Helvetica in the New York Subway
A colleague at Monash mentioned this story to me late last year. He wondered aloud whether subway signage would interest me, and whether the study of tile and mosaic fonts would count in any form of Book History. I was, and it does (I think). What do you think? Below is the opening paragraph and a link to the story.
There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together … to tell a story that ultimately transcends the simple issue of Helvetica and the subway.
For the rest of Paul Shaw's article, go here.
The (Mostly) True Story of Helvetica and the New York City Subway
There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together … to tell a story that ultimately transcends the simple issue of Helvetica and the subway.
For the rest of Paul Shaw's article, go here.

