This Massimo Vignelli poster proclaims the College of Visible Arts’ “third in a sequence of exhibitions honoring the nice visible communicators of our time.” February 22 to March eight, 1991 on the Visible Arts Museum. In line with Vignelli:
The exhibition confirmed work that we had finished over a few years by utilizing solely 4 typefaces: Garamond, Bodoni, Century Expanded, and Helvetica. The goal of the exhibition was to point out that a big number of printed matter may very well be finished with an financial system of kind with nice outcomes. In different phrases, shouldn’t be the kind however what you do with it that counts. — The Vignelli Canon, 2009–10
Vignelli is known (or infamous) amongst designers for sticking to a handful of typefaces and publicly poo-pooing all the brand new stuff that was sprouting within the early years of DTP. He expounds on his philosophy in Canon:
As I mentioned, on the time, if all folks doing desktop publishing have been docs we might all be useless! Typefaces skilled an unimaginable explosion. The pc allowed anyone to design new typefaces and that grew to become one of many greatest visible air pollution of all instances. …
I nonetheless consider that the majority typefaces are designed for industrial causes, simply to earn cash or for id functions. In actuality the variety of good typefaces is quite restricted and a lot of the new ones are gildings on pre-existing faces. Personally, I can get alongside effectively with a half a dozen, to which I can add one other half a dozen, however most likely no extra. Apart from these already talked about, I can add Optima, Futura, Univers (probably the most superior design of the century because it is available in 59 variations of the identical face), Caslon, Baskerville, and some different fashionable cuts. As you possibly can see my record is fairly fundamental however the nice benefit is that it might probably guarantee higher outcomes. Additionally it is true that in recent times the work of some proficient kind designers has produced some exceptional outcomes to offset the shortage of objective and high quality of a lot of the different typefaces.
Vignelli himself was partially liable for creating a brand new typeface (effectively, technically a contemporary revival) only a few months earlier than this SVA exhibition: WTC Our Bodoni. From its release specimen:
When Bert Di Pamphilis of the World Typeface Corporation, New York, requested us to design a brand new typeface, we instructed him that we don’t consider in “new” typefaces, however that there was room for enchancment on present, basic typeface designs. We think about the ratio between upper- and lower-case Helvetica letters to be the very best there may be. We wished to revamp Bodoni utilizing the same ratio between the instances, with brief ascenders and descenders; and articulate the kind in 4 weights: gentle, common, medium, daring. We labored on this undertaking with Tom Carnase, undoubtably one of many best kind designers on the earth. We have been fairly happy with the outcomes of our efforts, and we plan to use the identical idea to some different basic typefaces, equivalent to Futura, Century and Garamond.
The exhibition poster, nonetheless, doesn’t use WTC Our Bodoni, opting as a substitute for a extra customary digital or phototype model of Bodoni, maybe to replicate the work proven within the exhibition utilizing older cuts of the typeface.