From the course: Helvetica

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From the course: Helvetica

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>> Okay. >> We are we are-.we just, we are less obsessed with Helvetica than we used to be. >> Yeah, we was really obsessed. >> Yeah. >> From Helvetica, but not, yeah, not, not more so much >> We accepted somehow, we, we came to a point where we accepted that it's just there. >> We like restrictions. We, we can't operate, we can't do nothing with out restrictions. And the more restrictions we have, the more happy we are. >> When we started school, the influences in graphic design, was really like Brody and Carson, it's only after that we really we looked at Joseph Mueller Brockman's work and 60s typography. When we started the office, we really said we wanted to look more back and, and to find more structured design. For us it's very important to reduce the, the elements we use. When it comes to type, we will only use if possible one typeface or like two, and if possible we will use one size. We don't like humanistic typefaces for example. We like a little bit it must be more rational because otherwise they have too much expression. Well, we see that, Helvetica contains somehow, a design program, to lead you to a certain language or so. And this is also, one of the, of the secrets of the success of Helvetica that in itself is already it has a certain style and a certain aesthetic that you will just use it like that, you know, because of the type face, because the type face wanted like that, you will do what the type face wants you to do. If, if you are not a good designer, if you're not a designer, just use a Helvetica ball in, in one size like for a flyer or, it's, it looks good

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