Satz Design

[Karmen Mcarthun]

POLKAa young and successful design studio from Austria wanted to create a simple Lobmeyr series to be used for personal everyday rituals. Each glass radiates elegance and grace of mouth-blown Lobmeyr crystal and each of the small series has its own story. So do the oenological correct wine glasses or the traditional champagne cup, standing for ebullient pleasure.

We offer comprehensive Brand Identity design services that can help your brand stand out from the competition. You will have a complete set of brand assets that ensure consistency for your digital and physical presence.

We create custom-design websites for all businesses, including engaging E-Commerce for a seamless shopping experience. Our development has built complex workflow sites that automate your tasks and bring efficiency to your work.

At SATZ Design, we are your trusted partners in the world of e-commerce, specializing in Shopify, WooCommerce, and BigCommerce. With our extensive expertise and certified partnerships, we are here to help you understand the unique benefits and target markets for each platform.

We take pride in our ability to create unique, innovative, and memorable brand identities that help our clients stand out from the competition. Our portfolio showcases some of our recent brand identity design projects, which include:

In addition to establishing the Arthur Satz Department of Music, his commitment will fund a minimum of five new professorships in fields related to the humanities. Honey Meconi, a professor with appointments in the School of Arts & Sciences and at the Eastman School of Music, has been awarded the first of the professorships as the Arthur Satz Professor for the Department of Music.

While at the University of Rochester, Satz was an active member of the Glee Club and the Theta Chi fraternity. He was also part of the Campus Times editorial team. He started playing the piano as a child and continued throughout college and the rest of his life.

Satz died on November 10, 2018. As noted in his New York Times obituary, he believed that an interdisciplinary arts education had the distinct ability to open minds and widen the focus of design students.

With our extensive experience in IT, design prowess, and dedication to outstanding customer service, we are confident in our ability to deliver tailored brand identities and websites that help businesses achieve their objectives.

Understanding the importance of time and budget in running a business, we have streamlined our services to optimize efficiency without compromising on quality. This means you can expect faster project delivery and cost-effectiveness, all while maintaining our high-quality standards.

Satz is a Danish bamboo furniture company in Vietnam. We specialize in design and production of bamboo furniture in the Danish design style and offers high quality bamboo furniture in contemporary designs. Simple and elegant.

Satz- und Druck-Musterheft 1938, a printing trades periodical, is another instance where I wish I was able to read more than a few words and phrases in German. (The translations here were done with the kind help of Indra Kupferschmid who also helped with proofreading the German.) It is a compendium of articles about printing, typography and design coupled with numerous advertisements for type foundries, printing press manufacturers, ink and chemical manufacturers, and paper companies. As such it presents an intriguing snap-shot of graphic design and typography in Nazi Germany. Other than flags and uniforms in a single photograph of Nazi party members marching, there are only two swastikas in the entire publication!

Four designs combine a blackletter and a roman; two use two blackletter faces; and the remaining three match two roman faces (one of which combines two sans serifs). There are no schaftstiefelgrotesks.

Asymmetrie gegen Mittelachse, Bewegung gegen Ruhe, eines aus der Zeit geboren, das andere verwurzelt in beschaulichen Bezirken ruhigerer Zeitlufe. Was steht dem Sinn und den Wnschen unserer Generation nher? Sind die Argumente, die fr die asymmetrische Satzgestaltung sprechen, stark genug, um ihre form zu rechtfertigen? Ist uns Modernen auch die Mittelachse noch ertrglich, vielleicht, weil unser Sehnen aus der Zeit der Unruhe wieder zur Ruhe drngt? Wenn nmlich nicht alles trgt, haben wir schon den ersten Schritt auf dem Wege zurck zu ihr getan. Oder ist der Odem unserer Zeit so stark, da unser Aderschlag in allen Auerungen den gleichen Rhythmus hat? Die objektive Gegenberstellung unsere Beispiele kann vielleicht die Antwort darauf geben.

Asymmetry versus symmetry, motion versus rest; one born out of its time, the other rooted in the placid districts of the calmer courses of time. What is closer to the mind and wishes of our generation? Are the arguments advocating asymmetrical design strong enough to justify its form? Is symmetry still tolerable for us as modern people, perhaps because a time of unrest has made us crave tranquility again? Because, if all of this does not give way, we have already made the first step on the way back to it. Or is the spirit of our time so strong that our pulse, in all of its expressions, has the same rhythm? The objective comparison of our examples might be able to provide an answer to this.

The title is set in Stempel Garamond with the subtitle in a baroque fraktur (Breitkopf Fraktur?). The text is set entirely in the same fraktur. The captions are set in Linotype Garamond Italic (based on Stempel Garamond). However, the images rarely include any blackletter. The posters, including several by Ludwig Hohlwein, are handlettered in classical roman capitals, fat faces or sans serifs. The brochures and other publications are set almost entirely in Futura (an unidentified seriffed roman is used for one written in Polish) with one exception. The covers of Olympiaheft are all handlettered (?) in the schaftstiefelgrotesk style. (For other covers click here and here.) Programs for the Games are entirely in Futura. Stationery is in both an Old English (perhaps Manuskript-Gotisch or Caslon-Gotisch) and an unidentified seriffed roman. Finally, the mastheads of the different language versions of the Olympic Games News Service vary with most in an Old English, some in italic, and some in a roman. It is clear that the posters and publications intended for a non-German audience are in roman while those for Germans are in blackletter. However, the signage lettering that is shown is all Futura or a Futura clone.

The schools that are profiled in Satz- und Druck-Musterheft 1938 are the Berufschule fr das graphische Gewerbe Berlin, Die Stdt. Handwerkerschule Breslau, the Meisterschule fr Deutschlands Buchdrucker in Mnchen (where Paul Renner and Jan Tschichold previously taught), the Gewerbeschule Zwickau (SA), Arno Schmeisser Gewerbeschule Zwickau (SA), and the Buchdrucke-Lehranstalt in Leipzig. The article on the Berufschule fr das graphische Gewerbe Berlin focuses on layout and typography (Entwurf und Satzgestaltung / Layout and Typography) from the 1935/1936 winter semester. The article is set in Renata (a fraktur) for the text with Fette Fraktur for the title and Bodoni-Kursiv for some of the subheads. The initial capital is in Quick, a script typeface similar to Trafton Script. The samples of student work employ both blackletter and roman typefaces: Manuskript-Gotisch with Bodoni-Antiqua and Bodoni-Kursiv; Fette Antiqua with Quick; Weiss-Gotisch with Bodoni-Antiqua and Beton (a square serif); Manuskript-Gotisch with Corvinus-Antiqua and Corvinus-Kursiv; Futura with Quick and Flott (a heavy monoline script); and Manuskript-Gotisch with Quick. (Corvinus, designed by Imre Reiner, is an Art Deco-inflected neoclassical face issued in 1934 by Bauer.)

Gotenburg die echt deutsche Schrift.

The main idea behind the design of Gotenburg was to achieve high-class German workmanship.

We believe that we have created a new blackletter with Gotenburg which we perceive as timely for today. It also demonstrates the great achievement of German typeface design for the future and will be a typeface of permanent value.

It is based on tradition and, at the same time, a modern expression of the blackletter style. Gotenburg, the genuine German typeface.

Mergenthaler Setzmaschinen-Fabrik GmbH, commonly known as German Linotype, provides the largest showing of typefaces with a page each for the following blackletters: Linotype Deutsche Werkschrift, Linotype-Unger-Fraktur, Linotype-Breitkopf-Fraktur, Linotype-Luthersche-Fraktur, Linotype-Tannenberg, Linotype-Heinz-Knig-Schmalschrift (a schwabacher), Linotype-Koch-Fraktur, Linotype-Ehmcke-Schwabacher; and a page each for the following romans: Linotype-Original-Baskerville, Linotype-Garamond (Stempel Garamond not Garamond no. 3), Linotype-Bodoni, Linotype-Ratio-Lateina [sic], Linotype-Neue-Romanisch (Times Roman), Linotype-Excelsior and Linotype-Memphis. The text introducing the showings is set in Linotype-Unger-Fraktur.

It is quite evident that blackletter and roman typefaces not only co-existed in German graphic design in 1938, but that they were consciously paired. Schaftstiefelgrotesks, although promoted heavily by the typefoundries, took a backseat to more traditional frakturs and texturas, both older designs and new ones such as Kleist-Fraktur and Zentenar. And when schaftstiefelgrotesks were used, they were often joined to geometric sans serifs in an attempt to project an air of modernity. Geometric sans serifs, especially Futura, continued to thrive. Among seriffed faces, the most popular were Bodoni and Baskerville.

Digital media fascinated me ever since I was a kid playing on my purple GameCube. Through graphic design, photography, videography and animation, I strive to utilize digital media to its full potential in a world where it has become increasingly paramount.

My research focuses on apparel designed for online gaming communities. Currently, the gaming and esports industries offer a wide range of merchandise, but it mainly focuses on team-related items or designs aimed at younger audiences. However, there's a significant absence of apparel for older fans who are interested in specific games rather than teams. To address this, I employ sentiment analysis and game-related elements in designing apparel that caters to this target market.

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