Fontfont in 2011 – Not Quite an Annual Report
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Versidad Autónoma Metropolitana, Unidad Azcapotzalco
Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales. -
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. -
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. -
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. -
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. -
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. -
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. -
Specimen · © 2020 Fontwerk · Fontwerk.Com · 1/20
Fontwerk Case Text™ Type Specimen · © 2020 Fontwerk · fontwerk.com · 1/20 Case Text Fontwerk Case Text™ Credits & Details · fontwerk.com · 2/20 Case Text™ A modern Neo-Grotesque with exceptional legibility. The bigger sister’s perfect body text side-kick. Design Design Contributions Trademarks Licensing, Pricing Modifications, Erik Spiekermann Andreas Frohloff Case Text™ is a trademark of Trial Free Test license Extensions Anja Meiners Fontwerk GmbH Standard Combined Print, Available on request Ralph du Carrois Mastering, Production Web, App and eBook license, Andreas Frohloff Design Period; Release starting at €50 Recommended Use Christoph Koeberlin 2016–2020; October 12, 2020 ExtendedLarger license Advertising & Packaging volume and additional Broad‐ Editorial & Publishing Marketing Latest Update casting, starting at €500 Film & TV Ivo Gabrowitsch(Conceptual Version 1.001; October 26, 2020 Further types of license Logo, Branding & CI Contribution, Naming, available on request Software & Gaming Copywriting, Imagery, Languages Responsive Designs Specimen) 94 Latin (see page 8) Formats Lucy Beckley (English otf, woff, woff2; Further Contact Translation) Glyphs Per Font formats available on request Fontwerk GmbH Loris Olivier(Graphic Design) 795 (see page 9) Prenzlauer Allee 186 Jana Kühl(Imagery) Variable Fonts 10405 Berlin, Germany Styles Included in the Superfamily [email protected] 8: four upright weights and package at no extra cost. corresponding italics Axis: weight, optical size Available exclusively (see page 5) File sizes (woff/woff2): -
Typo Eina 01
Disseny de publicacions modulars Fixació del text + Tria i cànon tipogràfic Infografia Treball teòric Aquesta assignatura, juntament amb la de La fixació del text tracta del que es coneix com a Introducció i panoràmica de les tècniques de Es tracta d’una recerca relacionada amb el món Disseny de publicacions per contingut, són les composició del text (typesetting), que en trets generals la infografia en sessions breus on s’avaluen els tipogràfic. La història, la tècnica, els protagonistes… dues grans assignatures pràctiques d’aquesta engloba totes les operacions que es realitzen a recursos que aquest llenguatge periodístic aporta. Una aportació al coneixement general de la segona part del curs. El disseny de publicacions l’interior de les caixes de text en qualsevol publicació. tipografia en forma de treball autònom de modulars contempla la pràctica del disseny Per la seva banda, la tria tipogràfica és un recull Planificació de publicacions l’alumne i tutoritzada per professors del curs. de pàgina des de la perspectiva d’un sistema raonat i cronològic d’aquelles lletres que hauríem Taller pràctic de conceptualització de publicacions. Al final del procés, el treball es valorat jerarquitzat i flexible que s’adapta infinitament de coneixer i com es poden fer servir. S’avaluen tots els formats analògics i digitals per un comité d’avaluació. als contiguts, com es ara el disseny d’un diari. actuals i es desenvolupa un projecte curt. Disseny de publicacions per contingut Història de la pàgina + tendècies formals La manera alternativa de plantejar el disseny de Direcció d’art L’objectiu d’aquestes dues assignatures és per una pàgina, en contrast amb el disseny modular, és En aquest taller s’analitzen les possibilitats i les maneres banda conèixer els diferents sistemes de configuració la creació d’un sistema que permeti prioritzar de fer encàrrecs a tercers (il·lustradors, fotògrafs, de pàgina que han portat els sistemes simètrics les imatges i adaptar els textos amb voluntat tipògrafs…). -
T.C. Süleyman Demirel Üniversitesi Güzel Sanatlar Enstitüsü Grafik Tasarim Anasanat Dali
T.C. SÜLEYMAN DEMİREL ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ GRAFİK TASARIM ANASANAT DALI GRAFİK TASARIMDA YENİ NESİL FONT TASARIMI ÜZERİNE İNCELEME; DENEYSEL BİR FONT TASARIMI Münire YILDIZ Yüksek Lisans Tezi Danışman: Doç. Yusuf KEŞ ISPARTA, 2015 SUNUŞ Kişisel bilgisayarların yaygınlaşması ile her eve ve her ofise bilgisayar girmiştir. Font tasarımı yapmayı mümkün kılan programların erişimi kolaylaşmıştır. Tipografi alanında uzmanlaşmış ustaların yanında programları kendi çabalarıyla öğrenip, ardından taslakları programa aktaran ve kendini tipografist olarak görenler olabilmektedir. Fakat bu durumun yaratıcılık ve yenilik gibi tasarımın ana unsurlarını etkilediği görülmektedir. Bu sonuç doğrultusunda font tasarımıyla ilgileneceklerin gelişimlerine katkıda bulunacak ustaların işlerine yönlendirme yapma gereği amacıyla bu çalışma oluşturulmuştur. Bu araştırma birçok kişinin katkısı ve desteği ile oluşturulmuştur. Öncelikle değerli katkılarıyla ve alanında engin bilgisiyle tezi şekillendiren saygıdeğer danışmanım Doç. Yusuf KEŞ’e teşekkür ederim. Tezi araştırılmasında ve hazırlanmasında yardımlarını esirgemeyen ve değerli kaynaklarını ile bilgilerini benimle paylaşan tipografi alanında usta Prof. Namık Kemal Sarıkavak’a sonsuz teşekkür ederim. Tez izleme komitesinde bana yol gösteren Doç. Dr. Mehmet ÖZKARTAL’a katkıları için teşekkür ederim. Öğrenim hayatımda bana öcülük eden abim Fatih ASİLTÜRK’e ve tezin oluşum sürecinde bütün zorlukları benimle göğüsleyen, maddi manevi en büyük destekçim olan iki yol arkadaşım canım anneme ve eşim İbrahim YILDIZ’a minnettarım. Münire YILDIZ Isparta, 2015 i ÖZET GRAFİK TASARIMDA YENİ NESİL FONT TASARIMI ÜZERİNE İNCELEME; DENEYSEL BİR FONT TASARIMI Münire Yıldız Süleyman Demirel Üniversitesi, Güzel Sanatlar Enstitüsü Grafik Ana Sanat Dalı, Yüksek Lisans Tezi Yıl: 2015, Sayfa: 161 Danışman: Doç. Yusuf KEŞ Font tasarımının gelişim sürecinin temeli yazı ve tipografinin tarihsel sürecine dayanmaktadır. Yazının kil tabletlerle başlayan macerası matbaanın bulunuşuyla hareket kazanmıştır. -
Comparisons of Post-Baccalaureate and Graduate Typeface Design
LEARNING TO SEE: COMPARISONS OF post-baCCALAUREATE AND GRADUATE TYPEfACE DESIGN EDUCATION IN ENGLAND, THE NETHERLANDS, AND THE UNITED STATES IN THE EARLY TWENTY-FIRST CENTURY by Patrick Gosnell, BFA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Fine Arts with a Major in Communication Design August 2015 Committee Members: Claudia Röschmann, Chair Michael Niblett Maia Wright i COPYRIGHT by Patrick Gosnell 2015 ii FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Patrick Gosnell, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. iii DEDICATION This work is dedicated to Karen, Janie, and Sammie— the incredible loves of my life. – Philippians 4:13 – iv acKNOWLedgements I would like to sincerely thank my professor, mentor, and friend, Claudia Röschmann, for all of the guidance and support she so willingly provided me during my graduate studies at Texas State University. Her passion for excellence in all things is an inspiration, and has pushed me far beyond my own expectations. I am grateful to have bore witness to her exceedingly generous spirit. I know that, because of her example, I will be far better prepared for the next phase of my career.