Helvetica and the New York City Subway System: The True (Maybe) Story (MIT Press)
| Author | : | |
| Rating | : | 4.46 (990 Votes) |
| Asin | : | 026201548X |
| Format Type | : | paperback |
| Number of Pages | : | 144 Pages |
| Publish Date | : | 2013-08-24 |
| Language | : | English |
DESCRIPTION:
A Sign of the Times? This book may easily fall into the category of "everything and more than you ever wanted to know" about the use of typeface or letter styles in the New York City Subway system. On the one hand, it is easy to dismiss this as simply a study of the evolution of a specific font. However, when considered in the overall context of the evolution of the subways of New York City into the current Metro system, it is clear that just like the MTA, . James Pernikoff said Interesting book, but for a limited audience. In truth, this book will really only appeal to two distinct groups. One is those interested in (or studying) industrial design, especially those concerned with signage for transportation systems and/or the influence of government authorities on that design. The other (like myself) is fans of the New York Subway system or of rapid transit systems in general. If you belong to one of these groups, you will find the book well done and fasci. Great Gift This was a great gift. It is well-presented, with gorgeous photos. Any font snob or Subway aficionado should have this on their bookshelf.
For years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. This book tells the story of how typographic order triumphed over chaos.The process didn't go smoothly or quickly. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. It wasn't until the 1980s and 1990s that Helvetica became ubiquitous. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. He places this signage evolution in the context of the history of the New York City subway system, of 1960s transportation signage, of Unimark International, and of Helvetica itself.. The original mosaics (
There isn't better testimony to the city as a melting pot or to the strange turns that any major design project inevitably takes. It's always refreshing to come across an unexpurgated account of the messy reality, and the American design historian Paul Shaw has produced a particularly thoughtful and engaging example in his new book, Helvetica and the New York City Subway System. (The Wilson Quarterly)Design projects are rarely tidy; they're much likelier to be muddled, chaotic, and to be determined by flukes, gaffes and compromises as much as forethought. (Alice RawsthornThe New York Times)Mr. Impeccably researched and gracefully written, it uses a seem
Paul Shaw, an award-winning graphic designer, typographer, and calligrapher in New York City, teaches at Parsons School of Design and the School of Visual Arts. He is the coauthor of Blackletter: Type andNational Identity and writes about letter design in the blog BluePencil.. He is the coauthor of Blacklette