Reviews of Jonathon Huang's type-titillating lecture...


I found it to be font-astic and helvetical! That's typist humor for fantastic and perfect. The lecture could only have been more enlightening if it had been an illuminated manuscript. The dinner, once rice was added, was delicious!

- Matt Cheung, alpha pun-maker

Jon Huang has given us such a fontastic lecture on fonts and the perfection that is Helvetica. My eyes have been opened to the importance of proper font selection in everyday life, even for LaaF longer will I write solely in Comic Sans!

- Daniel Khim, formerly addicted to comic sans

Jon Huang's lecture in four words: more perfect than Helvetica.

- Lisa Liu, serif-im

Who knew that such a neutral font from neutral Switzerland would throw designers (and JonHuang's lecture audience) into such a frenzy? Whether you ended up thinking Helvetica was the be-all-end-all-font-of-fonts or believe that there is hope beyond Helvetica, we can all agree that professional designers make the most beautifully designed pdfs with awesome quotes found by googling.

- Ji Son, former font addict

A year and half later and I'm still amazed that I learn so much from a lecture series that came from making fun of Miles' obsession with James Marsden. Okay, I wasn't even at this lecture but I really did learn a lot from flipping through the PDF. So aesthetically pleasing, unlike all of my LaaF presentations to date. The section on the companies that use Helvetica made me just want to go out and buy stuff. Scary.

-Julie J. Park, LaaF Midwestern Distance Learning Correspondent

As a sheriff of the serif, I found myself for years averse to Helvetica and its clones/offpsring. Helvetica's message to me was one of conformity and galling neutrality. Imagine my surprise to discover through Jonathan Huang's engaging lecture that the typeface had actually emerged from modernism, a movement I do not necessarily embrace but one I certainly respect. It was a revelation to discover that Helvetica was born of loftier aspirations than mere commercial designs, and carries far more than the punitive connotations of governmental signage. For something once known as Akzidenz-Grotesk, Helvetica is, strangely, no grotesque accident. Its fans should be happy to know that I have mentally shifted the typeface from the confines of Louis Althusser's repressive state apparatus and into the sphere of the ideological state apparatus.

-Jezreel Leung, self-proclaimed sheriff of the serif