ou might remember the amazingly awesome and in-depth essay that Paul Shaw wrote about The (Mostly) True Story of Helvetica and the New York City Subway in late 2008 for AIGA Voice. I admit to having the unread article open in my browser tab for what seemed like days, perhaps even an entire week before deciding to dig into it. It was long, particularly long for online reading, split into nine informative pages. When I had finally devoured all the words and images, I wanted to read it again. And so I was very pleased to learn that Shaw had released a limited edition book which is “an expanded, annotated and profusely illustrated version of the acclaimed essay originally written for AIGA Voice. It takes into account new information and is supplemented by comprehensive notes, a bibliography and a chronology of the New York City subway system.”

Preface (click to zoom)

An excerpt from HelveticaSubway.com:

“There is a common belief, reinforced by Gary Hustwit’s documentary film Helvetica, that Helvetica is the signage typeface of the New York City subway system. 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 they created the signage system at the end of the 1960s. Why was Helvetica not chosen originally? what was chosen in its place? why is Helvetica now used? when did the changeover occur? Helvetica and the New York City Subway System answers these questions and then goes beyond them to look at how the subway’s signage system has evolved over the past forty years. The resulting story is more than a tale of a typeface. It is a look at the forces that have molded a signage system.”

Transportation Signage Systems in the 1960's (click to zoom)

The NYCTA and Unimark International (click to zoom)

Aside from the history of Helvetica and the New York Subway System, author Paul Shaw has quite an interesting history himself. Trained as a historian with degrees from both Reed College and Columbia University, he’s spent the last three decades as a graphic designer specializing in letterforms. Currently, Shaw teaches calligraphy and typography at Parsons School of Design and history of graphic design at the School of Visual Arts. Blue Pencil, Shaw’s own blog is an excellent resource for his writings on various topics on design history and typography. Only slightly tangential, but nonetheless important to note about Blue Pencil which makes the reading all the more interesting:

“I chose the name Blue Pencil for the blog because my original intention in establishing it was to post lists of errors—factual, orthographical, typographical, etc.—I have been increasingly finding in the various books I read. Many publishers have abdicated their responsibility to properly edit and proofread the books they issue. Since they are unwilling to take on these essential tasks, Blue Pencil will do it for them—post facto.”

The Fate of the Unimark System (click to zoom)

The book design is a joint effort by Paul Shaw and Abby Goldstein, published by Blue Pencil Editions. Curious colophon aficionados: Printing is by Capital Offset of Concord, New Hampshire and binding by Acme Bookbinding of Charlestown, Massachusetts. Typefaces used are AG Oldface and Monotype Grotesque.

Subway has received praise from many venerable design professionals, even Massimo Vignelli himself (one of the founders of Unimark International). His comment was quite adorable: “Paul, Did I tell you that your report is terrific? That is the final statement on the subject. Hugs, Massimo”

Helvetica Infiltrates the New York City Subway System (click to zoom)

For those of you who, like myself, couldn’t get enough of the online essay and wanted more details and higher resolution photos, order this book. Yes, it will cost you $95, but with its 273 illustrations and painstakingly meticulous research on the esoteric subject, it’s well worth the investment. Also, there’s only a limited run of 500 copies (400 of which are for sale).