Erik Spiekermann Dieter Ram Nada Andric Marc Jacobs

Total Page：16

File Type：pdf, Size：1020Kb

Erik Spiekermann Dieter Ram Nada Andric Marc Jacobs

Four Designers Communication Erik Spiekermann Industrial Dieter Ram Interior Nada Andric Fashion Marc Jacobs By Shrey Purohit Communication Erik Spiekermann German Typeface & Graphic Designer Founded FontShop International & MetaDesign His work is bold revolutionary and is very vocal with views In 1989/90 he co-founded FontShop International with Joan Spiekermann and Neville Brody. Their own brand of fonts is called FontFont. Two of his type faces, FF Meta and ITC Of c ina, are con sid ered to be mod ern clas sics. You are currently reading FF Meta Normal At 20pts. Thats, if you are reading... He also designed the type systems for the German National railways, Deutsche Bahn If you use Firefox you will be reading Fira Sans designed by Erik, based on FF Meta. It was released for free, go get it. Industrial Dieter Rams German Industrial Designer Made consumer products with Braun His work with Braun has been a are timeless peices of pure innovation and simplicity Apple products are heavly influced by Rams’ products and have created many products inspired by his design principles. “I am convinced that a well- thought-out design is decisive to the quality of a product. A poorly designed product is not only uglier than a well- designed one but it is of less value and use. Worst of all it might be intrusive.” Dieter Rams Advocate of Minimilaism and Simplisitic Design His Ten Design Principles Good Design Is Innovative Good Design Makes a Product Useful Good Design Is Aesthetic Good Design Makes A Product Understandable Good Design Is Unobtrusive Good Design Is Honest Good Design Is Long-lasting Good Design Is Thorough Down to the Last Detail Good Design Is Environmentally Friendly Good Design Is as Little Design as Possible Interior Nada Andric Yugoslavian Interior Designer Known for Designing the Burj Khalifa Inspiration Geometries of a regional desert flower and the patterning systems embodied in Islamic architecture. Famous for designing the interiors of Burj Khalifa Spent over seven years working on this project.

Copy Link

Recommended publications

FSI: FF Meta Offc Condensed Normal
fontfont opentype® ▪▪▪▪▪▪�� fontfont info guide for ff Meta Condensed Normal Offc | Offc Pro or Web | Web Pro Sections a | Font and Designer Information b | Language Support c | Type Specimens section a FONT & DESIGNER INFORMATION Handgloves about ff Meta Condensed Normal ff Meta was originally (1985) conceived as a typeface for use in small point sizes. Against its intended purpose, ff Meta very quickly became one of the most popular typefaces of the computer era, and has been referred to as the Helvetica of the 90s – not necessarily a compliment. It is used a lot in magazines, from the Normal weight in small point sizes for captions up to the Black version for large headlines. Hairline, Thin and Light were added in 2003. Once a publishing house commissioned a Black Condensed for the headlines of a new magazine. It unfortunately ceased publication after a few issues, but ff Meta Black Condensed survived. This version was the basis for the complete Condensed family, digitized by Ole Schäfer. Since headlines need to be bold before anything else, ff Meta Condensed has one additional weight compared with ff Meta: Extra Bold Condensed, which sits between Bold and Black. ff Meta Condensed contains all weights with Old Style as well as Lining Figures, there are fractions, ligatures, kerned lining figures and also the popular Meta arrows. The normal ff Meta already saves more than 12 % of space compared to a regular sans serif. ff Meta Condensed is another 12 % more condensed without being 24 % less readable. about Erik Spiekermann, born 1947, studied History of Art and English in Berlin.
[Show full text]
Global Type.Indd
Global Type Browser Specification December 27th, 2010 Google Earth or NASA World Wind could become the basis of a somewhat new and sophis- ticated kind of archive regar- ding typefaces, type designers, foundries and type history. The time wheel allows users to select items in time. The position is in the left upper edge of the screen. Depending on the time interval, there come up diffe- rent buttoms and different types. In the right upper corner you will find the compass, similar to the time wheel different tastes. All at once, the user interface should look like this: And there is the Hot Box that comes comes up when you hit the space bar: Depending on the geographical area and the time wheel the globe will be represented more or less zoomed. Whenever there is a point of typographic interest, a hot spot gloes up. Beneath the hot spot the title and a little picture come up. If selected, the chosen point will turn into the center, and the navigation disappears. The single elements of the specific hot spot appear. Johannes Gutenberg Pietro Bembo Claude Garamond Firmin Didot Linotype typesetting machine 1982: A movie about type history from Purup Electronics, Cœbenhavn, Denmark. There should be around 200 Hot spots. Date Location Creator/company Event – 4000 Mesopotamia Phoenicians Phoenician alphabet – 3200 Egypt 1 Egyptians Hieroglyphs – 3100 Crete Minoean Linear A script – 3000 Middle america Mayans Mayan hieroglyphs – 1340 Egypt 2 Echnaton & Nofretete Monotheism – 800 Greece Hellenics Greek alphabet – 246 China 1 Qin Shihiangdi Conventions about scripts 113 Rome Imperator Trajanus Trajan’s column 200 Northern europe Scandinavian people Runes 800 Corbie Karl the Great Carolingian minuscle 1040 China 2 Delta of Yangzi Invention of printing 1452 Mainz Johannes Gutenberg 42-line bible 1470 Vienna Nicolaus Jenson Jenson 1496 Vienna Francesco Griffo Bembo 1530 Paris Claude Garamond Garamond 1737 Paris Pierre Simon Fournier Typograhic measure system 1757 Birmingham John Baskerville Baskerville 1768 Parma Giambattista Bodoni Bodoni 1896 Berlin H.
[Show full text]
Specimen · © 2020 Fontwerk · Fontwerk.Com · 1/19
Fontwerk Case Micro™ Type Specimen · © 2020 Fontwerk · fontwerk.com · 1/19 Case Micro Fontwerk Case Micro™ Credits & Details · fontwerk.com · 2/19 Case Micro™ For small print that is supposed to be read. The typographical proof that size does matter. Design Design Contributions Trademarks Licensing, Pricing Modifications, Erik Spiekermann Andreas Frohloff Case Micro™ is a trademark of Trial Free Test license Extensions Anja Meiners Fontwerk GmbH Standard Combined Print, Web, Available on request Ralph du Carrois Mastering, Production App and eBook license, Andreas Frohloff Design Period; Release starting at €50 Recommended Use Christoph Koeberlin 2019–2020; October 12, 2020 ExtendedLarger license Advertising & Packaging volume and additional Broad‐ Editorial & Publishing Marketing Latest Update casting, starting at €500 Small Text Ivo Gabrowitsch(Naming, Version 1.001; October 26, 2020 Further types of license Software & Gaming Conceptual Contribution, available on request Responsive Designs Copywriting, Imagery, Languages Specimen) 94 Latin (see page 8) Formats Contact Lucy Beckley (English otf, woff, woff2; Further Fontwerk GmbH Translation) Glyphs Per Font formats available on request Prenzlauer Allee 186 Loris Olivier(Graphic Design) 789 (see page 9) 10405 Berlin, Germany Variable Fonts [email protected] Styles Included in the Superfamily 8: four upright weights and package at no extra cost. Available exclusively corresponding italics Axis: weight, optical size from fontwerk.com/ (see page 5) fonts/case-micro. File sizes (woff/woff2): 170/136 kb Upright; 172/136 kb Italic Bold 50 pt, Medium 16 pt, Regular 16 pt, Bold 8.5 pt, Regular 8.5 pt Fontwerk Case Micro™ Samples · fontwerk.com · 3/19 End-to-end encryption Berlin Grammar Metoprolol 100–1A SIGNATURE institut pasteur de lille 1899 Freelancer From $29.95/mo.
[Show full text]
Tracing Meta
MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography Min Choi // Fall 2017 TRACING META INFO ABOUT META FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann and released in 1991 through his FontFont library. According to Spiekermann, FF Meta was intended to be a “complete antithesis of Helvetica”, which he found “boring and bland”. It originated from an unused commission for the Deutsche Bundespost (West German Post Office). Throughout the 1990s, FF Meta was embraced by the international design community with Spiekermann and E. M. Ginger writing that it had been dubiously praised as the Helvetica of the 1990s. FF Meta has been adopted by numerous corporations and other organizations as a corporate typeface, for signage or in their logo. These include Imperial College London, The Weather Channel, Free Tibet, Herman Miller, Zimmer Holdings, Mozilla Corporation, Mozilla Foundation, and Fort Wayne International Airport. Over the 25 years since its inception, the FF Meta family has been extended to include eight weights and two widths, as well as additional companion families, like FF Meta Headline, FF Meta Serif, and FF Meta Correspondence. The original FF Meta typeface has extended to a very flexible superfamily, as fresh as it was when it was born. In 2011, the Museum of Modern Art in New York added digital typefaces to its permanent collection for the very first time. Naturally, because of its significance to typography, FF Meta was one of the works included. FF Meta debuted at MoMA as part of the “Standard Deviations” installation in the contemporary design gallery.
[Show full text]
Press Release
segni 16.03 _ 18.05.2019 esemplari Palazzo della Pilotta, Biblioteca Palatina cogitations and digressions on the shape of writing to celebrate the bi-centenary of the Manuale tipografico 8 by Giambattista Bodoni: manuals, printers’catalogues and posters in an exhibition organised by the Museo Bodoniano of Parma Only recently the year ended in which the bi-centenary of the publication of Giambattista Bodoni’s Manuale tipografico occurred, and the occasion has prompted an exhibition and study day organised by the Fondazione Museo Bodoniano of Parma. ¶ The manual was published posthumously by Bodoni’s widow in order to bring to completion a long-matured project taken on by her husband. It consists of a collection of 665 different alphabets and a series of around 1,300 friezes, as well as a foreword in which Bodoni lays out some of his working methods. ¶ There was a previous collection of typefaces printed by Bodoni in 1788, at the time also entitled Manuale tipografico, but the work lacks a preface or other explanatory text. It is probable that the letter founder from Parma had borrowed the title from a small technical manual by Fournier, the Manuel typographique of 1764, but in reality the two volumes, although sharing the same name, were objects with very different functions. Indeed, Fournier’s was a manual in the real sense of the term, an explanatory publication describing the essential elements of the complex activity of the letter founder, from punch-cutting to producing matrices and ultimately moveable characters. Whereas that of Bodoni was a sample book displaying typefaces and ornaments that he had designed.
[Show full text]
Erik Spiekermann, Born 1947, Studied History of Art and English in Berlin
Erik Spiekermann, born 1947, studied History of Art and English in Berlin. He is information architect, type designer (ff Meta, ff MetaSerif, itc Officina, ff Govan, ff Info, ff Unit, LoType, Berliner Grotesk and many corporate typefaces) and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany's largest design firm with offices in Berlin, London and San Francisco. Projects included corporate design programmes for Audi, Skoda, Volks wagen, Lexus, Heidelberg Printing and wayfinding projects like Berlin Transit, Düsseldorf Airport and many others. In 1988 he started FontShop, a company for production and distribution of electronic fonts. Erik is board member of ATypI and the German Design Council and Past President of the istd, International Society of Typographic Designers, as well as the iiid. In 2001 he left MetaDesign and now runs SpiekermannPartners with offices in Berlin, London and San Francisco. In 2001 he redesigned The Economist magazine in London. His book for Adobe Press,“Stop Stealing Sheep” is in its second edition and a German and a Russian version. His corporate font family for Nokia was released in 2002. In 2003 he received the Gerrit Noordzij Award from the Royal Academy in Den Haag. His type system DB Type for Deutsche Bahn was awarded the Federal German Design Prize in gold for 2006. In May 2007 he was the first designer to be elected into the Hall of Fame by the European Design Awards for Communication Design. Erik is Honorary Professor at the University of the Arts in Bremen and in 2006 received an honorary doctorship from Pasadena Art Center.
[Show full text]
Stop Stealing Sheep & Find out How Type Works
1 Stop Stealing Sheep This page intentionally left blank 3 Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann Stop Stealing Sheep trademarks & find out how type works Adobe, Photoshop, Illustrator, Third Edition PostScript, and CoolType are registered Erik Spiekermann trademarks of Adobe Systems Incorporated in the United States and/or This Adobe Press book is other countries. ClearType is a trade published by Peachpit, mark of Microsoft Corp. All other a division of Pearson Education. trademarks are the property of their respective owners. For the latest on Adobe Press books, go to www.adobepress.com. Many of the designations used by To report errors, please send a note to manufacturers and sellers to dis tinguish [email protected]. their products are claimed as trademarks. Where those designations appear in Copyright © 2014 by Erik Spiekermann this book, and Peachpit was aware of a trademark claim, the designations appear Acquisitions Editor: Nikki Echler McDonald as requested by the owner of the trade Production Editor: David Van Ness mark. All other product names and Proofer: Emily Wolman services identified throughout this book Indexer: James Minkin are used in editorial fashion only and Cover Design: Erik Spiekermann for the benefit of such companies with no intention of infringement of the notice of rights trademark. No such use, or the use of any All rights reserved. No part of this trade name, is intended to convey book may be reproduced or transmitted endorsement or other affiliation with in any form by any means, electronic, this book. mechanical, photocopying, recor ding, or otherwise, without the prior isbn 13: 9780321934284 written permission of the publisher.
[Show full text]
ERİK SPİEKERMANN.Pdf
ERİK SPİEKERMANN 30 Mayıs 1947 Erik Spiekermann grafik tasarımda dünyanın en iyi tanınan yüzlerinden birisidir. 30 Mayıs 1947'de doğan Erik Spiekermann, Almanya'da büyüdü. Resmi sanat eğitimini Berlin Serbest Üniversitesi'nden aldı. Öğrenimini, binanın bodrum katında bir tipo matbaa makinesi basarak yaptı. 1970'lerde Londra'ya taşındı ve on yıl boyunca grafik tasarımcısı ve eğitim olarak serbest çalışarak geçti. Film bilgisi ve Wolff Olins gibi çeşitli danışmanlıklar için serbest olarak görev yaptı ve Londra Baskı Okulu'nda ders verdi. 1979'da Spiekermann Berlin'e döndü ve iki tasarımcı ile ortaklaşa MetaDesign’ı kurdu. Firmanın şu anda Londra ve San Francisco'da ofisleri bulunmaktadır. Stüdyo, teutonik görünümlü bilgi tasarımını ve karmaşık kurumsal tasarım sistemlerini bir araya getirme niyetindeydi. Müşteriler için tasarım stüdyosu tarafından üstlenilen önemli projelerden bazıları arasında Audi, Volkswagen, Skoda, Berlin Transit ve Printing sayılabilir. 1980'lerin sonlarında, Spiekermann ile diğer önemli bilgi, Joan Spiekermann, FontShop'u başlattı. FontShop, ilk mail order üreticisi ve elektronik font dağıtıcısıydı. Firmanın FontShop International adıyla uzatılması, FontFont yazı tiplerinin yayınlanmasıyla ilgili olarak kuruldu. Buna ek olarak, Spiekermann, Bremen Sanat Akademisi'nde fahri profesörlük aldı. Pasadena'daki Sanat Merkezi Tasarım Okulu, grafik tasarıma verdiği değerli katkılarından dolayı kendisine fahri doktora verdi. Ayrıca, Alman Tasarım Konseyi yönetim kurulunda üyeliğe sahiptir. 2001'de İngiliz dergisi The Economist'i yeniden tasarladı. Ertesi yıl, Adobe Press için ‘’Koyun Çalmayı Durdurun ve Tipin Nasıl Çalıştığını Bulun.’’ başlıklı yazı tipi kitabını yayınladı. Kitap daha sonra Portekizce, Almanca ve Rusça dahil olmak üzere başka dillerde de yayınlandı. Spiekermann, Nokia için büyük övgüyle karşılanan kurumsal font ailesi oluşturdu ve piyasaya sürdü. Daha sonra Christian Schwartz ile işbirliği yaptı ve yazı ailesini Deutsche Bahn (Alman Demiryolları) ile tanıştırdı.
[Show full text]
FIFTY|1 — Fontfont-Release-Magazin Nr. 2
fifty|1 FontFont Release Magazine No. 2 Releases 50 and 51 | Autumn/Winter 2009/2010: ff Brokenscript, ff Celeste/Sans/Small Text, ff Cocon, ff Dagny, ff Dax/Compact, ff DIN/Condensed Italic, ff Duper, ff Enzo, ff Folk/Rough, ff Mach, ff Market, ff Masala/Script, ff Meta/Serif, ff Mister K Dingbats, ff Netto, ff Prater, ff Providence/Sans, ff Quadraat/Sans, ff Speak, ff Super Grotesk, ff Tisa, ff Trixie, ff Typestar, ff Yoga/Sans a a a a ff Celeste ff Celeste Sans ff Celeste Small Text ff DIN a a a a ff DIN Condensed Italic ff Folk ff Folk Rough ff Mach a a a ff Masala ff Masala Script c25ff Mister K Dingbats O ff Prater a a a a ff Providence ff Providence Sans ff Yoga ff Yoga Sans Designed by Alexander Roth for the FontFont Typeface Library. © February 2010 fsi FontShop International GmbH All rights reserved. Fifty|1 Ivo Gabrowitsch Wer erinnert sich noch an die Beowolf, eine Schrift, Natürlich gibt es auch mit den Releases 50 und 51 deren Buchstaben dank einer Zufallsfunktion von wieder neue Originale, denn unsere kreative Tradi- PostScript ständig ihr Aussehen veränderten? Erik tion weicht nun keinesfalls der Technik, sondern van Blokland und Just van Rossum schufen diese steht mit ihr mehr denn je in einer attraktiven »lebende Schrift« 1989. ff Beowolf wurde kurz darauf Wechselwirkung. Im vorliegenden zweiten Release der Grundstein unserer FontFont-Bibliothek, die in Magazin FIFTY|1 finden sich daher wieder gleicher- diesen Tagen ihren 20. Geburtstag feiert. maßen praktische Informationen wie inspirierende Tatsächlich stand die legendäre ff Beowolf bereits Schriftmuster.
[Show full text]
Specimen.Pdf
vllg.com Tiempos Headline KLIM Tiempos Headline TIEMPOS TEXT & HEADLINE vllg.com Tiempos Text Tiempos Headline When type which was designed to be used at text sizes is scaled up to set headlines the spacing is usually too loose and subtle text-size details—such as ink traps and optical corrections—can suddenly become obvious and ungainly. Drawn specifically for large sizes, the Tiempos Headline types were created to address these issues. It’s sharp without being shrill or brittle, with snug spacing to optimise copyfit. A greater range of weights than in Tiempos Text allows for flexibility, and the lengthened ascenders and descenders aim to strike a balance between practicality and elegance. KLIM Tiempos Headline ABOUT vllg.com STYLES Tiempos Headline is available is six feature-rich styles in Roman and Italic Light Light Italic Regular Regular Italic Medium Medium Italic Semibold Semibold Italic Bold Bold Italic Black Black Italic KLIM Tiempos Headline ABOUT vllg.com KLIM TYPE FOUNDRY DETAILS Kris Sowersby / 2011 Features & Licensing Kris Sowersby graduated from the Wanganui School of Design in 2003. After brief employ- Tiempos Headline is available as a cross-platform, feature-rich OpenType font. It is ment as a graphic designer he started the Klim Type Foundry in 2005, currently based in available in six weights in Roman & Italic. Wellington, New Zealand. His first retail typeface, Feijoa, was released onto the international market in 2007. National, Sowersby’s second retail release, won a Certificate of Excellence from the Type Designers Club, New York in 2008. Since then he has received two more SUPPORTED LANGUAGES Certificates of Excellence (Serrano, Hardys) and worked on various custom and retail type- Tiempos Headline offers extensive language support faces including FF Meta Serif, the seriffed sibling of the renowned FF Meta.
[Show full text]
Fontfont in 2011 – Not Quite an Annual Report
s ε↑ & k not quite an FontFont annual report Moin 2011fzR y n ẞ &ξ Ě ⇣ ➸ AWg PREFACE marked the most exciting year in 2011 FontFont history. The innovations that we launched this year received a warm welcome in the design and development com- munities and beyond. The Wonderful World of Web FontFonts Almost two years after FontFont became the first those who prefer subscription services, our coopera- type manufacturer to release webfonts in the .woff tion with Typekit offers a safe and easy-to-use alter- format, the Web FontFont Library has grown into native. Web developers enjoy designing offline a Library of 2,500 typefaces. Compatible with more mockups and webpage layouts with Comp fonts, than 96% of all browsers, including Mobile Safari, packaged with webfonts at no additional charge. webfonts are here to stay. Hundreds of websites currently use the popular ff DIN, ff Dax, ff Meta, This year, we also improved the magical FontFonter ff Tisa, as well as many other FontFonts, to set service. With the help of FontFonter.com users can themselves apart with beautiful design. test-drive a large selection of Web FontFonts on any html site. To date, 42 sans serif and 22 serif families FontFont set standards not only technically, but are available to preview in various combinations. also in terms of user-friendliness. Our customers appreciate multiple hosting options. They can host Subsetter.com, our online FontFont optimizer, which their Web FontFonts on their own servers, or for debuted in July, also gained a lot of popularity. Using → Subsetter, FontFonts can be individually rebuilt, both Our website FontFont.com, relaunched in April, was the world.
[Show full text]
Gary Hustwit.Indd
HTTP://VOICE.AIGA.ORG/ Lights, Camera, Helvetica Written by Steven Heller Published on September 19, 2006. Filed in Voice: Journal of Design in Off the cuff. Helvetica is graphic designer and fi lmmaker Gary Hustwit’s feature-length fi lm about typography, graphic design and global visual culture. It examines the life and legend of the most universal of all the faces—Helvetica—which will celebrate its 50th birthday in 2007. The fi lm is further an exploration of how the typeface inhabits the culture and environment. Shot in high-defi nition on location in the United States, England, the Netherlands, Germany, Switzerland, France and Belgium, the fi lm is currently in post-production and is slated to begin screening at fi lm festivals worldwide starting in early 2007. Interviewees in Helvetica include some of the most illustrious and innovative names in the design world, includ- ing Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Stefan Sagmeister, Michael Bierut, Jonathan Hoefl er, Tobias Frere-Jones, Experimental Jetset, Michael C. Place, Norm, APFEL, Pierre Miedinger, Bruno Steinert, Otmar Hoefer, Rick Poynor, Lars Muller, and more. Here Hustwit talks about how Helvetica has been typecast for the screen. Roll the interview ? Steven Heller: So, you’re making a documentary on Helvetica? Why did you select this theme? Gary Hustwit: In the late ‘80s, I got involved with book publishing and was designing book covers and interi- ors, which was the start of my fascination with typography. I even designed a few very bad typefaces in the mid- 1990s.
[Show full text]