s rubber stamp technology, except the art was carved out of wood instead of rubber with a chisel and hammer. There no detail or tones and the lines are coarse.
The first major technological innovation in printing was the “punch and mould” system.
Individual letters were carved out of steel to make a punch and a brass matrix (mould) was made from the punch. The molten lead was poured into the matrix and when the lead hardened an exact duplicate of the punch design was created. This process allowed for the creation of many copies of each letter in the alphabet. The result was “movable metal type”. This was Guttenberg’s’ contribution.
Casting type by hand was laborious but because the type was reusable the process was more efficient than copying books by hand.
Once the metal type is cast, lines of type can be composed, one letter at a time. This is called typesetting. A line of type would be composed on a “composing stick”. Individual lines of type are then put together to form a page. Once the page is printed, the form is taken apart and the type is then cleaned and sorted in preparation for composing the next page.
Guttenberg’s invention spread like wildfire throughout Europe. Soon every town had a print shop. In the early years a printer was not just a printer, he needed to be a metal smith, typographer, designer, editor, proof reader and publisher as well.
As books became affordable, literacy levels in Europe rose dramatically.
Papermaking:
In the beginning parchment (sheepskin) and vellum (calfskin) were the preferred material for printing books, since they lasted longer. Sometimes one book required the skins of 300 sheep.
As demand for printed books increased, so did the demand for cheaper material, so paper became popular. Up until 1860, paper was made of rags, other material, like grass was used until wood pulp became the preferred material.
The next major invention was called intaglio or gravure printing. Artwork was carved into copper plate. Ink was pushed into the indentations and then squeezed out onto paper. This process was used mostly for illustrations and was often combined with movable type by sending a sheet of paper through two different presses.
Lithography
In the beginning lithography artists drew on porous stone using a grease pencil. Because ink and water don’t mix, the printer was able to apply ink only to the greasy area of stone. The inked area is then transferred to a sheet of paper. Sometimes lithographic posters, like those of Tolouse Lautrec, were made life sized in 8 or more colours. Each colour had to be drawn on a separate stone in perfect registration with the other stones.
The job cases in a printers workshop contained individual pieces of metal type. These cases had an upper portion and a lower portion. The capital letters were kept in the uppercase and the others in the lowercase.
week 2
Please bring your visual diary
Illustrated Tutorial: on the Industrial Revolution.
Tutorial: on the Arrival of Commercial Art. The arts and crafts movement.
Studio: Assessment requirements discussed and list of designers allocated. Slide show to acquaint students with the style and work of each designer.
The list of designers and movements for your assignment.
Please note; The late modern and Swiss modern designers often straddle both movements
Arts & Crafts
William Morris & William Mackintosh
Art Deco
Cassandre or Frederico Seneca
Art Nouveau
Alphonse Mucha or Victor Horta
Constructivism
Kasimir Malevich or Rodchenko John Heartfeild or El Lissitzky
Early Modern
Mondrian, Le Corbussier, Doesberg, Rietveld, Lucien Bernhard, Marinetti, Tristan Tzara, Kurt Schwitters, Frank Lloyd Wright,
Late Modern
Raymond Loewy, Paul Rand, Bill Bernbach, Saul Bass, Lester Beall, Bradbury Thompson, Alexey Brodovich, Alexander Ross, Max Huber, Joseph Binder, Jan Tschichold, Joseph Muller Brockman, Gene Frederico
Swiss International
Joseph Muller Brockman, Massimo Vignelli, Paul Rand, Saul Bass, Adrian Frutiger
Styling in the US
Norman Bel-Geddes
David Carson
The digital age
Make sure you get a hard copy of the timeline this week.
Illustrated Tutorial: on the Industrial Revolution.
Tutorial: on the Arrival of Commercial Art. The arts and crafts movement.
Studio: Assessment requirements discussed and list of designers allocated. Slide show to acquaint students with the style and work of each designer.
The list of designers and movements for your assignment.
Please note; The late modern and Swiss modern designers often straddle both movements
Arts & Crafts
William Morris & William Mackintosh
Art Deco
Cassandre or Frederico Seneca
Art Nouveau
Alphonse Mucha or Victor Horta
Constructivism
Kasimir Malevich or Rodchenko John Heartfeild or El Lissitzky
Early Modern
Mondrian, Le Corbussier, Doesberg, Rietveld, Lucien Bernhard, Marinetti, Tristan Tzara, Kurt Schwitters, Frank Lloyd Wright,
Late Modern
Raymond Loewy, Paul Rand, Bill Bernbach, Saul Bass, Lester Beall, Bradbury Thompson, Alexey Brodovich, Alexander Ross, Max Huber, Joseph Binder, Jan Tschichold, Joseph Muller Brockman, Gene Frederico
Swiss International
Joseph Muller Brockman, Massimo Vignelli, Paul Rand, Saul Bass, Adrian Frutiger
Styling in the US
Norman Bel-Geddes
David Carson
The digital age
Make sure you get a hard copy of the timeline this week.
week3
Please bring your visual diary
Illustrated Tutorial: on design ideologies. Design processes and education. The late 1930s and the War. Ideology and historical context.
Studio: Students research their designers.
The Wesley library has about 5 copies of a book called "Design in Context " by Penny Sparke.
This is a reference book for Design history students to get information on the background and context of all the design movements. It is divided into 9 chapters and a quick look at the contents page is even illuminating. It describes in snapshots the important issues we need to look at at each point in our history timeline
1830-1914
Design Reform
Design and taste
The Great exhibition of 1851
William Morris and the Arts and Crafts movement
Aestheticism and Symbolism
Art Nouveau
Proto-modernism at the turn of the century.
1915- 1939
Politics society and design
Avant-garde design in Russia
De Stijl
Politics and design in the 1930s
Society and Design
Industry, Technology and Design
American Industry and Design
European industry and design
Craft and design in Scandinavia
New Materials in Modern design
Technology and design
Theory and Design
The influemnce on Cubism
Modernism: ideology and style
Elementarism and Constructivism
Le Corbusier and the Purist Aesthetic
The Bauhaus
The international style
Popular Style in the 1930s
The decorative arts in in France in the 1920s
Streamform
The American Industrial Designer
New York Worl'ds Fair
Swedish Modern
1940- 1985
Reconstruction and Design
Scandinavia and the craft ideal
Styling and the US
Great Britain and the design establishment
Italy: Style and individualism
Germany: technique and analysis
Design after Modernism
Towards Pluralism
The Crisis of functionalism Pop design
Nostalgia and bad taste
Craft and Individualism
Design for need
Post-Modernism
Which student is researching which designer:
The first group of posters are Russian Contructivist works. Their purpose was to encourage the workers of Russia to to unite in Revolution: To work for the common good and and the communist cause
Homework:
Collect at least one image by John Heartfeild and come prepared to explain it to the class. You should cover the technique he pioneered and the purpose of his work.
Illustrated Tutorial: on design ideologies. Design processes and education. The late 1930s and the War. Ideology and historical context.
Studio: Students research their designers.
The Wesley library has about 5 copies of a book called "Design in Context " by Penny Sparke.
This is a reference book for Design history students to get information on the background and context of all the design movements. It is divided into 9 chapters and a quick look at the contents page is even illuminating. It describes in snapshots the important issues we need to look at at each point in our history timeline
1830-1914
Design Reform
Design and taste
The Great exhibition of 1851
William Morris and the Arts and Crafts movement
Aestheticism and Symbolism
Art Nouveau
Proto-modernism at the turn of the century.
1915- 1939
Politics society and design
Avant-garde design in Russia
De Stijl
Politics and design in the 1930s
Society and Design
Industry, Technology and Design
American Industry and Design
European industry and design
Craft and design in Scandinavia
New Materials in Modern design
Technology and design
Theory and Design
The influemnce on Cubism
Modernism: ideology and style
Elementarism and Constructivism
Le Corbusier and the Purist Aesthetic
The Bauhaus
The international style
Popular Style in the 1930s
The decorative arts in in France in the 1920s
Streamform
The American Industrial Designer
New York Worl'ds Fair
Swedish Modern
1940- 1985
Reconstruction and Design
Scandinavia and the craft ideal
Styling and the US
Great Britain and the design establishment
Italy: Style and individualism
Germany: technique and analysis
Design after Modernism
Towards Pluralism
The Crisis of functionalism Pop design
Nostalgia and bad taste
Craft and Individualism
Design for need
Post-Modernism
Which student is researching which designer:
- ............................Bradbury Thompson.
- .....................Mucha
- ...........................................Rodchenko
- .....................................Frank Lloyd Wright
- ....................................Courbersier
- .........................................Art Deco (Victor Horta)
- ..........................................Max Huber (Late Modern)
- .........................................David Carson
- .....................................Mondrian
- ........................................Paul Rand
- ...........................................William Morris
- ....................................Phsychadelic (Moscoso)
The first group of posters are Russian Contructivist works. Their purpose was to encourage the workers of Russia to to unite in Revolution: To work for the common good and and the communist cause
Homework:
Collect at least one image by John Heartfeild and come prepared to explain it to the class. You should cover the technique he pioneered and the purpose of his work.
week4
Please bring your visual diary
Illustrated Tutorial: on the late 40s and early 50s - A time of optimism and expos. Politics.
Studio: Research on designers and their works continues.
Styling and the US
The Industrial Designer was a figure of American origin, whose role developed during the expansion of the 1920s and who then 'styled goods' in the 1930s to increase profit margins during the economic depression. The position of this artistic figure within the hierarchy of industry remained problematic throughout the post war period. There were recurrent debates about the importance or otherwise about style and the rapidity of obsolescence in objects which were the products of an advanced capitalist economic system.
Before the second world war, the new alliance between art and industry gave rise to a neo-futurist attitude towards the machine and by extension towards the the objects of machine production. Idealised views of the newly electrified home with it's accompanying gadgets, and of modern, speedy transport and the ensuring road and rail systems, resulted in a fresh, symbolic 'style for the age'
The pioneering industrial designer Norman Bel-Geddes, described the optimism of the era: "In the midst of worldwide melancholy, owing to an economic depression, a new age dawned with invigorating conceptions and the horizons lifted."
from :Design in Context" Penny Sparkes. p 189
After the second world war (1945- 1960):
America enjoyed their position of leaders of the world. Europe had been devasted by aerial bombing while the US remained relatively unscathed. The United States led the world in modern manufacturing methods and sent teams of time and motion experts to England and Europe to help rebuild factories and improve processes. Mass production increased and the new optimism and love affair with the idea of space travel and the future led to some pretty funny product styling (as opposed to Design) We sometimes call this "Kitsch" Subgroups began to emerge ( a sign of a healthy democracy some say) and aerodynamic is a word to describe the look of many things from trains to salt shakers.
The following is background and economic context:
From: http://countrystudies.us/united-states/history-114.htm
As the Cold War unfolded in the decade and a half after World War II, the United States experienced phenomenal economic growth. The war brought the return of prosperity, and in the postwar period the United States consolidated its position as the world's richest country. Gross national product, a measure of all goods and services produced in the United States, jumped from about $200 thousand-million in 1940 to $300 thousand-million in 1950 to more than $500 thousand-million in 1960. More and more Americans now considered themselves part of the middle class.
The growth had different sources. The automobile industry was partially responsible, as the number of automobiles produced annually quadrupled between 1946 and 1955. A housing boom, stimulated in part by easily affordable mortgages for returning servicemen, fueled the expansion. The rise in defense spending as the Cold War escalated also played a part.
After 1945 the major corporations in America grew even larger. There had been earlier waves of mergers in the 1890s and in the 1920s; in the 1950s another wave occurred. New conglomerates -- firms with holdings in a variety of industries -- led the way. International Telephone and Telegraph, for example, bought Sheraton Hotels, Continental Baking, Hartford Fire Insurance, and Avis Rent-a-Car, among other companies. Smaller franchise operations like McDonald's fast-food restaurants provided still another pattern. Large corporations also developed holdings overseas, where labor costs were often lower.
Workers found their own lives changing as industrial America changed. Fewer workers produced goods; more provided services. By 1956 a majority held white-collar jobs, working as corporate managers, teachers, salespersons and office employees. Some firms granted a guaranteed annual wage, long-term employment contracts and other benefits. With such changes, labor militancy was undermined and some class distinctions began to fade.
Farmers, on the other hand, faced tough times. Gains in productivity led to agricultural consolidation, as farming became a big business. Family farms, in turn, found it difficult to compete, and more and more farmers left the land.
Other Americans moved too. In the postwar period the West and the Southwest continued to grow -- a trend that would continue through the end of the century. Sun Belt cities like Houston, Texas; Miami, Florida; Albuquerque, New Mexico; and Tucson and Phoenix, Arizona, expanded rapidly. Los Angeles, California, moved ahead of Philadelphia, Pennsylvania, as the third largest U.S. city. By 1963 California had more people than New York.
An even more important form of movement led Americans out of inner cities into new suburbs, where they hoped to find affordable housing for the larger families spawned by the postwar baby boom. Developers like William J. Levitt built new communities -- with homes that all looked alike -- using the techniques of mass production. Levitt's houses were prefabricated, or partly assembled in a factory rather than on the final location. The homes were modest, but Levitt's methods cut costs and allowed new owners to possess at least a part of the American dream.
As suburbs grew, businesses moved into the new areas. Large shopping centers containing a great variety of stores changed consumer patterns. The number of these centers rose from eight at the end of World War II to 3,840 in 1960. With easy parking and convenient evening hours, customers could avoid city shopping entirely.
New highways created better access to the suburbs and its shops. The Highway Act of 1956 provided $26 thousand-million, the largest public works expenditure in U.S. history, to build more than 64,000 kilometers of federal roads to link together all parts of the country.
Television, too, had a powerful impact on social and economic patterns. Developed in the 1930s, it was not widely marketed until after the war. In 1946 the country had fewer than 17,000 television sets. Three years later consumers were buying 250,000 sets a month, and by 1960 three-quarters of all families owned at least one set. In the middle of the decade, the average family watched television four to five hours a day. Popular shows for children included Howdy Doody Time and The Mickey Mouse Club; older viewers preferred situation comedies like I Love Lucy and Father Knows Best. Americans of all ages became exposed to increasingly sophisticated advertisements for products said to be necessary for the good life.
http://countrystudies.us/united-states/history-114.htm
Illustrated Tutorial: on the late 40s and early 50s - A time of optimism and expos. Politics.
Studio: Research on designers and their works continues.
Styling and the US
The Industrial Designer was a figure of American origin, whose role developed during the expansion of the 1920s and who then 'styled goods' in the 1930s to increase profit margins during the economic depression. The position of this artistic figure within the hierarchy of industry remained problematic throughout the post war period. There were recurrent debates about the importance or otherwise about style and the rapidity of obsolescence in objects which were the products of an advanced capitalist economic system.
Before the second world war, the new alliance between art and industry gave rise to a neo-futurist attitude towards the machine and by extension towards the the objects of machine production. Idealised views of the newly electrified home with it's accompanying gadgets, and of modern, speedy transport and the ensuring road and rail systems, resulted in a fresh, symbolic 'style for the age'
The pioneering industrial designer Norman Bel-Geddes, described the optimism of the era: "In the midst of worldwide melancholy, owing to an economic depression, a new age dawned with invigorating conceptions and the horizons lifted."
from :Design in Context" Penny Sparkes. p 189
After the second world war (1945- 1960):
America enjoyed their position of leaders of the world. Europe had been devasted by aerial bombing while the US remained relatively unscathed. The United States led the world in modern manufacturing methods and sent teams of time and motion experts to England and Europe to help rebuild factories and improve processes. Mass production increased and the new optimism and love affair with the idea of space travel and the future led to some pretty funny product styling (as opposed to Design) We sometimes call this "Kitsch" Subgroups began to emerge ( a sign of a healthy democracy some say) and aerodynamic is a word to describe the look of many things from trains to salt shakers.
The following is background and economic context:
From: http://countrystudies.us/united-states/history-114.htm
As the Cold War unfolded in the decade and a half after World War II, the United States experienced phenomenal economic growth. The war brought the return of prosperity, and in the postwar period the United States consolidated its position as the world's richest country. Gross national product, a measure of all goods and services produced in the United States, jumped from about $200 thousand-million in 1940 to $300 thousand-million in 1950 to more than $500 thousand-million in 1960. More and more Americans now considered themselves part of the middle class.
The growth had different sources. The automobile industry was partially responsible, as the number of automobiles produced annually quadrupled between 1946 and 1955. A housing boom, stimulated in part by easily affordable mortgages for returning servicemen, fueled the expansion. The rise in defense spending as the Cold War escalated also played a part.
After 1945 the major corporations in America grew even larger. There had been earlier waves of mergers in the 1890s and in the 1920s; in the 1950s another wave occurred. New conglomerates -- firms with holdings in a variety of industries -- led the way. International Telephone and Telegraph, for example, bought Sheraton Hotels, Continental Baking, Hartford Fire Insurance, and Avis Rent-a-Car, among other companies. Smaller franchise operations like McDonald's fast-food restaurants provided still another pattern. Large corporations also developed holdings overseas, where labor costs were often lower.
Workers found their own lives changing as industrial America changed. Fewer workers produced goods; more provided services. By 1956 a majority held white-collar jobs, working as corporate managers, teachers, salespersons and office employees. Some firms granted a guaranteed annual wage, long-term employment contracts and other benefits. With such changes, labor militancy was undermined and some class distinctions began to fade.
Farmers, on the other hand, faced tough times. Gains in productivity led to agricultural consolidation, as farming became a big business. Family farms, in turn, found it difficult to compete, and more and more farmers left the land.
Other Americans moved too. In the postwar period the West and the Southwest continued to grow -- a trend that would continue through the end of the century. Sun Belt cities like Houston, Texas; Miami, Florida; Albuquerque, New Mexico; and Tucson and Phoenix, Arizona, expanded rapidly. Los Angeles, California, moved ahead of Philadelphia, Pennsylvania, as the third largest U.S. city. By 1963 California had more people than New York.
An even more important form of movement led Americans out of inner cities into new suburbs, where they hoped to find affordable housing for the larger families spawned by the postwar baby boom. Developers like William J. Levitt built new communities -- with homes that all looked alike -- using the techniques of mass production. Levitt's houses were prefabricated, or partly assembled in a factory rather than on the final location. The homes were modest, but Levitt's methods cut costs and allowed new owners to possess at least a part of the American dream.
As suburbs grew, businesses moved into the new areas. Large shopping centers containing a great variety of stores changed consumer patterns. The number of these centers rose from eight at the end of World War II to 3,840 in 1960. With easy parking and convenient evening hours, customers could avoid city shopping entirely.
New highways created better access to the suburbs and its shops. The Highway Act of 1956 provided $26 thousand-million, the largest public works expenditure in U.S. history, to build more than 64,000 kilometers of federal roads to link together all parts of the country.
Television, too, had a powerful impact on social and economic patterns. Developed in the 1930s, it was not widely marketed until after the war. In 1946 the country had fewer than 17,000 television sets. Three years later consumers were buying 250,000 sets a month, and by 1960 three-quarters of all families owned at least one set. In the middle of the decade, the average family watched television four to five hours a day. Popular shows for children included Howdy Doody Time and The Mickey Mouse Club; older viewers preferred situation comedies like I Love Lucy and Father Knows Best. Americans of all ages became exposed to increasingly sophisticated advertisements for products said to be necessary for the good life.
http://countrystudies.us/united-states/history-114.htm
week 5
Please bring your visual diary
Illustrated Tutorial: on typography and changing technology.
Studio: Students work on their assessments with Lecturer supervision.
Slide shows on Late Modern and Swiss International Graphic Design
The International Style
While Bauhaus-inspired ideas about form and the shaping of consumer goods for the mass market did not find their way into the public arena until the years after the Second World War, the architectural Modern Movement became a fully fledged reality in the 1930s. This was primarily a result of its transference to American soil with the closure of the Bauhaus by the Nazis in 1933 and the emigration of leading architectural figures accross the Atlanitic. It was in the US that the idea of the 'International Style' first crystallised and was seen at an exhibition of the same name held in New York in 1932
Tribune Tower Chicago 1925 was in a revivalist Gothic style and designed by John Mead Howells
".............but just as much American Architecture in the first decade of this centurey was revivalist in tendancy and lacked the new spirit totally."
The leaders of the international style in America were Henry Richardson, Frank Lloyd Wright and Louis Sullivan.
Background:
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called Die Neue Haas Grotesk, it was created based on Schelter-Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.
A movie: "Helvetica"
Illustrated Tutorial: on typography and changing technology.
Studio: Students work on their assessments with Lecturer supervision.
Slide shows on Late Modern and Swiss International Graphic Design
The International Style
While Bauhaus-inspired ideas about form and the shaping of consumer goods for the mass market did not find their way into the public arena until the years after the Second World War, the architectural Modern Movement became a fully fledged reality in the 1930s. This was primarily a result of its transference to American soil with the closure of the Bauhaus by the Nazis in 1933 and the emigration of leading architectural figures accross the Atlanitic. It was in the US that the idea of the 'International Style' first crystallised and was seen at an exhibition of the same name held in New York in 1932
".............but just as much American Architecture in the first decade of this centurey was revivalist in tendancy and lacked the new spirit totally."
The leaders of the international style in America were Henry Richardson, Frank Lloyd Wright and Louis Sullivan.
Background:
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called Die Neue Haas Grotesk, it was created based on Schelter-Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.
A movie: "Helvetica"
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