Category Archives: stuff | zeugs

From here to eternity

Our calendar will last forever, literally:

Each day of the week has its own page and its own typeface. All printed by hand on a Korrex proof press at Galerie P98a in Berlin by Dylan Spiekermann, Erik Spiekermann and Ferdinand Ulrich. Jan Gassel organized production and had the calendar backed with a heavy grey card and spiral bound by Ralf Fischer in Berlin. The calendar is 35×70cm, printed on 160gsm MetaPaper Rough in three colours, including white on the red cover.

Just like the animated gif below, the calendar will run forever. Or at least until we run out of Monday, Tuesday, Wednesday, Thursday, Friday, Saturday and Sunday. For those of you unable to live with English words on the wall, we can provide translations.

There were exactly 75 prints, all signed and numbered, but by now we’re down to the last few. They need to go for $/€/£ 20, including shipping, tax etc, regardless where you are. Order it here.

Poster on sale at Hacking Gutenberg/P98a

This quote by Jean-Luc Godard has always intrigued me. The discussion about style versus content is as old as the profession of graphic design, and he puts it into perspective.

This is a longish quote which uses quite a few characters (eight lower case /e and five /o – all we have in that size), so we couldn’t resort to our larger Akzidenz Grotesk, but had to go to 12 cicero instead. In the end that turned out to be a wise move as the copy wouldn’t have fitted the page at the 16 cicero (i. e. pica or lines in English) size that we normally use for short quotes.

As always, the poster is printed on MetaPaper Rough Warm White 160 gsm in Black and Pantone Warm Red ink. From original wood and metal type on our Korrex Frankfurt, 50×70 cm.

The 50 posters each are num­bered and signed by Erik Spiek­er­mann. We ship every­where and you can pay by Pay­Pal or credit card. This poster as well as a few others is on sale now for half price. Please go to p98a to order.

These posters from P98a are still available:

Some of our posters are out of print and we had to reprint them, sometimes several times, albeit each time in a different style, lest we break the promise of a limited run for each of them. Check here which ones are available, out of print or on sale. As we take photos of the printed pieces on the workshop floor at different times, with different cameras and even different photographers, they come out quite, well: different. But they’re all printed on the same MetaPaper Rough Warm White 160 gsm in Black, Pantone Warm Red ink or our favorite color, PMS Daylo red or orange. From original wood type on our Korrex Berlin Special, 50×70 cm.

The 50 posters each are num­bered and signed by Erik Spiek­er­mann. We ship every­where and you can pay by Pay­Pal. Price is the same in these cur­rencies: £, $, €; always 98, includ­ing tax (where applic­a­ble) and ship­ping, wrapped in a solid card­board tube. Orders with shipping address please to our shop.

Here’s a screenshot of the posters on sale right now (end of 2023):

Typographic fashion

15 Years (!) ago, Unamono persuaded us, Susanna Dulkinys and myself, to design silk scarves for them. In the video here I explain why I did what I did: I simply wrote the measurements along the edges, in millimeter and inches, and showed those measurements as lines in different colours. Now, if you don’t have a ruler handy, you can pull out your scarf and tell how long or short things are.
Some of the scarves Susanna and I designed are still available from our shop, here and here.

 T for Toronto

Ever since I led the team that designed a new passenger information system for Berlin in 1990, I’ve become a total public transportation nerd. I seek and find information about transportation information systems and their application everywhere. At the time, we were lucky enough to be presented with a historic opportunity: the two halves of the city had been divided for 30 years with two distinct transportation systems. We had to start from scratch, and as the work had to be done while passengers were using the existing services, we had to learn by doing. There were a few things we found out very quickly: the new information system had to look distinct from either of the two existing systems to avoid confusion. People had to trust the new maps, diagrams, schedules, and vehicles. A common denominator was needed. Buses, trams, underground trains and ferries all had different liveries which stemmed from a time when they had been run by separate companies. In the East, the provider was called BVB, in the West it was BVG (don’t even ask)! The tram people didn’t talk to the bus people while the underground people considered themselves to be the best and most up-to-date service. There were beige buses, orange trams, lemon-yellow trains in the East and dark-yellow ones in the West. The answer was: yellow. Vehicles were to be yellow, bus- and tram stops featured yellow posts, the letters BVG were featured in a yellow square (that became a heart shape during the pandemic).

Buses and trams in East Berlin, before the redesign of the city’s transit system

The underground used the U in a blue rectangle as their symbol, while the other services spelled out their names: BUS and TRAM. They each got their symbol in different colors and easily distinguished shapes on signs that are dominated by a horizontal yellow stripe. 

BVG design manuals: the company logo and the product logos

It took a few years before the majority of vehicles had been repainted or ordered in the new livery. Today the BVG is yellow. The logo features rounded lettershapes in a yellow square. Berliners know that you can trust any large yellow vehicle to get them to their destinations. The blue, red, purple and green symbols point to the individual services within the system but are always subservient to the big yellow square. When they want to go somewhere, people simply say that they take the BVG – it’s the trusted friend for getting around the place. The BVG logo has become the most known and best liked symbol for Berlin, way ahead of all the attempts to design a graphic identity for the city. 

Berlin buses, trams and trains color the city yellow

Wherever I’ve traveled since the early 90s, I’ve taken a close look at how public transit works in cities around the world. Our diagram for Berlin’s trains was very much influenced by the iconic London Tube Map, which has become the model for most other such diagrams. When the bus and train services in London were brought together under one roof in the early 2000s, it was a no-brainer to use the famous roundel as the symbol for the whole system. Without the word Underground on it, the roundel can appear in the colours of the tube lines as well as in a neutral grey, black or white on bus stops or on printed literature. While bus services are run by several private companies, their logos are limited to appear over the driver door only, so not to confuse passengers about who actually runs the system. The London Transport roundel has become the graphic shorthand for London, beyond its application for public transit. 

When you see the roundel, you know that you’re in London

Other cities I frequently visit, like NYC or San Francisco, are far behind when it comes to public transit. They don’t even have a common fare structure, let alone coordinated passenger information for their MTA, PATH, BART or MUNI services. That is a shame, but also a chance to learn from other cities in order to attract passengers and increase ridership. The budgets will be there!

New York City and San Francisco Bay Area transit logos look like competitors rather than integrated systems

One thing we did learn was that insufficient information is a bigger obstacle to people leaving their cars for public transit than the price of a ticket.

I was very happy when colleagues recently pointed out to me that at least one large North-American area had got its act together and emulated what makes Berlin and London so successful. I’m not familiar with politics in Greater Toronto, but I believe that like London, they have several municipal transit companies running buses, streetcars and trains across the region. Of course, as other cities have found out, passengers don’t really care about the business side of it – they just want to recognise and trust one service. So I was very impressed to see that the regional authority, Metrolinx, has taken on the task of producing a single identity and standard for public transit information. 

https://blog.metrolinx.com/2020/02/03/signs-of-our-time-new-transit-wayfinding-identifier-hits-the-streets/

Using a big T in a circle is an obvious and thus brilliant solution as a symbol for this one coordinated service. T for Transit, T for Together, T for Toronto! The strong letter in a circle looks like a sheltered stop itself. It has immediate authority and visitors will presume that it’s been there forever. The T is visible from far away and easily reproduced in all sizes for all media. I don’t know how many operators and city officials providers had to be brought together to agree on this simple and effective device, and experience. Experience tells me that discussions weren’t easy. I am sure egos may have been hurt and compromises were necessarily made, but the end result has made the effort worthwhile. Not only will it help the region’s residents get more from an expanding network but visitors, who tend to gravitate to Toronto, will experience a city intent on Every visitor will immediately identify Toronto’s transit system above or underground, while Toronto natives can be proud of their city for making good passenger information a priority and public transit more accessible.

The T is a great symbol for the region’s transit systems

Metrolinx and the region’s operators will be paid back in loyalty and higher ridership once people have understood that it has become much simpler to use public transit across the city and the region. I wouldn’t be surprised if Greater Toronto was followed as a shining example by other cities in North America.

Printing a digital newspaper

Krautreporter is a news service, run by journalists in Berlin. More than 16,000 subscribers pay a minimum of 5 Euros a month to get daily updates on the news and well-researched long-reads. Just like newspapers used to do.

Printing a digital newspaper on a large Johannisberger press: video on Vimeo.


Once we had finished restoring our Johannisberger stop-cylinder press from 1924, we were looking for projects to test the machine. When I suggested to the friends at Krautreporter that perhaps we could print one special issue, they immediately went for that crazy idea.

We had already built our laser-setter and were able to make metal-backed plates up to 52 by 72 cm (approx 20×28in) directly from data, without going through photographic negatives. These plates fit our Heidelberg Cylinder press where we can print 8-up, i.e. 8 book-size pages on one plate. For the newspaper, however, we wanted to print the classic Nordic format, 44×57cm. In Germany we still have a few daily papers which are printed that size, the FAZ – Frankfurter Allgemeine Zeitung – being the most prestigious one.

The newspaper folded down for mailing


Making four aluminium bases to get the thin plates to the height of metal type (23.56mm = 0.928in) was an adventure in itself. All the other things we didn’t know about this large press took us five months to figure out, but eventually we started to print. We had enough paper (60gsm newsprint) to print 6000 copies, 8 pages, all on one sheet, back and front, 88×114cm plus some trim. One side black only, the other black and red. 18,000 prints altogether, at a speed of not much more than 300 an hour, with 2 people at the press at all times. We ended up with almost 5000 good copies. The sheet was perforated in half inside the press but not separated. We wanted the readers to get the full effect – the exact opposite of a smartphone screen. For the mailing we folded the large sheet into a narrow strip with a label around it.

The movie shows our own Daniel Klotz at the press. His buddy Sebastian came to help whenever he could. Daniel spent more than half a year figuring out how to make everything work. Now we know why printers used to go through a three-year apprenticeship. That press wasn’t made to print from polymer plates, and it still holds a few secrets. But we have our proof of concept, a full-size newspaper. It is so popular with Krautreporter subscribers that we may have to print more issues.

***



Helvetica, the movie

Apparently there are still people who haven’t seen this movie. You can rent it from here or even buy it and inflict it upon your mother, children, students, dogs – whomever you are trying to impress, shock or simply bore.

The Public Domain Review

Among millions of other goodies, https://publicdomainreview.org also has a collection of animated gifs like this one:

backwardsrider

That site is a project of the Open Knowledge Foundation. They trawl through collections of images, books, films, audio, essays and pick stuff that is obscure (i.e. well-hidden), amazing, insane even. But always interesting and not easily found elsewhere. And everything they publish is under a Creative Commons Attribution-Share Alike license. In other words: they charge no money so they make no money. I’ve put my money where my mouth is and donated. You should do likewise, or else an amazing resource like this one cannot exist.