![]() Helvetica’s popularity eventually became so widespread that - as Gary Hustwit presented in his 2007 documentary film Helvetica - its use represented a cultural milestone. ³ Typographically, it took a long time to get to something like the ubiquity that Helvetica ⁴ enjoyed among Western European and North American graphic designers in the 1960s. Those designers were just as likely to specify new geometric-style sans serifs like Futura ² as they were older typefaces, like Schelter & Giesecke’s late-nineteenth-century Breite magere Grotesk. Still outré for whole books, German typographers were by then finally beginning to regularly consider sans serifs for long texts, or publications intended for immersive reading. ![]() When Jan Tschichold’s Die neue Typographie appeared 28 years later, it was also composed entirely with sans serifs. This was the Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols, ¹ written and designed by Peter Behrens. The first book composed entirely in upper- and lowercase sans serif types was only published in 1900.
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