| |||||||||||||||
 Trade In this Item for up to £0.80
Get an extra £5 when you trade in books worth £10 or more until June 30, 2012. Trade in Helvetica: Homage to a Typeface for an Amazon.co.uk gift card of up to £0.80, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Find more products eligible for trade-in.
|
Frequently Bought Together
Product details
|
More About the Author
Product Description
Review
A declaration of love of a particular kind in a small but elegant format. No design library should be without it. --Novum
Product Description
Helvetica is not only the preferred typeface of leading professionals, it is also an all-time favourite among the multitude of codes, signals and signs that flavour urban life. This book sings the praises of the honest worker and solo entertainer of typefaces, Helvetica, and of its forgotten creator and all those who have contributed to its unparalleled international march of triumph over the past forty years. Filled with pages of color images of Helvetica in use, from album covers and road signs to advertisements and product packaging, the designs gathered together in honor of Helvetica have been created by superb designers and anonymous amateurs from all over the world. The result is an exciting collection of this icon of modern design.
Inside This Book
(Learn More)
Suggested Tags from Similar Products(What's this?)Be the first one to add a relevant tag (keyword that's strongly related to this product)
|
Sell a Digital Version of This Book in the Kindle Store
If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store.
Learn more
What Other Items Do Customers Buy After Viewing This Item?
Customer Reviews
Most Helpful Customer Reviews
5 of 6 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
First the mystery: just why was every alternate page in the book joined together? The reader has to carefully cut the perforations to be able to look at every page. I can't find any reference in the small amount of text about this. My conclusion is that the public use of the type is on the open pages and non-public (or designed) examples are on the perforation joined pages. At least you'll know if you buy a pre-used copy though.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
11 reviews
10 of 10 people found the following review helpful
It's no Akzidenz
19 Jan 2006
Format:Hardcover
First the mystery: just why was every alternate page in the book joined together? The reader has to carefully cut the perforations to be able to look at every page. I can't find any reference in the small amount of text about this. My conclusion is that the public use of the type is on the open pages and non-public (or designed) examples are on the perforation joined pages. At least you'll know if you buy a pre-used copy though.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
Apart from the perforations I thought this was a handsome little book and homage in the title is very apt. Helvetica is probably the world's number one communication choice, it works just as well on a municipal sign or a new baby announcement. Before it gained a monopoly each nation seemed to have its own jobbing type, Franklin Gothic in America, Gill Sans in England or Antique Olive in France, for instance but the super clean lines of Helvetica (and computer typesetting) meant it was no contest for all the others.
The author mentions the uniqueness of Swiss design in the Fifties partly because the top designers always used the same typeface, the stunning Akzidenz Grotesk, which fitted into their rather austere but elegant graphic solutions even though it only had two weights, Medium and Bold. Who needs italic, extended, condensed, extra black and the other weights to communicate efficiently? The rest of the world for a start. From the late Fifties Swiss designed Helvetica spread across the globe and you'll see from the hundreds of examples in these pages some wonderful design solutions, especially the two hundred plus logos that use the face in all sorts of variations. As a typeface there are probably a few dozen Helvetica weights now available. Incidentally, the author suggests that Arial, the default type used on Outlook Express for most emails is a digital Helvetica, close but no cigar! The most obvious differences are the cap G and the lower case s and t.
'Homage to a typeface' is a lovely book that'll interest most typographers and anyone who is curious about a lettering style that seems to be everywhere.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
11 of 12 people found the following review helpful
Wonderful book, unforgivable, shoddy binding
18 Sep 2004
Format:Hardcover
I'll start by saying that this is a lovely tribute to the most invisible, versatile and ubiquitous font. It is a full bled chunk of photography and unintentional wit.
Buuuttt....
The binding is absolutely horrendous. I'm not referring to the imaginative use of perforation, either. The binding completely fell apart after flipping through it once. The pages are not folded and stitched and only held in with apparently inadequate adhesive. I am now the proud owner of a nice stack of loose paper.
Due to the fact that the reader is expected to separate the perforated edges- the book becomes non-refundable.
So, although I wish I could recommend this little book due to content I strongly advise that you not purchase it.
Buuuttt....
The binding is absolutely horrendous. I'm not referring to the imaginative use of perforation, either. The binding completely fell apart after flipping through it once. The pages are not folded and stitched and only held in with apparently inadequate adhesive. I am now the proud owner of a nice stack of loose paper.
Due to the fact that the reader is expected to separate the perforated edges- the book becomes non-refundable.
So, although I wish I could recommend this little book due to content I strongly advise that you not purchase it.
8 of 9 people found the following review helpful
How can you review a book if you haven't even seen it.
16 July 2003
Format:Hardcover
... Great book... in a lovely format... shows how many different guises Helvetica can give. Love the hidden perforated sections too. A book you'll pick up time and time again ...
Were these reviews helpful?
Let us know
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
Listmania!
|
|
Look for similar items by category
- Books > Art, Architecture & Photography > Architecture > Techniques & Tools > Drafting
- Books > Art, Architecture & Photography > Graphic Arts > Typography
- Books > Computing & Internet
- Books > Scientific, Technical & Medical
- Books > Society, Politics & Philosophy > Social Sciences > Communication Studies > Media & Communication Industries
- Books > Society, Politics & Philosophy > Social Sciences > Urban & Rural Planning
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
- I am the Author, and I want to comment on my book.
- I am the Publisher, and I want to comment on this book.
|
