DOCSLIB.ORG

Specimen · © 2020 Fontwerk · Fontwerk.Com · 1/20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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): 170/ from fontwerk.com/ Bold 50 pt, Medium 16 pt, Regular 16 pt, Bold 9.5 pt, Regular 9.5 pt 136kb Upright; 172/136kb Italic fonts/case-text. Fontwerk Case Text™ Samples · fontwerk.com · 3/20 Atom Heart Father Biennale of Architecture van der Smut banque centrale européenne WERKSCHAU Pure Trance Radio #256 Design Rethinking Air Song(8 am version) Fontwerk Case Text™ TextCase Samples Text™ Non-Latin Samples · fontwerk.com · 4/20 A321neo Oranje, Geel & Associates hybrid battery 1864 große Pandas TRILOGY The New Rules of Marketing andpr Miles Glacier Fontwerk Case Text™ Styles · fontwerk.com · 5/20 Case Text Light ·small caps Case Text Light Italic ·small caps Case Text Regular ·small caps Case Text Italic ·small caps Case Text Medium ·small caps Case Text Medium Italic ·small caps Case Text Bold ·small caps Case Text Bold Italic ·small caps Available in 8 styles. Fontwerk Case Text™ Samples Logos and Wordmarks · fontwerk.com · 6/20 91% BER→CDG LØVLIN Project Italic 35 pt Medium 23 pt, Light 23 pt, Light Italic 23 pt ↓ Medium All Caps 70 pt Bold 120 pt (Tracking −100%), Bold 31 pt Urologisches campus Zentrum automotive Dr. Freund-Blase cab, belfast northern ireland K3 Fontwerk Case Text™ Samples Body Text · fontwerk.com · 7/20 20 Mil Léguas Submarinas Bold 50 pt, Português the year 1866 was signalized by a See„einem gigantischen Etwas“ begegnet, einem remarkable incident, a mysterious and langen, spindelförmigen Gegenstand, der biswei‐ inexplicable phenomenon, which doubt‐ len phosphoreszierte und weitaus größer und schneller war als ein Wal. Regular 14.5 pt, Italic 14.5 pt, Deutsch less no one has yet forgotten. Not to mention rumors which agitated the Los hechos relativos a estas apariciones, consignados en los maritime population, and excited the diferentes libros de a bordo, coincidían con bastante exactitud en lo referente a la estructura del objeto o del ser public mind, even in the interior of con‐ en cuestión, a la excepcional velocidad de sus movimientos, tinents, seafaring men were particularly a la sorprendente potencia de su locomoción y a la particular vitalidad de que parecía dotado. De tratarse de un cetáceo, excited. Medium 18 pt, English superaba en volumen a todos cuantos especímenes de este género había clasificado la ciencia hasta entonces. Ni Cuvier, ni Lacepède, ni Dumeril ni Quatrefages hubieran admitido la Kaufleute, Reeder, Schiffskapitäne, Skipperund existencia de tal monstruo, a menos de haberlo visto por sus Master in Europa und Amerika, Offiziere der Kriegs‐ propios ojos de sabios. Regular 12 pt, Español marine aller Länder und schließlich die Regierun‐ À prendre la moyenne des observations faites à diverses reprises, — en rejetant les évaluations timides qui assignaient à cet objet une longueur de deux cents pieds, et en repoussant les opinions exagérées qui le disaient gen der verschiedenen Staaten beider Kontinente large d’un mille et long de trois, — on pouvait affirmer, cependant, que cet être phénoménal dépassait de beaucoup toutes les dimensions admises jusqu’à ce jour par les ichthyologistes, — s’il existait toutefois. Or, il nahmen die Vorfälle außerordentlich ernst. Seit existait, le fait en lui-même n’était plus niable, et, avec ce penchant qui pousse au merveilleux la cervelle humaine, on comprendra l’émotion produite dans le monde entier par cette surnaturelle apparition. Quant à la rejeter au einiger Zeit schon waren mehrere Schiffe auf hoher rang des fables, il fallait y renoncer. Regular 6.5 pt, Français Fontwerk Case Text™ Languages · fontwerk.com · 8/20 All of Fontwerk’s typefaces support at least 94 Latin-based European languages such as English, German, French, Spanish, Supported Czech, Polish, and Turkish. Some families also support Greek and Cyrillic (e.g. Russian, Bulgarian). If you need further languages or script systems (anything from Cyrillic and Greek to Languages Hebrew, Arabic, Thai and even Chinese, Japanese, Korean(cjk), and Devanagari), we can make custom fonts for you. ▾ Latin French Luxembourgish Rundi Volapük Friulian Luyia Rwa Vunjo Afrikaans Galician Machame Samburu Walser Albanian Ganda Makhuwa-Meetto Sango Welsh Asu German Makonde Sangu Basque Gusii Malagasy Sena Bemba Hungarian Maltese Serbian Bena Icelandic Manx Shambala Breton Inari Sami Meru Shona Catalan Indonesian Morisyen Slovak Cornish Irish North Ndebele Slovenian Croatian Italian Northern Sami Soga Czech Jola-Fonyi Norwegian Bokmål Somali Danish Kabuverdianu Norwegian Nynorsk Spanish Dutch Kalenjin Nyankole Swahili Embu Kamba Oromo Swedish English Kikuyu Polish Swiss German Esperanto Kinyarwanda Portuguese Taita Estonian Latvian Quechua Teso Faroese Lithuanian Romanian Turkish Filipino Lower Sorbian Romansh Upper Sorbian Bold 40 pt, Regular 10 pt, Finnish Luo Rombo Uzbek Bold 10 pt Fontwerk Case Text™ Glyphs Regular · fontwerk.com · 9/20 Latin Uppercase & Lowercase Accented Latin Uppercase Accented Latin Lowercase Small Caps Numerals & Currency Symbols Punctuation, Mathematical Signs & Symbols Arrows & Shapes Ligatures Fontwerk Case Text™ OpenType Features · fontwerk.com · 10/20 Stylistic Set 1#ss01 — Alternative one Small Capitals#smcp No. 1 No. 1 Chill Chill All alternative glyphs are also available via the Small Capitals From Capitals#c2sc Access All Alternates#aalt and Stylistic Alternates #salt features. Qmax qmax Contextual Alternates#calt : FJ fj PJ pj and gender star (German: Variation:#smcp + #c2sc Gendersternchen) included 5:4 5:4 Bling bling Case-Sensitive Forms#case Standard (#liga)and Discretionary Ligatures#dlig ¡¿·•/\(){}[]- –—‒‐‑«»‹›⟨⟩@included ffi ff fi ffjfjft included Luft Luft (H-o) (H-O) Fontwerk Case Text™ OpenType Features · fontwerk.com · 11/20 Lining Figures (default)#lnum, Oldstyle Figures Scientific Inferiors#sinf #onum 169 169 CO2 CO₂ Superscript#sups, Subscript #subs Proportional Figures (default) #pnum, Tabular Figures #tnum m3 M6 m³ M₆ 317 317 Slashed Zero #zero Fractions #frac, Numerators#numr, Denominators #dnom 7380 7380 Localized Forms#locl 4/852 4⁄852 L· Ll·l → Ŀ Lŀl (Catalan) and Ş ţ ş ţ → Ș Ț ș ț (Romanian) included Ordinals #ordn 6a 2o 6ª 2º Braşov Brașov Fontwerk Case Text™ Story · fontwerk.com · 12/20 “The Curious Case of Erik Spiekermann”, “For lowercase, uppercase, for every case” … There CASE are puns aplenty for a typeface with this HAIRLINE EXTRALIGHT THIN LIGHT REGULAR MEDIUM BOLD HEAVY particular name. But we’ll spare you any more CASE and concentrate on the facts. aCASE MICRO Corporate type designers know this situation concentrate of the best bits, they added new all too well: Your client wants something ideas and conceptual solutions for a modern CASE new, something to call their own, something static grotesque. The result is the missing that stands out from the competition. How‐ element in an otherwise strained and ever, in reality, they often end up wanting the bloated genre: A typeface whose clear basic same thing: their own version of a Neo- personality looks familiar and creates trust, aCASE TEXT Grotesque in the style ofHelvetica®, but at the same time is novel and individual Akzidenz Grotesk® orUnivers®. and is therefore perfect for strong brand Textaaaa anda Micro have higher x-heights and more open shapes. aa Anja Meiners and Ralph du Carrois and building. An ideal font for complex branding even Erik Spiekermann have sat in client projects born out of years of working on An important distinguishing criterion of briefings like these. As a trio they have been such complex branding projects. the family members is their respective spac‐ responsible for numerous highly respected Case is currently available in three optical ing. In comparison to the two versions for custom-type projects, but often they too sizes: the core family is suitable for the vast text applications, the main family’s spacing have found themselves depending upon majority of applications, especially larger is narrow, whereas it is wider on the Text and such a variant or adaptation. applications such as logos, wordmarks and widest
Load more

Recommended publications
  • Gender-Sternchen, Binnen-I Oder Generisches Maskulinum, … (Akademische) Textstile Der Personenreferenz Als Registrierungen?*
    Gender-Sternchen, Binnen-I oder generisches Maskulinum, … (Akademische) Textstile der Personenreferenz als Registrierungen?* Helga Kotthoff (Freiburg) Abstract For more than 40 years, a debate on gender-related person references has been taking place in the German-speaking world. My contribution starts with a differentiation of four registers, which are currently practiced in writing and have developed specific reasoning discourses and specific social contexts of usage, as I try to show. I am going to examine these four styles of gendered person reference as “registers” in the sense of anthropological linguistics (Agha 2007). This concept of “enregisterment” implies that the producers connect themselves to a socio-symbolic cosmos and can be perceived with cultural evaluations (in production and re- ception), for example, as conservative, feminist, queer, liberal (Kotthoff 2017). Here I shall explore their (socio)linguistic underpinnings within conceptions of language ideology in order to grasp the communication-reflexive charges of these discourses. 1 Einleitung Seit über 40 Jahren findet im deutschsprachigen Raum eine Debatte um geschlechterbezogene Personenreferenzen statt. Mein Beitrag setzt bei einer Binnendifferenzierung von vier Registern an, die sich inzwischen mit spezifischen sozialen Verortungen herausgebildet haben, was ich zu zeigen versuche. Die traditionelle Schreibpraxis mit einem generisch gemeinten, ge- schlechtsübergreifenden Maskulinum1 (Typ 1), wie sie etwa von Eisenberg (2017), Glück (2018) oder dem Verein für Deutsche
    [Show full text]
  • Graphemic Methods for Genderneutral
    Graphemic Methods for Gender­Neutral Writing Yannis Haralambous & Joseph Dichy Abstract. In this paper we present a model and a classification of graphemic gender­neutral writing methods, we explore current practices in French, Ger­ man, Greek, Italian, Portuguese and Spanish languages, and we investigate in­ teractions between gender­neutral writing forms and regular expressions. 1. Introduction: The General Issue of, and behind, Gender­ Neutral Writing The issue behind gender­neutral writing is that of the representation of inter­gender relations carried by languages. What is at stake is the representation of equality, or not, between genders. The issue is also re­ ferred to as “inclusive writing,” which apparently refers to human rights, but does not cover all cases, i.e., lesbian, gay, bisexual and trans­gender persons. The term “Gender­Neutral Writing” is, in fact, both clearer and more inclusive. Generally speaking, languages are conservative, if not archaic. A sig­ nificant example is that of the idea of time, which is traditionally repre­ sented as a dot sliding along a straight line in a continuous movement. This has been a philosophical image of time since ancient Greek philoso­ phers and throughout the Middle Ages both in Arabic and European phi­ losophy, but can no longer be considered as a valid representation after 20th century existentialist philosophers and Heidegger’s Sein und Zeit. Yannis Haralambous 0000-0003-1443-6115 IMT Atlantique & LabSTICC UMR CNRS 6285 Brest, France [email protected] Joseph Dichy Professor of Arabic linguistics Lyon, France [email protected] Y. Haralambous (Ed.), Graphemics in the 21st Century.
    [Show full text]
  • 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]
  • CHRISTIAN METZ and the CODES of CINEMA Analysis and Later with Enunciation Theory
    EDITED BY MARGRIT TRÖHLER FILM THEORY FILM THEORY CHRISTIAN METZ IN MEDIA HISTORY IN MEDIA HISTORY AND GUIDO KIRSTEN AND THE CODES OF CINEMA FILM SEMIOLOGY AND BEYOND EDITED BY MARGRIT TRÖHLER AND GUIDO KIRSTEN A pioneering figure in film studies, Christian MARGRIT TRÖHLER is a professor in Metz proposed countless new concepts for the Department of Film Studies at the reflecting on cinema from the 1960s to the University of Zurich. 1980s. Rooted in a phenomenological struc­ GUIDO KIRSTEN is a postdoctoral re­ turalism, he worked out a film semiology searcher in the Department of Media which he then confronted with psycho­ Studies at Stockholm University. CINEMA OF CODES THE AND METZ CHRISTIAN analysis and later with enunciation theory. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionaliza­ tion in universities worldwide. This book brings together a stellar roster of contribu­ tors to present a close analysis of Metz’s writings, their theoretical and epistemologi­ cal positions, and their ongoing influence today. ISBN 978-90-896-4892-1 AUP.nl 9 789089 648921 AUP_FtMh_KIRSTENe.a._(CMETZ)_rug28mm_v05.indd 1 18-01-18 12:16 Christian Metz and the Codes of Cinema Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship.
    [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]
  • Ironic Transitions: Conflicting Results of Greater Visibility During the Last 20 Years of Transgender Experience in the United States
    SCSU Journal of Student Scholarship Volume 1 Issue 2 Special Issue 2: 10th Annual Minnesota State Conference of Undergraduate Scholarly Article 1 and Creative Activity June 2021 Ironic Transitions: Conflicting Results of Greater Visibility During the Last 20 Years of Transgender Experience in the United States Brianna M. Pace St. Cloud State University Follow this and additional works at: https://repository.stcloudstate.edu/joss Part of the History of Gender Commons Recommended Citation Pace, Brianna M. (2021) "Ironic Transitions: Conflicting Results of Greater Visibility During the Last 20 Years of Transgender Experience in the United States," SCSU Journal of Student Scholarship: Vol. 1 : Iss. 2 , Article 1. Available at: https://repository.stcloudstate.edu/joss/vol1/iss2/1 This Article is brought to you for free and open access by The Repository at St. Cloud State. It has been accepted for inclusion in SCSU Journal of Student Scholarship by an authorized editor of The Repository at St. Cloud State. For more information, please contact [email protected]. Pace: Ironic Transitions: 20 Years of Transgender History from 2000 Ironic Transitions: Conflicting Results of Greater Visibility During the Last 20 Years of Transgender Experience in the United States Brianna M. Pace Mentor: Dr. Jeffrey Mullins Department of History, St. Cloud State University Abstract The spread of internet and social media access in the 21st century led to increased visibility of transgender persons in the U.S., especially within such popular culture venues as art, music, literature, television, and movies. The rapid communication facilitated by the internet also allowed for the formation of larger, more widespread trans communities.
    [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]