Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface.

Neutrality has its own aesthetics.

You can't do better design with a computer, but you can speed up your work enormously.

The grid is like the lines on a football field. You can play a great game in the grid or a lousy game. But the goal is to play a really fine game.

You're always a child of your time, and you cannot step out of that.

The meaning is in the content of the text and not in the typeface, and that is why we loved Helvetica very much.

Of course design is about problem solving, but I cannot resist adding something personal.

Living with computers gives funny ideas.

This is what we've been waiting for: finally, an unprecedented critical analysis of the history of Dutch design. Mienke Simon Thomas's Dutch Design is a book to have and to read: an important and richly detailed study of the cultural, economical and social-political context of twentieth-century design in the Netherlands.