The movie had strengthened my opinion about Helvetica and the typography world. I really enjoyed watching the film. I realised how many different approaches are there between designers and how many different, contrasting opinions about Helvetica they have.
 I have also learned alot about typography and the font itself. First of all, it surprised me how much time and work it took the man to create the 'HELVETICA' word the old way. Putting the word together and then making it appear on a piece of paper required precision and was really time consuming. Alot of work... not something for as impatient person as I am.
Another thing I did not realise is how am I surrounded by this one font. Helvetica. It is everywhere. On the packagings, signs, shops. It just looks so insignificant, that it doesn't really catch the attention. It just is there. Quoting Wim Crouwel, " It is neutral". Unnoticeable, hidden, fitted everywhere possible.
Most interesting fact I have learned is where does the name of the font come from. It was created as an improved, modernised version of Akzidenz Grotesk, and was first named Die Neue Haas Grotesk. The name had to be changed, for the purpose of international use, especially in America. The first suggested name was Helvetia, being a Latin name of Switzerland - the country where the font was born. Eduard Hoffman stated against it, saying that a font cannot wear the name of a country, and suggested name Helvetica - meaning The Swiss Typeface.


Helvetica is the most popular and most widely used font. I have never used it myself, as I did not posses it on my computer, but I seriously daubt I would use it much. As much as I agree with opinions of other designers, about Helvetica being so neutral that you can use it anywhere, I do not agree with using it as the only font. The designers of Norm, said that using Helvetica is the best way to design. That it fits everywhere, and even if you are not a designer, using that font will make all your designs look good. That is not true. It may work if you want to make a boring business card. If you want to design something that will actually look good, what means creative, eye-catching, looking good and making your client happy - it must have character. It must express something that the client is trying to convey by his work. If it's a rock band poster or CD cover, how would a simple use of Helvetica express that? I say big NO to that. Nonetheless, if you use Helvetica wisely, eg. play around with it in creative ways, trying to create something new, create layers, convey words with images - the messy look of the design will not influence the legibility. That is the way this font should be used. I should quote Stefan Sagmeister here: "It simply became boring. If I see a lot of white space that has six lines of helvetica up on the top and a little abstract logo at the bottom and a picture of a businessman - the overall communication that it says to me is ""Do not read me, because I will bore the shit out of you"". I never did like white space with few words in helvetica as a poster or cover. For me it looks raw, unfinished and boring.


The very important words were spoken by Neville Brody - the the choice of typeface will be the most influential on your design, and that font is the "weapon" in communication. Seeing his few designs displayed on the computer I saw the truth of those words. Every each of them was different, some of them calm, some screaming out loud. Designs for different people, but still conveying the same message.
Another designer that inspired me was Paula Scher. Her speaking about how did she became a designer, the history she shared, was very interesting. And I really do know what did she feel like at the beginning of her typographical career - when just did not understand how to use letters. The words she repeated after her teacher 'Illustrate typeface" really did spoke to me. It was like opening a new way for me, these were the words I wanted to hear, that I was always aware of but couldn't say myself. It really gave me new strength and inspiration for my designs. I do not have to put the words neatly in lines - I can play around with them. 
Another designer having enormous impact on me was David Carson. I literally loved the freedom, creativity and fun conveyed in his designs. It was refreshing, I could see how much fun did he have creating them, and that's what many people forget about when design becomes their way of earning money, or even just being a main class at university, which I could be an example of. Carson gave me the hope and showed me that even people with no learned basics can create great designs. That a great design does not mean boring, keeping to all rules design... It means understanding the needs and expectations of audience and creating something new. I especially loved the part when David started showing words printed in helvetica, like 'explosion' and laughing that he just cannot see the explosion in there.


I am not a typography lover. I cannot compare myself to people like Spiekermann or MIke Parker - I do not speak about typography with such passion, loving. Those people threat fonts like their life partners, families, or the whole world. Their faces radiate with sunshine, the smile becomes as big as half of their faces and eyes go big - they just transfer to this another world, like a paradise, where every part of it is made of font.


I have not changed my opinion about Helvetica font. I still think that it is incredibly boring, if used with a lot of white space, but it also has a strength if used as a part of a design, put inbetween colours, pictures, and layers. It just needs to be used in the right time and place.