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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. -
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. -
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): -
Moma Logo Download Moma Logo Download
moma logo download Moma logo download. Posted by Paola Antonelli, Senior Curator, Department of Architecture and Design. Matthew Carter's Walker. MoMA has just acquired 23 digital typefaces for its Architecture and Design Collection. Some are of everyday use, like Verdana; others are familiar characters in our world, like Gotham, which was used in President Obama’s election campaign, or OCR-A, which we can find at the bottom of any product’s bar code; and others are still less common, but exquisitely resonant, like Walker or Template Gothic. Helped by a panel of expert advisors that included graphic design critics, designers, and historians, we based our decisions on the same criteria— ranging from aesthetics to historical relevancy, from functionality to social significance, from technological ingenuity to economy—that we use when evaluating objects. We paid particular attention to the synthesis of goals, means, and elegance that we always seek in modern design. This first selection of 23 typefaces represent a new branch in our collection tree. They are all digital or designed with a foresight of the scope of the digital revolution, and they all significantly respond to the technological advancements occurring in the second half of the twentieth century. Each is a milestone in the history of typography. These newly acquired typefaces will all be on display in Standard Deviations , an installation of the contemporary design galleries opening March 2 on the third floor. The digital fonts, like most objects in the design collection, are commercially available design products. As such, they can be purchased from the original producers—aptly called foundries. -
Helvetica.Pdf
Helvetica Complements & Alternatives - – — ÷ •••• •••• ···· ···· r Part 1: Complements Combining Type With Helvetica H E L V E T I C A combining type with helvetica Introduction We asked experts we admire to round up typefaces that share a common use, style, or concept. Indra Kupferschmid is a German typographer and writer who lives in Bonn and teaches in Saarbrücken at the French border. As co-author of “Helvetica forever”, Indra is often asked what typeface to combine with the world’s most famous font. As Indra puts it, “Helvetica is often described as the tasteless white rice among typefaces: satisfies easily, cheap and fast. But the good thing is, you can take the design into different directions with the sauce and side dishes (the typefaces you pair with Helvetica).” Indra shares her favorite Helvetica companions with the following guidelines in mind: “Focusing on contrast makes combining fonts easier. Better not pair Helvetica (or other Neo-Grotesques) with another sans serif (like a Humanist Sans). Instead, choose a serif or a slab. Transitional and Modern (bracketed) serifs work quite well with Helvetica. So do most Garaldes like Garamond — it all depends on what kind of atmosphere you’re aiming for. Browse the list of ideas below, or look for faces with broad proportions, a large x-height, or similar characteristics, like an uppercase ‘R’ with a vertical tail.” www.fontshop.com toll free at 888 ff fonts 415.252.1003 Neutral Fonts If you’re looking for a text face and want to stay consistent by emphasizing the neutral, flawless feel of the Grotesk, try a Transitional serif. -
A Friendly Font Meta Was a Font Created in 1991 by the German Typographer Erik Spiekermann
a friendly font Meta was a font created in 1991 by the German typographer Erik Spiekermann. Meta is a humanist san serif font that can be grouped with other fonts such as Gill Sans and Helvetica. 1 ERIK SPIEKERMANN SLANTED FINIALS Erik Spiekermann was When it comes to the design On February 8th, 1989 , Spiekermann and his wife Joan started born in on May 30, 1947, in of typefaces, Spiekermann FontShop, a digital typeface foundry and distributor of fonts. Stadthagen, Germany. He sees himself as more of a Joan Spiekermann describes the beginning of the foundry as, is equally comfortable and problem solver than an artist. “We had this thing that whenever we were aware of an obvi- prolific as a writer, graphic His process for beginning a ously good product being unavailable, we would think and typeface designer, new typeface is simple and ‘loophole in the market,’ as you do. Yet this time the combina- but type has always been straightforward. “Identify a tion of digital type and Erik-the-type-man clicked. We both at the epicenter of this problem — like space saving, thought “hmmm,” and so it came about. I packed in my job communication dynamo. bad paper, low resolution, as office manager in an English design agency in Berlin and Even as a child, Spieker- on-screen use — then find started the untested process of opening the first-ever mail mann was drawn to the typefaces that almost work order font boutique.” typographic arts. “I had but could be improved,” he a little printing press explains. -
Erik Spiekermann's Typo Tips
Erik Spiekermann’s Typo Tips Seven Rules for Better Typography - – — ÷ •••• •••• ···· ···· r Aa 1 Typo Tips Small Caps A CAPITAL MISTAKE NEVER use CAPITAL letters to accentuate words in running copy. They STICK OUT far too much spoiling the LOOK of the column or page. Use italics instead. If you have to set words in capitals, use proper small caps with or without initial capitals. running copy better When you need to use capitals, for something Ninety JPG files Ninety jpg files like an acronym or abbreviation, on CD-ROM. on cd-rom. use small caps. emphasis better Use italics for emphasis rather than all caps. She sits AROUND She sits around the house! the house! www.fontshop.com toll free at 888 ff fonts 415.252.1003 –— 2 Typo Tips Connections Connections There are three different ways to connect or separate words: the hyphen -, the en dash –, a little wider than the hyphen, and the em dash —, wider still. The regular hyphen is easily accessible on any Mac or PC keyboard, whereas the en dash needs the combination option-hyphen on the Mac. The em dash is accessed by pressing option-shift-hyphen on the Mac. The use of these dashes depends on house styles and tradition. The em dash with no space around it is traditionally used to separate thoughts—like this one—but I think its length is a distraction in running text. Try using the en dash to separate thoughts – like this one – with a character space on either side. En dashes without space on either side are also used between numbers and compound words as in: the shop is open 10–7, while you can take the New York–Kansas City train or the New York–Baltimore train only 8am–3pm.