Helvetica is not only the preferred typeface of leading professionals, it is also an all-time favourite among the multitude of codes, signals and signs that flavour urban life. This book sings the praises of the honest worker and solo entertainer of typefaces, Helvetica, and of its forgotten creator and all those who have contributed to its unparalleled international march of triumph over the past forty years. Filled with pages of color images of Helvetica in use, from album covers and road signs to advertisements and product packaging, the designs gathered together in honor of Helvetica have been created by superb designers and anonymous amateurs from all over the world. The result is an exciting collection of this icon of modern design.
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Book Description
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Editorial Reviews
About the Author
Lars Müller was born in 1955 in Oslo. Trained as a graphic designer, he worked briefly in Holland before opening his own studio in Baden, Switzerland in 1982. Since 1996 he has been a partner in the interdisciplinary design group Integral Concept, which has offices in Paris, Milan, and Baden. In 1983, Müller began publishing books on typography, art, photography, industrial design, and architecture. He lectures at the Hoschschule für Gestaltung in Basel.
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Most Helpful Customer Reviews
12 of 12 people found the following review helpful
By Robin Benson
Format:Hardcover
First the mystery: just why was every alternate page in the book joined together? The reader has to carefully cut the perforations to be able to look at every page. I can't find any reference in the small amount of text about this. My conclusion is that the public use of the type is on the open pages and non-public (or designed) examples are on the perforation joined pages. At least you'll know if you buy a pre-used copy though.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
11 of 12 people found the following review helpful
By Leesa
Format:Hardcover
I'll start by saying that this is a lovely tribute to the most invisible, versatile and ubiquitous font. It is a full bled chunk of photography and unintentional wit.
Buuuttt....
The binding is absolutely horrendous. I'm not referring to the imaginative use of perforation, either. The binding completely fell apart after flipping through it once. The pages are not folded and stitched and only held in with apparently inadequate adhesive. I am now the proud owner of a nice stack of loose paper.
Due to the fact that the reader is expected to separate the perforated edges- the book becomes non-refundable.
So, although I wish I could recommend this little book due to content I strongly advise that you not purchase it.
Buuuttt....
The binding is absolutely horrendous. I'm not referring to the imaginative use of perforation, either. The binding completely fell apart after flipping through it once. The pages are not folded and stitched and only held in with apparently inadequate adhesive. I am now the proud owner of a nice stack of loose paper.
Due to the fact that the reader is expected to separate the perforated edges- the book becomes non-refundable.
So, although I wish I could recommend this little book due to content I strongly advise that you not purchase it.
8 of 9 people found the following review helpful
Format:Hardcover
... Great book... in a lovely format... shows how many different guises Helvetica can give. Love the hidden perforated sections too. A book you'll pick up time and time again ...
Most Recent Customer Reviews
3.0 out of 5 stars
It's a Classic
It's the pocket book every designer has to have it in their studio.
Anyway, I think the larger edition is better.
Anyway, I think the larger edition is better.
Published 22 months ago by Gaby
5.0 out of 5 stars
classicq
wish this book will be re-printed again but at least in double size. this book is a very good inspiration to gian simplicity in graphic design. Read more
Published on July 6, 2010 by Aleksander Pieri
5.0 out of 5 stars
The family book about the most boring typeface
This famous book is simply a little picture book and is great to take with you for a travel, or to offer to someone interested at art and visual art. Read more
Published on February 13, 2010 by Jean B. Levy
5.0 out of 5 stars
Great book
I love this book. Although i has a poor binding and it's kinda small ( i expected bigger book) i really love it. It has a lot of pictures with usage of helvetica.
Published on January 21, 2010 by Khrystyna
3.0 out of 5 stars
Watch the movie instead
This makes for a good coffee table book, or perhaps bathroom reading, but as a graphic design reference it falls short. Basically just a picture book. Read more
Published on October 17, 2007 by S. Joswick
3.0 out of 5 stars
dont open it!
My binding also fell apart the second time I flipped through it. I loved the book, but the binding is just terrible.
Published on October 31, 2006 by Jamie
4.0 out of 5 stars
neat little book. handle with care.
It's about what you'd expect. I feel like I got my $20 worth, but as mentioned, it's gonna fall apart before you're halfway into the book. Read more
Published on April 18, 2005 by Nicholas Findley
5.0 out of 5 stars
Great book!
I really like the book. It's a comprehensive showcase for one of the most controversial typeface. This tiny book holds numerous artwork (many of them are quintessential pieces)... Read more
Published on February 14, 2004
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