Friends and everybody deserves good design, you know, and why not have like a really nicely designed mug? Or you know, a really just done, you know, like some of the stuff we're doing is just silly, you know, you know, why not a really nicely designed ruler? You know, or, or you know, we're doing pencils, you know, just like this I'd like you know, quite angle about certain things and, you know stationary, I really, really like doing calendar, you know, just, you know that isn't puppy dogs and, you know, fluffy things, you know.
Just real nice, you know Massimo Venie, the perpetual calendar, it's just this gorgeous, natural Helvetica, I think it's Helvetica, it's just this beautiful, just type, you know, and that's this time, this thing that just keeps going and keeps going and keeps going and nobody gets bored with it. And I think that's, you know, I think maybe, maybe the things that people are changing their logos that people are changing, maybe they think, you know, the ones that haven't changed, like you know, NOLA, or, or whatever. They're just like this timeless thing, and there's no real need to change it, you know, and that's the value of good design, it's just you know, it's there, or maybe there's a certain part of the company who says, we won't want to change it, because of the things that they're doing, but you know, they don't feel the need to put a drop shadow on it, or you know.
We'll put you know, you a nice little bit of a highlight in the thing or whatever. I just think I've got, but definitely the best job in the world you know. Imagine, I think about this the other day. You get paid to do something that you really love. Somebody else then pays you, you know, for doing it and you get to keep what you do. You know, it's absolutely insane, it's brilliant, really, really good. I think it's definitely better now. I think people's, people are a lot more design-savvy now, for sure.
You can really sense that, you know. You go into any kind of thing now and, and where before it was fairly un-designed, there's a lot of you know, really designed things now. And people are really into that. But I guess, I know, I, I, I, you know, it's like talking to my mom sometimes, I show stuff to my Mom and dad and it's always like, that's nice. You know, it's like I'm just doing this exhibition in New York, oh yeah, that's nice dear. You know, it's just bizarre. But, I think yeah, I think perception of, of type for the general public, I think is just this, blur, for sure.
I think in general, people, you know, I don't think we'll ever, I don't think will ever be like, oh, I'll tell you know, do a survey on the street in, on Oxford Street and go, can you tell me what that font is man. We saw a granny like that's Helvetica, that's universe, yes that's Times New Roman, that's Caslon. You know, I don't think you'll ever get that, but, it's it, it would be nice you know. I think, I think probably the type I think is probably one of the most underrated, or not, certainly not, almost like undervalued.
You know, it's people just like you say, I've never really thought about it before and it is quite interesting the whole you know, why do people think you know, is the font fairing out there well? You know, where, where do people think you know, is the font fairy out there where you know, they just appear, on one morning there's a new font. But, you know, there's a lot of it's interesting to see what people, I think it would be quite an interesting thing to do for the film, you know, to sort of actually, you know, what, what, you know, go up to somebody on the street and say, what do you think of this? What, you know, just to get, you know, a gauge or sort of a thing. And I think, as designers, to a certain degree, we're in this bubble of like, you know, you sort of, you don't expect people to know what, you know, you saw an immediate, and design friends, then you sort of do.
But, you know? Outside of that, you know? You're sort of, you know? You're so, used to just focusing on, you know, these things that people you don't, I'm sure, out, outside like you say, I never really actually thought of Joe public as a sort of, you know, surrounding board for, you know, what you're doing and what you're thinking.
The documentary explores urban spaces in major cities and the type that inhabits them, and offers a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type. Helvetica encompasses the worlds of design, advertising, psychology, and communication, and invites us to take a second look at the thousands of words we see every day. Interviewees in Helvetica include some of the most illustrious and innovative names in the design world, including Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Stefan Sagmeister, Michael Bierut, David Carson, Paula Scher, Jonathan Hoefler, Tobias Frere-Jones, Experimental Jetset, Michael C. Place, Norm, Alfred Hoffmann, Mike Parker, Bruno Steinert, Otmar Hoefer, Leslie Savan, Rick Poynor, Lars Müller, and many more.
Make sure to watch the bonus features included in the Extras chapter for more insights from these designers.