Spiekermann is known to many as a graphic designer. The term ‘graphic designer’ was first used by an American designer, William Addison Dwiggins in 1922.
Some of his projects include the redesigning of The Economist magazine in London, authorship of the book, Stop Stealing Sheep and find out how Type Works, Rhythm and Reason and T&T Type and Typography. He also released a font family for Nokia in 2002, redesigned airport signage and maps and timetables for buses, subways and trams.
Erik Spiekermann founded Meta Data Design in 1977 which is Germany’s largest design firm with offices in Berlin, London and San Francisco. He was responsible for corporate design programs for Audi, Skoda, Volkswagen, Lexus, Heidelberg Printing and projects for Berlin Transit; however, Spiekermann left Meta Data in 2001 and now runs Edenspiekermann with offices in Berlin, Amsterdam, London, Stuttgart and San Francisco.
Edenspiekermann, formerly known as Spiekermann Partners (2007), merged with Eden Design in 2009 giving birth to the name Edenspiekermann. Erik Spiekermann now serves as Creative Director of this company.
FontShop, as we all may have come across at some point as designers, was founded in 1988 by Erik and Joan Spiekermann. This type foundry, still in ...
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... to poor layout and typography. The type was set too tightly, there was no color and it was hard to navigate. Spiekermann took on the task with the help of Ole Schafer, designer, of redesigning the entire appearance of The Economist magazine. He made the trademark red box for the logo, used inviting/ popping colors, used clean organization and used an altered Economist font and his ITC Officina typeface. Today, The Economist sells well over a million copies a week.
Other achievements of Erik Spiekermann include the designing of typefaces that are use in logos such Amazon and The Weather Channel.
So how does Spiekermann do all of this? His philosophy is as follows, “Think before you act, do as little as required and keep it simple,” and, “Each solution has to function in every small detail, white at the same be seen as part of a larger total. Nothing is irrelevant.
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