Paradise Alley

00:01:49 Type is saying things to us all the time.

00:04:52 What could me more American than red and blue? You know, so it's perfect.

00:07:49 you get the emergence of this so-called international typographic style

00:11:11 We had the greatest problem in the sixties to bring two or three layers into the work.

00:14:43 to a type foundry in the Netherlands

00:17:24 They just seem to be exactly right.

00:20:49 so that the counters and the space between characters just hold the letters.

00:24:28 lt was exactly what the designers were looking for.

00:27:53 period.

00:30:41 But it's that there's really no way to describe the qualitative parts

00:33:20 And even for us professionals that's hard to escape from.

00:37:07 well, it's like a person, if you are slightly heavy in the middle

00:39:10 lch habe sie immer gekauft

00:42:51 tells you the do's and don'ts of street life

00:46:10 and at that time they were persuasively Helvetica.

00:49:08 and the percentage of people who used Helvetica.

00:52:29 The type in an instant, in a single image

00:56:00 l'd say, ''What's the big deal? What are you talking about?''

00:58:29 and you'd be able to read it

01:01:29 l think the early-modernist movements

01:05:52 and the sort of ligatures and ascenders and descenders and all that kind of thing.

01:09:05 are really driving that along.

01:14:29 you definitely can be a designer with one or two thousand dollars

01:16:57 as opposed to someone's tastes.