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Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
Titling Fonts
Titling Fonts by Ilene Strizver HISTORICALLY, A “titling font” WAS A FONT OF METAL TYPE designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text- sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the These titling faces are stand-alone designs, rather than part of a larger family. a lowercase; Perpetua Titling has three ITC Golden Cockerel Titling (upper) is more streamlined than its non-titling cousin (lower). weights; and Forum Titling, based on a It also has different finishing details, as shown Frederick Goudy design, has small caps on the serif ending stroke of the C. in three weights that were added later. The overall design of most (but not all) titling fonts designed as part of the titling fonts is traditional or even historic Dante, Plantin, Bembo, Adobe in nature. In the days of metal type, Garamond Pro, and ITC Golden Cockerel titling capital letters took up the full typeface families. point size body height. For example, 48 point Perpetua titling caps were They can also be standalone designs, basically 48 points tall, whereas regular 48 point Perpetua was sized such that Dante Titling (upper) has greater weight such as Felix Titling, Festival Titling, and the tallest ascender and longest contrast and is slightly more condensed than Victoria Titling Condensed. -
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. -
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. -
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. -
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. -
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. -
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. -
Design One Project Three Introduced March 18. Due April 15. Typeface
Design One Project Three Introduced March 18. Due April 15. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write an approximately 150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
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. -
Ag Brand Manual
Ag Brand Manual 1 Ag Visual Identity A guideline for creative talent. “Too much flexibility results in complete chaos, too much structure results in lifeless communications. Balance is the Design Continuity goal.” These guidelines are not intended to provide every All permissions are denied unless detail regarding graphics expressly granted. applications, production processes and standards, but to Guideline Purpose provide general direction for Promote the Ag visual identity in maintaining consistency with the most convenient, consistent the Ag identity. and efficient way and make sure no mistakes are made. ©2011 DECAGON PRINTED IN USA v1.0 2 Heirarchy & Emphasis Typography and colors are palettes. They have a limited number of choices in a given range. They have shades or weight. Type on a page appears as a gray block to the eye. Weight is a degree of boldness or shade. Weight helps the viewer determine what is most important. It creates interest and attractive design. Varying type weights give the illusion of depth to a page. Darker type moves forwards and lighter type receeds. This helps emphasize what elements should be viewed and in what order. These direct the eye of the observer or reader. This is presentation strategy. If everything is emphasied equally, it creates visual noise. “Emphasizing everything equals emphasizing nothing.” —marketing adage. 3 Logo Application The Decagon logo is described as No scanning logo artwork! a stack logo. Word parts of the logotype are not all on the same Logo Placement line. The logo should appear only once on each printed spread (not each The logo sides are sloped (italic).