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uwmspeccoll · 6 years

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Typography Tuesday

What do these five publications in the top image have in common? Well, yes, they are all indeed artists’ books, but they also are all printed in Helvetica type.

Helvetica?!! You mean that dull and anonymous traffic-sign typeface?

No. Helvetica, that timeless, upright, round and open san-serif face of eminent readability.

Helvetica was the brain-child of Eduard Hoffmann, head of the Haas Type Foundry near Basel, who envisioned a new Swiss design based on the 1890 (re-cut by Haas in 1900) Schelter & Giesecke Grotesk, the official Bauhaus typeface, and entrusted the design to Max Miedinger, an expert on Grotesk typefaces. After much input from Hoffmann, the type was cut and cast, and first appeared as Neue Haas Grotesk in 1957, and renamed Helvetica in 1960 by the Stempel Type Foundry. The rest, as they say, is history.

The out-sized cultural impact of this much-heralded and much-maligned typeface is exquisitely expressed in what is perhaps our favorite documentary on typography, Gary Hustwit’s Helvetica (2007). In it, graphic designer Michael Bierut -- in what may be the most expressive part of the movie, if not the funniest -- describes what it must have been like when Helvetica first appeared on the scene:

It just must have felt like you were scraping the crud off of, like, filthy old things and restoring them to shining beauty . . . . Can you imagine how bracing and thrilling that was? That must have seemed like you’d crawled through a desert with your mouth just caked with filthy dust and then someone is offering you a clear, refreshing, distilled, icy glass of water to clear away all this horrible, kind of like, burden of history.

Bierut goes on to give examples, first showing magazine ads from the early 1950s displaying “every single visual bad habit that was endemic in those days. . . . zany hand-lettering everywhere, swash typography to signify elegance, exclamation points, exclamation points, exclamation points.” Then he shows a Coke ad when “Helvetica was in full swing”:

No people, no smiling fakery, just a beautiful, big glass of ice-cold Coke. The slogan underneath: It’s the Real Thing. Period. Coke. Period. In Helvetica. Period. Any questions? Of course not. Drink Coke. Period. Simple.

View a short clip of Bierut’s “Coke” example, or watch the full, hilarious 4-minutes of his take on the Helvetica transition.

Shown here, from the top:

Ian Tyson. Seven Motes of Zen Dust. San Diego, California: Brighton Press, 2015. Edition of 40 signed copies, with the text was set in Helvetica Neue, reworked for Sempel in 1983.

Claire Van Vliet and Margaret Kaufman. Aunt Sallie's Lament. West Burke, Vermont: Janus Press, 1988. Edition of 150 copies.

Mark Strand. Prose: Four Poems. Portland, Oregon: Charles Seluzicki; Sweden, Maine: Ives Street Press, 1987. 187 copies printed by Barbara Cash, with the text is set in Monotype Univers by Mackenzie-Harris (an Helvetica redesign by Adrian Frutiger), with titles handset in Stempel Helvetica.

Ricardo Bloch and Kevin Kling. The Incredible Servant and the Master of the Unknown. Minneapolis: R. Bloch, 1991. Edition of 2000, set in Helvetica Narrow.

Jenna Rodriguez. Overheard. Chicago: Jenna Rodriguez, 2013. Printed in Helvetica CY.

Creative Type: A Sourcebook of Classic and Contemporary Letterforms. London: Thames & Hudson, 2005. With type designer Günter Gerhard Lange’s entry on Helvetica.

BTW, this entire post was written in -- you guessed it -- HELVETICA!!

View our other Typography Tuesday posts.

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silverturns-art · 2 years

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Web Portfolio - Visual Identity / name & typefaces

I am choosing to use my pseudonym “silverturns” for my identity because I am already using it on Tumblr and on my artistic Instagram account and also because it is meaningful to me. “Silverturns” comes from one of my favourite songs and since music has always been one of my biggest sources if inspiration, I feel that it represents me as a pseudonym. Also the fact that it’s not an actual word I think that it creates a strange and mysterious atmosphere, which is what I want to achieve.

I have been looking into various typefaces in order to develop my visual identity. I want to have a maximum of two typefaces because I want my website to be simple and minimal but at the same I want it to have modern and awkward twist. I am looking into type that has high legibility and a lot of weights because this is always useful.

For titles and headings my favourite ones for the moment are Cy and Lunatix. I like the geometry that these typefaces have but I feel that some characters look a bit out of place (especially the “e” on Cy and the “s” on Lunatix).

I tried out some other typefaces as well but I feel that they don’t give off the vibe that I’m going for and that they are more on the playful side.

Finally I tried the classic Univers and Helvetica Neue however event if these typefaces can’t go wrong I feel that they would make my identity come off as serious and maybe not as personal.

For the body copy I’m currently considering Titillium and Korolev because they are both clean and easy to read. What I don’t like about Titillium is that the “a” varies between the italic and the non italic versions. Korolev in my opinion is more consistent. I still have to see which one works better next to the type I use for my titles/logo though.

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lisablasstudio · 3 years

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Monday's image: September 20, 2021

Cy Thao, #33, Oil on canvas, 1993-2001, Minneapolis Institute of Art, Minnesota

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medicarevideos · 5 years

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2019 Jun 24th, Medicare CLFS Annual Laboratory Meeting (Afternoon Session)

For FREE help finding a Medicare plan, Click here or call 1-800-729-9590.

Clinical Laboratory Fee Schedule Annual Laboratory Meeting

This meeting provides a forum for the public to make presentations and submit written comments on new and reconsidered Clinical Laboratory Fee Schedule (CLFS) codes for the calendar year (CY) 2020 and provide comments on other specified CLFS issues. Please note that only codes listed in our Clinical Laboratory Fee Schedule CY 2020 Updates file, located on the web at , will be addressed

AGENDA 8:30 a.m. Arrival and Check-In 9:00 a.m. Welcome and Introductions Rasheeda Arthur, PhD. Meeting Facilitator, Hospital Ambulatory Provider Group, CMS 9:10 a.m. Carol Blackford Director, Hospital Ambulatory Provider Group, CMS 9:20 a.m. Session I: Public Presentations on CY 2020 New and Reconsidered Codes (Appendix D) *Note: This session will contain 10 minute presentations from pre-registered presenters on specific CLFS codes with recommendations for either gap-filling or crosswalking for code payment determinations. 12:00 p.m. Lunch Break 12:45 p.m. Session I (Appendix D; Continued) 3:30 p.m. Break 3:45 p.m. Session II: Discussion of Automated Chemistry Test Panels Sarah Shirey-Losso Director, Division of Ambulatory Services, CMS 4:00 p.m. Facilitated Discussion *Note: We will plan for an open dialogue about recent interest in automated chemistry test panels and implications of payment given PAMA. If interested parties would like to read a prepared statement, they may sign up during Session 1. 5:00 p.m. Meeting Adjourns

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