This was the project for the redesign of the simple typeface for the airport. We had done for our second book, the simple typeface. And it was mono spaced and very, you know, eccentric letters. Here you can see the change of the f for example. The thing with the job, was to keep like the characteristics of the original typeface but, to have it more legible. >> We tried to keep the essence of the first one and to adjust the balance to, to find out.
How, how far can we change the typeface, or, and when we generate the first better version of that, everybody was really shocked because, they have the feeling that they was using another type face. >> So now we have a typeface on a plane >> Well. >> This is your favorite. >> Because I'm happy. See it's, it's, there is like, okay, to draw of course, you will like letters like H, I, L, F, E. I'm talking about uppercase, because it's very fast on, you know, but all and all, the, the letters that contain round shapes is, as soon as you have a curve, it's more work, is more difficult, it's more questions.
And does very, like S is a very complex letter. And difficult. Lower case e, lower case a, or so. And of, this is always for all typefaces, like key letters where you can recognize. In which you could recognize. Really nice letter is to R. Because it contains, it's the only one to contain round, the diagonal, and straight lines at the same time >> But your favorite letter, letter is uppercase I.
>> That's that real complexity of design. I,I don't have, I don't have a favorite letter. I like when, for. >> Complications. >> Yeah, when there is their combinations, they look nice, and the combination they look really sad and, okay, and I don't have a, favorite letter. >> If there is like letters where you can, or elements, signs in which you can express yourself more, you know like in Ampersand you're is it, is it going to be more >> Yeah.
>> It's more tolerance or the letters that are not so important in the, in the image of the text. if if is not for french, the uppercase Q is very, is hardly used and, and. >> I like, I like that, uppercase Q. >> Yeah, the one we, we, the one for the new type phases is very spectacular. But you couldn't do this on a, on a letter at this. because it, then it, none, none of the letters should be too noisy you know?
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.