Helvetica, which had its world premiere at the conference, presents the life story of something all of us encounter on a daily (or even hourly) basis. Created in 1957 by the Swiss modernist designer Max Miedinger as a response to the cluttered typography and design of the postwar era, Helvetica's clean neutrality and balanced use of the empty space surrounding letters quickly made it a go-to font for public signage, advertising, corporate logos and works of modernist design around the worldIn the left corner: COMIC SANS MS:
Filmmaker Gary Hustwitt revels in his fascination with something so commonplace that it blends almost entirely into a context-less background, becoming a detective of sorts to unveil the myriad everyday places Helvetica is hiding (“It's a disease,” Hustwitt said of his obsessive font-spotting).
Earz: I found a weird website on typography, it was written in Italian I think, and had images of a gravestone lettered in comic sans. What does that say to you?Personally, I prefer Trebuchet MS.
That would only be appropriate if the deceased were a clown or comedian, but other than that, I'd come back to haunt whoever did that if I were the dead guy.
p.s In the top corner, ARIAL:
It's been a very long time since I was actually a fan of Helvetica, but the fact is Helvetica became popular on its own merits. Arial owes its very existence to that success but is little more than a parasite—and it looks like it's the kind that eventually destroys the host. I can almost hear young designers now saying, "Helvetica? That's that font that looks kinda like Arial, right?"