EXPERIMENTAL JETSET HELVETICA MOVIE

The full-sized poster, and A2 letterpress print. We really liked this anonymity. We think that the whole image of modernism as something that is primarily concerned with functionalism, utilitarianism, that’s something that emerged much later, that’s a sort of a late-modernist thing. Our own attempts to rematerialize graphic design, by using Helvetica for instance, can be seen as a manifestation of our own belief in this ‘makeability’. For us, one of the core beliefs of modernism is the idea of ‘makeability’; the concept of changing society through changing material circumstances. One way how we try to stress the idea of design as an object is through this notion of self-reference, which we discussed earlier. By referring to itself or its context the object gains some kind of ‘self-awareness’, it becomes an object-in-itself.

But as designers, we understand that the most important thing is the movie as a whole, and in the light of that, all this personal vanity stuff is completely unimportant. The movie sort of destroyed that. Fortunately, Computer Arts had the chance to sit down with Van den Dungen, Stolk and Brinkers at the end of February, following an engaging talk at Design Indaba about their creative influences. So for us, it is almost like a natural mother tongue, it’s something really natural. During that meeting, Gary mentioned that he wanted to make a documentary about Helvetica: For us, one of the many ways to underline the physical, material qualities of a design is through the use of self-reference. But by underlining the physical proportions, qualities and inner-logic of our designs we try to stress the fact that they are objects.

Now, that would be an easy way out.

So rooted is Experimental Jetset’s signature style in the graphic language of the studio’s forebears, particularly the great Wim Crouwel, that some reactions have been negative. To jetwet that the way we use Helvetica is an easy way out typographically is ridiculous.

Of course, compared to the likes of Kubrick or The Beatles, references to Antonioni could pass the average viewer by. It all started 25 years…. Retrieved from ” https: The clean lines, monochrome colour palette and Helvetica-flavoured simplicity of Experimental Jetset ‘s body of graphic design work can be deceptive.

Twitter Facebook Pinterest Email. By the way, when we talk about autonomy it has nothing to do with whether an object is jjetset or not. This article originally appeared in Computer Arts issue Before we even start, Stolk ponders: But those cases are rare. Stolk goes on to explain how, when the three of them graduated intypefaces were beginning to proliferate and distract designers from the concept at hand, a phenomenon they were keen to avoid.

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But by underlining the physical proportions, qualities and inner-logic of our designs we try to stress the fact that they are objects. Philipp Herrmann with Landor Milano Foundry: To us, a myth is the same thing as a constructed, social fact, so in that sense we’re saying now the same thing as we said two years ago, but we do agree the word ‘myth’ is a bit more confusing”. For us, one of the many ways to underline the physical, material qualities of a mkvie is through the use of self-reference.

Also, the suggestion that we always use Helvetica is simply not true. Grand Gothik got its start in as jetste. In that sense the neutrality of Helvetica resembles a self-fulfilling prophesy. But despite this, or, in our opinion, because of this, it is regarded as one of the most functional objects on earth.

This is easy to prove if we observe these two letters under a lens — they are quite different from each other. Likewise, designing with a limited amount of typefaces is definitely not an easy way out.

Together with some other graphic techniques the use of folds and cuts, showing the background paper through the use of empty space, etc.

Why everything starts with Helvetica for Experimental Jetset

Or, more accurately, removes colour from it, in favour of stark black sans-serif type on pure white. So we feel that we now have the right, or almost the duty, to explore this language, to expand it, to add our own accents to it, to tell our own stories with it. In other projects Wikimedia Commons.

The New York Sun editor Steve Dollar claimed the odd details and vocal asides made the movie more compelling than might otherwise be imagined. The studio’s graphic language for New York’s Whitney Museum changes shape to react to different proportions and surfaces. By referring to itself or its context the object gains some kind of ‘self-awareness’, it becomes an object-in-itself.

What are its distinguishing characteristics?

Revisiting Helvetica, the Typeface So Ubiquitous It “Feels Like Air” | | Eye on Design

That’s when we decided to package the Blu-ray disk in a record sleeve, referring to the vinyl 12” LP, a now expermiental defunct format. It’s not that the letters ‘g’ and ‘r’ wouldn’t have fit on the poster; in fact, we could have easily make it all fit, by composing the whole right column like this: Haas foundry Release Date: We move on to discuss how that perfectionism manifests itself. For example, the city Danny was born in and grew up in, Rotterdam, had a logotype designed by Wim Crouwel; the stamps were designed by Crouwel, the telephone book was designed by Crouwel, the atlas that we used in school was designed by Crouwel.

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Perhaps in some cases, these allusions are as much for the trio’s own personal satisfaction as anything else?

The referring of experikental object to itself or to its own context can be seen as a form of ‘materialization’. What should I pair it with? First of all, a poster that would be letterpress-printed, and sold in a limited edition, as a fundraiser expetimental the film.

When we say helveticx, we are referring the graphic motive on the sleeve; and when we say ‘disk’, we refer to the actual Blu-ray disk The fact that it continued to be popular throughout the next half a century, experimetal, was thanks largely to two populist technologies: These jerset be a numbered limited-edition of prints, printed on Cranes Lettra gsm art paper by our friends at Coeur Noir Letterpress in Brooklyn. But the ways in which we try to formulate these opinions change quite often.

Compagnon is a mismatched…. Still in development Back Story: Would you agree that there is a renewed interest in Helvetica at the moment? Does it in any way signal a general disinterest in the finer details and art of typography? Out of the Dark Release Date: Anyway, Gary is a great guy, we had some regular e-mail contact, until, towards the end ofGary asked us hlevetica design a poster for Helvetica, his upcoming movie, to be released in Archive Preview News About Contact.

In the beginning of the movie, Gary shows designers like Crouwel and Vignelli, the old-school late-modernist designers thesis ; then he shows people like David Carson and Paula Scher, people who clearly rejected this particular brand of modernism antithesis.

We try to go against this alienation by focusing on the idea of design as matter. For example, a ‘grungy’ typeface that is used specifically to attract a ‘grungy’ audience is for us an image or a ‘representation’.

There are many reasons why we use Helvetica. The limited 1, copies edition includes Gary Hustwit’s autograph.

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