Helvetica, Modernism, Yang
I watched the documentary Helvetica a few days ago and really enjoyed it. I had just finished reading Ken Wilber’s A Brief History of Everything and found the movie to be a perfect compliment to Wilber’s theories.
Helvetica traces the rise and fall of the title font’s popularity. Designed in the idealistic post-WWII era, Helvetica became the type face of modernism. Official documents, street signs, and advertisements all used Helvetica to convey dependability and transparency. It was the type face of lofty ideals, order, efficiency.
As post-modernism took hold, Helvetica fell out of favor with designers. It was the representation of the establishment, cold and inorganic. During this time, hand lettering became popular as the uniformity of Helvetica was rejected.
Ken Wilber talks about this very shift, from an ascending thrust (yang) in modernism to a descending thrust (yin) in post-modernism. In A Brief History of Everything, he outlines the conflict between these two movements and looks toward a reconciliation, integrating both forces.
The designers featured in Helvetica perfectly explain this battle between order and chaos, celestial and earthly. You can see how the design community swung from one extreme to the other and only now is beginning to embrace both perspectives. Clarity and chaos. Yang and yin. The young designers at the end of the film explained how Helvetica was a part of their childhood and felt totally authentic and organic to them. Order is not necessarily antithetical to organic expression.
Helvetica shows a real world example of transcending and including opposing ideas. This is the very essence of the Integral movement, both sides are right and both sides can be honored: yin + yang = Tao.

