EINTAUCHEN ERLEBEN ENTSPANNEN

VORTEILE NACHTEIL

Einziges Manko: Die neuesten Staffeln sind oft erst ein Jahr nach der US-Premiere in der Flatrate verfügbar. Man muss also etwas warten, bis man den neuesten Content sehen kann. Netflix ist kein reiner Streaming-Dienst, sondern produziert auch eigene Serien und Filme und das mit Erfolg.

Netflix bietet die derzeit größte Auswahl an online abrufbaren Serien, Filmen und Dokumentationen zum Festpreis, fast immer mit der komfortablen

Wahlmöglichkeit zwischen Deutsch und Originalton. Exklusive Serien machen das Angebot dabei einzigartig. Die technisch aktuelle Umsetzung auf zahlreichen Endgeräten überzeugt.

1. DOWNLOAD

Seit dem 30. November 2016 bietet Netflix über die Android- und iOSApp einen Download-Modus an, bei dem gewisse Inhalte heruntergeladen und anschließend ohne Internetverbindung angeschaut werden können. Nach einer gewissen Zeit stehen die Inhalte nicht mehr zum Ansehen bereit und müssen erneut heruntergeladen werden, um zu verhindern, dass Inhalte trotz abgelaufener Lizenz oder abgelaufenem Abonnement noch angeschaut werden können. Seit April 2017 unterstützt auch die Windows-10-App Downloads. Netflix nutzt seit 1999 ein Flatrate-Preismodell. Zurzeit kann man in Deutschland und Österreich zwischen folgenden vier Varianten wählen.

2.

Streaming

Anfangs setzte Netflix beim Streaming ausschließlich auf Produkte und Technologien von Microsoft, wie VC-1 als Videocodec und WMA als Audiocodec. Mittlerweile werden auch andere Standards wie beispielsweise H.264 oder H.265 für Video und Ogg Vorbis oder AC-3 für Audio benutzt. Die Vielzahl der Kombinationen bedeutet, dass ein Titel bis zu 120-mal mit verschiedenen Codecs und Einstellungen enkodiert werden muss.

3.

Mehrsprachigkeit

Zu den Angeboten, mit denen sich Netflix von der Konkurrenz abheben möchte, gehören englischsprachige Produktionen, die auch in verschiedenen anderen Sprachen verfügbar sind.

4. REICHWEITE

ZuschauerInnen wandern immer mehr vom klassischen Fernsehen zu Streaming-AnbieternInnen. Demnach verbringen deutsche Zuschauer Innen bereits mehr Zeit mit Netflix als mit jedem anderen Fernsehanbieter, wobei bei der Gruppe der jungen ZuschauerInnen 28 % der Bildschirmzeit auf Netflix entfallen. Auch wird Netflix in den Studien bzgl. Inhalten, Erlebnis, Image und Vertrauen deutlich besser bewertet als die Angebote klassischer Fernsehsender.

Speckter published the idea of the Interrobang in Type Talks that same year. He believed that the Interrobang was the perfect symbol to use in advertising, as it could convey a sense of excitement and urgency in a single character. He knew that his new character was not an easy sell. There were numerous attempts by other enthusiasts to add new punctuation marks to the existing system. For instance, the first documented attempt to create a mark intended to indicate irony was three centuries ago. In 1668, British philosopher and author John Wilkins proposed using an inverted exclamation mark. But back in the 17th century, innovation was slow-moving and the established punctuation marks were already widely understood, so the irony mark did not enter common usage.

Speckter’s creation was not an instant success either. It took a few years before the Interrobang began to gain widespread acceptance. But Speckter was persistent and he continued to promote the symbol in Type Talks and in other publications. Slowly but surely, the Interrobang began to catch on. It was soon adopted by advertising agencies and began to appear in print media.

Martin K. Speckter’s Interrobang was a bold and creative punctuation innovation that captured the attention of the advertising industry and beyond. Although it experienced a decline in popularity in the years following its invention, the mark has persisted in the digital age and remains an intriguing punctuation symbol with a distinctive history.

THE BIRTH

Martin K. Speckter was a man with a passion for typography and advertising and he combined this being the editor of the bimonthly journal Type Talks . He noticed that many advertisements contained interrogative sentences. Those were not just any questions but excited and exclamatory questions, a trend not unique to his time. Some examples are: "Got milk?!", "Where’s the beef?!" and "Can you hear me?!". So he asked himself: Could there be a mark that made it visually clear that something is both a question and an exclamation?!

Recognizing the need for a symbol to convey surprise and inquiry, he tried to fill this gap himself. In 1962, while dining with his wife, Speckter had an epiphany. He quickly scribbled the first draft on a napkin: The Interrobang was born.

The Fall

Despite its popularity, the Interrobang’s rise was not without obstacles. There were issues with compatibility, as the Interrobang was not widely available on typewriters or early computer systems.

The Rise

Weitgruber is a Type and Graphic Designer based in South Tyrol (IT). She graduated from the Type and Media master course at the Royal Academy of Arts Den Haag in 2016. Before that she studied Graphic Design at NDU St. Pölten. She designs retail and bespoke typefaces logos and corporate designs, posters and letters. This interview is a type specimen for her font Nikolai .

Franziska

This made it difficult for writers and editors to include the mark in their work. Additionally, the Interrobang was not included on standard keyboard layouts, and it was often left out of fonts and typefaces. This meant that writers and editors had to go out of their way to use the mark, often resorting to creating it manually or using a special keyboard shortcut. This made the interrobang more difficult to use than other punctuation marks, and it eventually led to its decline in the late 1970s. Another factor that contributed to the Interrobang’s decline was its lack of

Speckter’s creation then quickly gained attention and popularity beyond the advertising industry. The mark appeared in ads, headlines, and publications, and even won the attention of famous figures such as Richard Nixon and Elvis Presley. One of the most well-known uses of the interrobang was in the Americana typeface. The Americana font was created in the early 1960s by Richard Isbell for the American Type Founders (ATF) company. The font was a popular choice for headlines and advertisements, with its bold and distinctive lettering. The inclusion of the Interrobang only added to its appeal and it became a popular symbol for graphic designers and typographers alike. Some linguists and punctuation enthusiasts saw the mark as a creative and innovative addition to the existing punctuation system, while others saw it as unnecessary or gimmicky. Despite the differing opinions, the Interrobang continued to gain popularity throughout the 1960s and 1970s.

WDA: What fascinates you about designing typefaces?

F: Type Design is fascinating to me because it means designing the most essential bits in visual communication. Designing typefaces and being able to use them for your own project also means designing every aspect of a project.

WDA: How can typographers sell their typefaces in the digital age?

F: There are various distribution option, Type Designers can decide to self-publish on their own website, distribute through a foundry or sell on a platform (for instance Future Fonts) with many other foundries and designers.

WDA: How do you decide how much to price a typeface?

F: When publishing with other foundries I discuss pricing with them, some foundries have a default of for example 30€ per style. If I publish on my own I try to define the value it would have to me as a Graphic Designer, something between 30€ and 50€ per style for a single license is fair yet affordable I think. With a bigger catalogue and selling mostly on my own it would make sense to define a price for all designs in the future.

WDA: Have you included the Interrobang in any of your typefaces?

F: Some typefaces have it, yes. Many don’t have it (yet), I have to admit.

WDA: Do you have a favorite typeface? If yes, what is it and why?

F: I don’t have one favorite typeface, I have many old and new. May I mention some? Inga Plönnigs’ Zetkin , Selina Bernet’s Chromo , Novarese’s Stop and so on and so on. So many fantastic designs around.

WEITGRUBER

FRANZISKA

Shady Characters By

KEITH HOUSTON

A charming and indispensable tour of two thousand years of the written word, Shady Characters weaves a fascinating trail across the parallel histories of language and typography.

NIKOLAI BY FRANZISKA

WEITGRUBER standardization. The mark’s unique appearance and function meant that different designers and typographers had their own interpretations of the Interrobang . This led to a lack of consistency in its use and appearance, which made it difficult for writers and editors to use the mark with confidence.

Nikolai is a contemporary serif display typeface which roots in an admiration for Italian foundry Nebiolo’s Jenson. Taking some of the peculiarities Nikolai separated from its origin becoming independent and typographically distinct.

THE LEGACY Despite its decline in the late 1970s, the Interrobang never completely disappeared. With the rise of digital communication, the interrobang has made a comeback in recent years. The mark is now included in various modern fonts and is easier to access on computers and mobile devices. This has made it more convenient for writers and editors to use the mark, and it has led to a resurgence in its popularity. One of the most notable examples of the Interrobang’s inclusion in modern fonts is its addition in the popular font Arial

Martin K. Speckter’s Interrobang was a symbol born out of the need to convey surprise and inquiry in the advertising industry. Its rise to popularity showcased its effectiveness in capturing attention and conveying a sense of excitement. Despite facing obstacles and a subsequent decline, the Interrobang has found a place in the digital age, demonstrating its enduring appeal and versatility.