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Learn: Font in design
Learn moreErik Spiekermann is an outstanding graphic designer and typographer, recognized in the design world. He is the author of the famous FF Meta and Officina TLC typefaces, which have become classics of typography. Spiekermann's book "On Type" gained popularity and became a desktop reference for many designers seeking to deepen their knowledge of typography and type design. His work and influence on modern design continue to inspire new generations of designers around the world.
In 1979, the MetaDesign studio was founded in Berlin, headed by the renowned designer. This studio developed corporate typefaces for such major companies as Audi, Volkswagen, Mozilla, and Deutsche Bahn. In 1989, he, together with his wife Joan and designer Neville Brody, founded FontShop - the first company specializing in mail-order fonts, which today is one of the largest online font stores. In addition, together with Brody, he launched the experimental studio FontFont, aimed at creating fonts on the principle of "designers for designers", which helped to draw attention to unique and innovative solutions in the field of typography.
Spiekermann became Winner of the German National Design Award in 2011 for his outstanding achievements in the field of graphic design. He was also elected President of the International Society of Typographic Designers (ISTD), recognizing his significant contribution to the development of typography and design in general.
On May 30th, Erik Spiekermann turns 75. He remains active with his agency Edenspiekermann and the experimental typography p98a, moving between Berlin, London, and San Francisco. Spiekermann also writes books and gives interviews, sharing his knowledge of typography and design. In this article, we will look at five of his iconic typefaces that have influenced modern design and typography.
This material will introduce you to the key aspects of the topic. We will cover the main elements in detail to help you better understand the subject matter. You will receive useful information and recommendations that are relevant and practical. Our goal is to to provide you with quality content that will help deepen your knowledge and develop your skills in this field.
- The most "office" font Officina ITC;
- Urban typography that has been working for 30 years;
- A font for the smallest screens;
- Letters that look larger than they are;
- What is the secret of Spiekermann's success.
FF Meta
FF Meta is a font family that played a vital role in the development of digital type design. Its creator, Edward Spiekermann, sought to create a humanist grotesque that would be the complete opposite of Helvetica, which he considered boring and tasteless. FF Meta is distinguished by its expressive form and excellent legibility, making it an ideal choice for a variety of applications, from print materials to web design. This typeface has become a symbol of a new approach to typography, focusing on human perception and aesthetics.
In our article, we take an in-depth look at the film Helvetica and share designers' opinions on the Helvetica typeface. This iconic typeface continues to influence modern design, and its use sparks much debate among professionals. We examine how Helvetica shapes visual communication and discuss its role in various design fields.
The typeface's history began in 1984, when the German Post Office (Deutsche Bundespost) contacted Sedley Place Design, where renowned designer Edward Spiekermann worked. The post office needed a neutral and compact typeface that would ensure high legibility when printed on postage stamps and also be suitable for mailboxes and trucks. This project marked an important milestone in the development of typography, as the typeface had to combine functionality and aesthetics, meeting the requirements of modern design and usability.
To optimize space, Spiekermann's new typeface was designed using narrow letters. A key aspect was the correct stroke width ratio, which allows narrow characters in a small size to remain legible and not blend into one another. At the same time, the font looks harmonious and attractive even on large surfaces.
Despite the significant effort invested in developing the new font, Deutsche Bundespost ultimately decided to abandon the project. The transition to new typography would have required reissuing all documentation and redesigning the vehicle design. Nevertheless, these developments became the basis for the FF Meta font. Emil Spiekermann, together with the MetaDesign team, refined the sketches, increased the number of weights and styles, and in 1991, FF Meta was published, which has become one of the most sought-after in design practice.
The basic form of FF Meta is distinguished by slight variations in stroke width, which gives it a unique character. Beveled terminals and a slight curve of some elements create a lively and friendly character of the grotesque. This feeling is enhanced by the perfectly round dots above the letters i and j, which significantly exceed the stroke width and appear ready to roll off their base. With tall, open lowercase letters, FF Meta provides excellent legibility even at small sizes, making it an ideal choice for a variety of design and typography applications.
The properties of FF Meta contributed to its rise to popularity with the advent of desktop publishing in the 1990s, ensuring its widespread use. FF Meta was originally designed as a sans-serif font. However, over time, users began asking designer Erik Spiekermann what serif font would complement it. Initially, he recommended Swift, Minion, and FF Clifford, but later decided to create a new serif version of Meta. This work was carried out in collaboration with Christian Schwarz and Chris Sowersby, and the font was officially released in 2007. FF Meta with serifs was an important addition to the original version, expanding the design and typographic possibilities.
The FF Meta font family includes more than sixty different styles. Each typeface features a full italic style with unique letterforms, making them versatile for a variety of design tasks. FF Meta is ideal for both print and digital projects, delivering high readability and aesthetic appeal.
FF Meta is one of the most famous and sought-after typefaces of the last 20 years. In 2011, it joined the collection of the Museum of Modern Art (MoMA). This typeface is actively used in the corporate identities of organizations such as the Mozilla Foundation, Imperial College London, and the UK Liberal Democrats. In addition, FF Meta is also used in the postal industry - stamps with this font are issued in the Netherlands.
ITC Officina
Created by Erik Spiekermann in 1990 for the International Font Corporation (ITC), ITC Officina has become a design classic. Its development was aimed at creating an alternative to the popular sans-serifs that dominated the market at the time. ITC Officina is intended for general office use, including printing on laser printers with relatively low resolutions. The aesthetics and functionality of this typeface make it an ideal choice for various types of documents and materials, ensuring legibility and a professional appearance.
Spieckermann used typewriter fonts such as Letter Gothic and Courier as models for his designs. Letter Gothic attracted attention due to its narrow and aesthetically pleasing design, but it lacked serifs. In contrast, Courier featured clear serifs, although it lacked significant contrast between thin and thick lines. These features of the typefaces became the basis for understanding the balance between style and functionality in typography.
Edvard Spiekermann himself worked on the Officina Sans typeface. For the serif version, known as Officina Serif, he initially received an offer to collaborate from his friend Gerard Unger, creator of the Swift typeface. However, Unger was unable to continue the work due to other commitments and abandoned his ideas at the sketch stage. In 1989, Just van Rossum joined the MetaDesign team and assisted Spiekermann in refining the serif version of the font. Officina's glyphs have narrow proportions, allowing for efficient use of the available space. Strong serifs make this font suitable for typesetting and ensure good legibility even on low-resolution devices or on poor-quality paper. Particular attention was paid to the design of the numerals, as difficult-to-read numerals can negatively impact document flow. Officina is ideal for a variety of tasks where high legibility and aesthetics of the text are important.
Today, the ITC Officina font is available in two versions: with and without serifs. Each version includes five weights, as well as corresponding italics. This variety makes the font versatile and allows it to be used not only in office documents but also in various design projects, adding flexibility and style.
ITC Officina is widely featured on Amazon and product packaging. In Scotland, it is the primary font for National Rail, used on trains, signage, and direction signs. This font is highly legible and features a modern design, making it an ideal choice for use in public transport and commercial products.
For a long time, the ITC Officina font was distributed free of charge in a set with Adobe Illustrator, which affected its perception among designers. As a result, the font has become less original, although it remains popular. ITC Officina consistently ranks high on the best-selling font lists on the FontShop platform and in the best font rankings compiled by specialized design publications. This typeface continues to attract attention thanks to its versatility and functionality, making it an excellent choice for a variety of design projects.
Fonts for the Berlin transport system
After the fall of the Berlin Wall in 1989, Spiekermann's team was entrusted with creating a new signage system for the Berliner Verkehrsbetriebe (BVG), the company responsible for public transport in Berlin. This project was an important step in updating the city's infrastructure and increasing the ease of travel in the German capital. The development of the new signage system improved navigation for local residents and tourists, providing simple and accessible information about routes and stops. The introduction of modern signage was a significant contribution to the development of Berlin's public transport, reflecting the city's commitment to innovation and quality service.
The designer was faced with a challenging task: to develop user-friendly and intuitive navigation for the city's public transport, as well as to propose a new font that would be equally legible on both subway signs and street signs. The main goal was to create a unified visual image of Berlin within the transport system, which would help improve the perception and orientation of passengers in the city.
BVG Spiekermann developed the FF Transit typeface, which was based on Frutiger. This typeface is recognized as one of the best for wayfinding and was used, for example, in the navigation system of Charles de Gaulle Airport in Paris. FF Transit is ideal for creating clear and convenient wayfinding systems, ensuring ease of perception of information.
Learn about the history of the Frutiger typeface in our article dedicated to type designer Adrian Frutiger. This typeface has become a symbol of modern design thanks to its legibility and versatility. In the article, you will find details about the development process and the influence that Frutiger has had on typography and graphic design.
The typeface created by Spiekermann retains the original proportions, but has become narrower and more elegant compared to its predecessor. The designer restored the rounded shape of the grotesque dots and enhanced the contrast of stroke thickness, giving the font a unique and expressive character. The new design includes a variety of options that can be used in various fields, ensuring the font's versatility and adaptability.
Special fonts have been developed to account for visual distortions depending on lighting. Transit Front is designed for signs illuminated by external light sources, while Transit Back is used for letters backlit or illuminated from within. Dark letters designed for backlighting have wider strokes to compensate for the bright halos that appear within. In contrast, lightbox letters have narrower strokes to ensure the correct perception of width when backlit. This approach allows us to combine the aesthetic perception of the font with the comfort for passengers, improving the readability and visual perception of information in various lighting conditions.
Spiekermann used FF Transit to create a new map that connected the transportation systems of East and West Berlin. This map includes bus, tram, and metro routes, making the city more accessible and understandable for residents. For nearly three decades, East and West Berlin developed separately, and the new transport route system aims to eliminate this division, improving navigation and accessibility of public transport for all users.
Erik considers the unification of the color scheme for public transport, including buses, metro trains, and trams, to be his greatest achievement. He notes, "It was probably the best idea from a branding perspective. You don't need a logo, because when you see a yellow vehicle, you immediately know you can get on and it will take you where you need to go."
Berlin's public transport information system continues to function today. The FF Transit typeface remains relevant for signage and information boards, playing an important role in the city's identity and ensuring convenience for passengers. This font not only improves the perception of information, but also helps create a unified visual style that makes moving around the city more comfortable and understandable.
Nokia Sans
Nokia, among its clients, turned to the famous designer Spiekermann. In the nineties, many technology companies chose Rotis as a corporate font, and Nokia was no exception. In the early 2000s, Nokia decided to create a unique corporate font and again turned to Spiekermann with this request. Developing a font that reflects brand identity was an important step for a company seeking to stand out from the competition.
In 2002, designer Spiekermann introduced a new font family for Nokia. This family includes both grotesque and serif fonts, which became an important element of the brand's visual image. Nokia fonts were developed with modern trends in typography and functionality in mind, which made them popular not only in the mobile industry, but also in other areas of design.
Nokia Sans and Nokia Serif fonts appear larger compared to other fonts of the same font size. This is due to the increased height of lowercase characters and reduced offsets. At the same optical size, Nokia Sans takes up less space than, for example, Rotis. This font design is rooted in the legacy of screen fonts used in previous generations of mobile phones. At that time, the height of a character on a monochrome display was only 8 pixels, of which only 3 pixels were for the extensions. This makes Nokia fonts easier to read on modern screens, while maintaining functionality and readability.
Nokia also planned to introduce the new corporate font in future models of its phones. In 2001, the company introduced its first smartphone based on the Symbian S60 operating system, featuring a full-color screen with a resolution of 176x208 pixels. The new font had to be compact enough to fit the maximum amount of text on the limited display. Nokia Sans, created by Spiekermann for the printing industry, was adapted to work on screens with such low resolutions while maintaining its recognizable forms. This approach ensured the clarity and readability of the text, which became an important aspect of the user experience on mobile devices.
The main font in the family is Nokia Sans. Spiekermann recommended it for use in texts requiring compactness and a clear structure, such as instructions and advertising materials. This font is suitable for situations where prolonged reading is not expected and saving space is important. Other font variants adapted for specific tasks were also created. For example, Nokia Sans Title is intended for headings and logos, and Nokia Serif is suitable for long texts, where the use of serif fonts is preferable.
Nokia used a typographic system developed by Spiekermann, for nearly ten years. The Nokia Sans font became an integral part of the company logo and was used on packaging, advertising, and user manuals. The rebranding took place in 2011, when Nokia introduced a new generation of Lumia mobile phones running the Microsoft operating system. This move was an important step in updating the company's image and adapting to new technologies.
Font system for The Economist
In 2000, Erik Spiekermann redesigned the British magazine The The Economist, which led to significant success. As a result of his work, the publication's circulation doubled within the first year of its relaunch. This case demonstrates the importance of quality design and its impact on the popularity and commercial success of print publications.
The Economist magazine was founded in Britain in 1843 as a newspaper devoted to political economy. By the late 1990s, the publication had transformed into a newsweekly and began appearing with a bright, glossy cover. Despite this, it continued to position itself as a newspaper, using only two inks for its interior design. The publishers, in collaboration with designer Spiekermann, needed to determine how a text-based publication could retain reader interest and successfully compete with new media in a rapidly changing digital world. One of the most significant changes was the introduction of full-color printing, which improved the visual perception of content and attracted a new audience.
Spiekermann created new page layouts, including a table of contents and a grid, and proposed a typographic solution to improve readability. In particular, he made changes to the design of Eco Type, The Economist's font, which was used for the main text. At the same time, Spiekermann preserved the recognizability of the font. He explained his changes this way: "I reduced the font size, although the client tended to think I'd enlarged the letters, as they appeared larger on the page than before. Convincing a client to use a font that ensures good legibility is quite simple: create a mockup, print it, and show it to the client. Our font was smaller than the previous one, but it was much more legible."
ITC Officina Sans is recommended as a secondary font for subheadings, footers, and navigation. This font has also become a key element of infographics, especially with the transition to color printing, which has significantly increased their volume and variety. Using Officina in design improves the readability and visual perception of the material, making it more attractive to users.
Eric Spiekermann significantly transformed the design of the magazine, introducing color design, as well as developing a new layout and typography. The average lifespan of a publication's design is about seven years, but the system created by Spiekermann lasted almost twice as long - until 2018, becoming an integral calling card of the magazine. This long service life underlines its high-quality development and relevance.
Conclusion
Eric Spiekermann, in a career spanning nearly 50 years, has witnessed significant changes in the world of technology and typography. He was a key figure in shaping the visual appearance of typefaces in the 1990s. In interviews, Spiekermann shares memories of spending time in his father's print shop as a youth. This early exposure to analog processes had a significant impact on his professional work and understanding of modern typeface design. Spiekermann continues to be an important figure in the typographic community, contributing to the development of graphic design and typeface art. Even in the modern digital age, when creating designs or new typefaces, Spiekermann still begins with a drawing on paper. He maintains that when designing a typeface, it is important to determine its characteristics: should it be thicker or thinner, softer or harder. This process is most easily accomplished with a pencil. Spiekermann typically spends about two days sketching to capture the core idea before moving on to the technical development stage. This approach allows him to maintain originality and depth in his work, which is key to successful typeface design.
Learn Erik Spiekermann's helpful tips from his book "On Type" in our article. These tips will help you better understand the use of typefaces and their impact on the perception of text.
Erik Spiekermann focuses on simplifying complex ideas, turning them into accessible forms. In his view, the main task of a designer is to make information easily perceptible. Aesthetics add value to objects: "When things look attractive, they are more likely to be used."
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