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Helvetica and the New York City Subway System
The True (Maybe) Story
Paul Shaw
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.
About the Author
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 and
National Identity and writes about letter design in the blog Blue
Pencil.
| “[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 “The book is a must read for sign nuts, design nuts, transit nuts, and all true lovers of New York.”
—Julia Turner, Slate View All Reviews |
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| “Paul Shaw’s study of the signage in the New York subway system is one of the best pieces of design history I’ve ever read. Impeccably researched and gracefully written, it uses a seemingly prosaic subject as a starting point for a fascinating exploration of the way that graphic design developed as a discipline in the 20th century.”
—Michael Bierut, partner, Pentagram
“For transit and type nerds alike, Paul's book is the Bible. It finally tells the true story of the New York subway sign system and shows how even big projects like it are shaped by people and their likes and dislikes; by accidents, prejudice, and half-knowledge. This is a history book, a type book, a design book, and a business book.”
—Erik Spiekermann, creative director and managing partner, Edenspiekermann
“Paul Shaw's detailed narrative of the evolution of signage in the New York City subway system over the past half-century reveals how the many decisions underlying its appearance have been shaped as much by political, economic, and bureaucratic forces as by design considerations. His beautifully illustrated book brings a unique perspective to the subject, and is a welcome addition to the vast literature on New York City.”
—Kenneth T. Jackson, Editor-in-Chief, The Encyclopedia of New York City; President Emeritus, The New-York Historical Society
View All Endorsements |
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| Honorable Mention, 2011 American Publishers Award for Professional and Scholarly Excellence (PROSE Award) in Architecture & Urban Planning, presented by the Professional and Scholarly Publishing Division of the Association of American Publishers
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