Helvetica and the New York City Subway System

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9780262015486: Helvetica and the New York City Subway System

Book by Shaw Paul

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Críticas:

"A concise history of the New York subway, a visual archive of century's worth of underground signs (some of which are still in use), and an impressive study of the conflict between the purity of design and the messiness of the real world." -- The Wilson Quarterly "[D]esign 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. 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." -- Alice Rawsthorn The New York Times "Mr. Shaw makes clear in one of the best-researched books on modern design to date, this most New York of places is today a realm dominated by a Swiss typeface specified by a pair of Italian designers. There isn't better testimony to the city as a melting pot or to the strange turns that any major design project inevitably takes." -- The Wall Street Journal

Reseña del editor:

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. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. 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. 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. This book tells the story of how typographic order triumphed over chaos. The process didn't go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren't there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn't happen that way--that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn't until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images--photographs, sketches, type samples, and documents). 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.

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Shaw, Paul
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ISBN 10: 026201548X ISBN 13: 9780262015486
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Descripción The MIT Press. Hardcover. Estado de conservación: New. 026201548X New: Packaged Carefully & Shipped Promptly. 100% Satisfaction Guaranteed!. Nº de ref. de la librería 003230

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Descripción 2011. HRD. Estado de conservación: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Nº de ref. de la librería TM-9780262015486

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Descripción MIT Press Ltd, United States, 2011. Hardback. Estado de conservación: New. 287 x 249 mm. Language: English . Brand New Book. 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. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. 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. 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. This book tells the story of how typographic order triumphed over chaos. The process didn t go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren t there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn t happen that way -- that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn t until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images -- photographs, sketches, type samples, and documents). 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. Nº de ref. de la librería AAS9780262015486

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Paul Shaw
Editorial: MIT Press Ltd, United States (2011)
ISBN 10: 026201548X ISBN 13: 9780262015486
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The Book Depository
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Descripción MIT Press Ltd, United States, 2011. Hardback. Estado de conservación: New. 287 x 249 mm. Language: English . Brand New Book. 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. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. 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. 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. This book tells the story of how typographic order triumphed over chaos. The process didn t go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren t there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn t happen that way -- that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn t until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images -- photographs, sketches, type samples, and documents). 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. Nº de ref. de la librería AAS9780262015486

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Paul Shaw
Editorial: The MIT Press (2011)
ISBN 10: 026201548X ISBN 13: 9780262015486
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Descripción The MIT Press, 2011. Hardcover. Estado de conservación: New. book. Nº de ref. de la librería 026201548X

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Descripción MIT Press 2011-02-18, Cambridge, Mass. |London, 2011. hardback. Estado de conservación: New. Nº de ref. de la librería 9780262015486

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Descripción Estado de conservación: New. Depending on your location, this item may ship from the US or UK. Nº de ref. de la librería 97802620154860000000

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Descripción MIT Press, 2011. HRD. Estado de conservación: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Nº de ref. de la librería WM-9780262015486

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Paul Shaw
Editorial: MIT Press Ltd, United States (2011)
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Descripción MIT Press Ltd, United States, 2011. Hardback. Estado de conservación: New. 287 x 249 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. 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. 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. This book tells the story of how typographic order triumphed over chaos. The process didn t go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren t there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn t happen that way -- that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn t until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images -- photographs, sketches, type samples, and documents). 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. Nº de ref. de la librería BTE9780262015486

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