fifty2|3|4 - fontfont release magazine no. 3

FontFont Release Magazine No. 3

Releases 52, 53 and 54 | 2010

FF Advert, FF Advert Rough

ff Alega, ff Alega Serif

ff Amman Sans, ff Amman Serif

ff Angie, ff Angie Open

FF Archian

ff Basic Gothic

FF Bau

FF Bradlo Sans, FF Bradlo Slab

ff Cellini, FF Cellini Titling

FF Child’s Play

FF CST Berlin

ff Dax

FF DIN Round

ff Engine

FF Fontesque, FF Fontesque Sans,

FF Fontesque Text, FF Fontesque Display

FF Ginger

ff Good, ff Good Headline

ff Erikrighthand, ff Justlefthand

FF Hydra, FF Hydra Text

ff Instant Types

ff Kava

ff Marten, ff Marten Grotesque

ff Massive

FF Meta Condensed

ff Milo Serif

ff Olsen

ff Signa

ff Suhmo

ff Tisa

ff Unit Slab

Fifty2|3|4

–

Fifty2•3•4

–

c o l o p h o n

–

Idea and concept by Ivo Gabrowitsch,

designed by Alexander Roth for the FontFont Typeface Library.

© February 2011 fsi FontShop International GmbH

All rights reserved.

FontFonts are available through fsi and its

disitributors. FontFonts and FontFont typeface names are

trademarks of fsi FontShop International GmbH.

The specimens have been designed by:

Alexander Roth (ff Advert, ff Alega, ff Amman, ff Angie, ff Archian, ff Basic Gothic, ff Bau,

ff Bradlo, ff CST Berlin, ff Dax, ff DIN Round, ff Engine, ff Ginger, ff Hands, ff Hydra, ff Kava,

ff Marten, ff Massive, ff Meta Condensed, ff Milo Serif, ff Olsen, ff Signa, ff Suhmo,

ff Unit Slab), Lars Krüger (ff Cellini, ff Child’s Play, ff CST Berlin, ff Fontesque, ff Good,

ff Instant Types, ff Meta Condensed), Jonas Kaminski (ff Good, ff Tisa)

–

Fifty2•3•4

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p r e f a c e

–

Thanks to web fonts, 2010 became a groundbreaking year in the type industry. The news about the

new typographic freedom on the web spread across the world in no time, and the FontFont Library

contributed to it. Together with FontFont co-founder Erik Spiekermann, we made a clear commit-

ment to the new format. When Mozilla announced the implementation of the new Web Open Font

Format (.woff) in the Firefox browser FontFont designed the first website using a woff font. And the

day Firefox 3.6 was released, we offered ff Nuvo Medium Web — the world’s first professional woff

font — for free! Now all major FontFont text fonts are available in the web font formats .woff and .eot,

a total of 2000 fonts.

Web FontFonts are already supported by the major browsers: Internet Explorer, Firefox and

Chrome. Safari and Opera are about to follow the woff standard. The revolutionary FontFonter, a

toolbar app from FontShop that lets you try web FontFonts on any website, has already convinced

countless web designers of the suitability of FontFonts. It is no surprise influential sites like Mozilla

or I Love Typography rely on FontFonts. Just like two of the first Webfont Awards winners owe their

victories to fonts with ff in the name.

Besides the technical updates, some remarkable new designs were added to the FontFont Library

as well: the highly anticipated ff DIN Round, the Arabic-Latin type system ff Amman, the playful

yet very functional ff Suhmo (recently awarded at the TDC² 2011 competition), the new extended

family ff Basic Gothic, and the artful layered display face ff Massive. Furthermore we have also

reworked some of our most popular families, augmenting some of them with new weights or lan-

guages, e.g. ff Bau, ff Hands, ff Fontesque, ff Tisa, ff Angie, ff Kava, ff Good, ff Meta Condensed,

ff Signa, ff Dax and ff Unit Slab.

It is no wonder this release magazine is as fat as an annual report. It includes more font samples

and information than the previous two releases. There is actually even more to announce, e.g. that

the Museum of Modern Art in New York chose to admit four FontFonts in its architecture and design

collection, or the redesign in progress of our web site www.FontFont.com. Unfortunately there is not

enough space for all of this, so please do look forward to the 2011 magazine.

Ivo Gabrowitsch

Marketing Director fsi FontShop International

–

Fifty2•3•4

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c o n t e n t

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Page FontFont ............................................................................................................ What’s new?

08. ff Advert .......................................................................................... OpenType, Office, Web

10. ff Alega ............................................................................................ OpenType, Office, Web

12. ff Amman ................................................................. New FontFont, OpenType, Office, Web

14. ff Angie ................................................................... Style Extension, OpenType, Office, Web

16. ff Archian ................................................................................ Style Extension, Office, Web

18. ff Basic Gothic .......................................................... New FontFont, OpenType, Office, Web

20. ff Bau ............................................................................................... OpenType, Office, Web

22. ff Bradlo .............................................................................................................. OpenType

24. ff Cellini .............................................................................................................. OpenType

26. ff Child’s Play ...................................................................................................... OpenType

28. ff CST Berlin ....................................................................................................... OpenType

30. ff Dax ............................................................... Language Extension, OpenType, Office, Web

32. ff DIN Round ............................................................ New FontFont, OpenType, Office, Web

34. ff Engine ............................................................................................................. OpenType

36. ff Fontesque ............................................................ Style Extension, OpenType, Office, Web

38. ff Ginger ........................................................................................... OpenType, Office, Web

40. ff Good ..................................................................... Style Extension, OpenType, Office, Web

42. ff Hands ........................................................................................... OpenType, Office, Web

44. ff Hydra ........................................................................................... OpenType, Office, Web

46. ff Instant Types .............................................................................. OpenType, Office, Web

52. ff Kava .................................................................... Style Extension, OpenType, Office, Web

54. ff Marten ............................................................................................................ OpenType

56. ff Massive .................................................................................... New FontFont, OpenType

58. ff Meta Condensed .......................................... Language Extension, OpenType, Office, Web

60. ff Milo Serif ..................................................... Language Extension, OpenType, Office, Web

62. ff Olsen ............................................................................................ OpenType, Office, Web

64. ff Signa ............................................................ Language Extension, OpenType, Office, Web

66. ff Suhmo ................................................................... New FontFont, OpenType, Office, Web

68. ff Tisa ...................................................................... Style Extension, OpenType, Office, Web

70. ff Unit Slab ...................................................... Language Extension, OpenType, Office, Web

Although the following typeface families are not mentioned any further in the magazine, they are,

however, now also available as Office and Web FontFonts: ff Avance, ff Balance, ff Clan, ff Clifford,

ff Daxline, ff Disturbance, ff Fago, ff Kievit, ff Milo, ff Nuvo, ff Scala, ff Scala Sans, ff Soul

(ff Hardsoul, ff Softsoul), ff TradeMarker, ff Unit, and ff Unit Rounded. Please see page 7 for a full

list of Web FontFonts that are currently available.

–

i n t r o d u c i n g w e b f o n t f o n t s (1/3)

–

How does it work?

–

Web FontFonts are based on TrueType-flavored OpenType fonts and come in two formats — woff

and eot lite — as the most common web browsers Microsoft® Internet Explorer, Mozilla® Firefox®,

and Google Chrome™ are currently supporting them. woff is very likely to be supported by Apple®

Safari® and Opera™. If you license Web FontFonts on FontFont.com or FontShop.com, you can also

host the files on Typekit. The service delivers fonts from a global network of servers to every browser

that supports @font-face. This means the compatibility extends to browsers not yet supported by

woff and eot. After purchasing your fonts you’ll find a link on your checkout confirmation page.

Simply click it to send your license and fonts to Typekit, then follow their instructions to add a single

line of code to your site and your fonts will be served immediately. The Typekit option under their

free Trial account implies certain limitations. For details see their website. Hosting your fonts this

way is purely optional.

The Web FontFonts are available as single fonts, as Basic Sets consisting of Regular, Bold, Italic,

and Bold Italic (if available in the family), and as family packages. Just like the Office FontFonts, fsi’s

webfonts have Tabular Lining Figures as their default figure set. Small Caps with proportional Old-

style Figures are also available, but as separate fonts. Every Web FontFont comes with an html test

page and a User Guide.

More important than ever is language support. While ‘Web’ fonts contain the characters necessary

for writing 58 Western languages such as English, French, Spanish and German, ‘Web Pro’ fonts sup-

port at least 36 more Latin-based languages (especially Central European languages like Czech, Turkish,

Latvian, Polish and Romanian). Many ‘Pro’ fonts also speak Greek and/or Cyrillic.

The appearance of webfonts is optimized for on-screen viewing. Complying with the most cur-

rent standards, Web FontFonts are extensively optimized for use with ClearType®, available from

Windows xp® and the standard way of type smoothing since Windows Vista®. Many families can be

tested on your own website using the FontFonter.

Web FontFonts are licensed not by domain or bandwidth, but by the average monthly pageviews

for all websites managed by the person or organization licensing the webfonts. We chose pageviews

because we feel metrics like number of domains and bandwidth aren’t accurate representations of an

organization’s popularity on the web, and would often be unfair to the licensee. Our goal is to be sure

the fonts are licensed properly and fairly, not to monitor every pageview on every domain. In fact, we

don’t even require a domain name when you license. There’s no drm involved.

Choosing a web license is the same as it has always been for desktop fonts: pick the license that best

fits you. Extend when you need to. We trust you. There are three simple licence levels: up to 500,000;

up to 5 million; and up to 50 million pageviews per month. Enterprise licensing beyond that level is

negotiable on a case-by-case basis. With the three tiers we’re dividing Web FontFont use into broad

categories so that a large international corporation isn’t paying the same rate as a personal blog.

The best thing: You won’t have the recurring fees that webfont services charge.

For more details about licensing and technical issues please see the Web FontFont eula and the

Web FontFont User Guide.

Add the two @font-face rules to your CSS.

Upload the woff and eot files to your web server.

2

1

Apply your web font to any html elements.3

web fontfont quick user guide

It’s that easy to use.

Web FontFont Pro

Advert Rough

Advert

Alega ∙

Alega Serif ∙

Amman Sans

Amman Serif

Angie ∙

Archian

Archian Stencil ∙

Avance ∙

Basic Gothic ∙

Bau ∙

Brokenscript

Celeste ∙

Celeste Sans ∙

Celeste Small Text ∙

Clan ∙

Clan Compressed ∙

Clan Condensed ∙

Clan Extended ∙

Clan Narrow ∙

Clan Wide ∙

Clifford ∙

Cocon ∙

Cocon Extra Condensed ∙

Cocon Condensed ∙

Dagny ∙

Dax ∙

Dax Compact ∙

Dax Condensed ∙

Dax Wide ∙

Daxline ∙

DIN ∙

DIN Condensed ∙

DIN Round ∙

Disturbance

Duper ∙

Enzo

Fago ∙

Fago Extended ∙

Web FontFont Pro

Fago Condensed ∙

Folk

Fontesque ∙

Fontesque Display ∙

Fontesque Sans ∙

Fontesque Text ∙

Ginger ∙

Good ∙

Good Condensed ∙

Good Wide ∙

Good Headline ∙

Good Headline Condensed ∙

Good Headline Wide ∙

Hands ∙

Hardsoul

Hydra

Hydra Extended

Hydra Text

Instant Types

Kava ∙

Kievit ∙

Mach ∙

Mach Condensed ∙

Mach Wide ∙

Market

Masala ∙

Masala Script ∙

Meta ∙

Meta Condensed ∙

Meta Serif ∙

Milo ∙

Milo Serif ∙

Netto

Nuvo ∙

Olsen ∙

Prater Block

Prater Sans

Prater Script

Prater Serif

Providence ∙

Web FontFont Pro

Providence Sans ∙

Quadraat

Quadraat Display

Quadraat Headliner

Quadraat Sans

Quadraat Sans Display

Scala ∙

Scala Sans ∙

Signa ∙

Signa Condensed ∙

Signa Extended ∙

Softsoul

Speak

Suhmo ∙

Super Grotesk

Tisa ∙

TradeMarker

Trixie ∙

Typestar

Unit ∙

Unit Rounded ∙

Unit Slab ∙

Yoga ∙

Yoga Sans ∙

More Web FontFonts will be available soon.

–

i n t r o d u c i n g w e b f o n t f o n t s (3/3)

–

Available Web FontFonts.

–

Smooth vs.

Rough

@

*⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞↉⅟

.15121409 5 Layers

Ω– Smørrebrød

– Bratäpfel– Kirsebærsauce

– La Befana

AAAAA

8_ FontFont Release Magazine Fifty2|3|4

FF Advert – a humanist take on W.A. Dwiggins’ Metro – is a good-natured text face drawn by Just van Rossum and is much appreciated by graphic designers for its unique lowercase ‘a’; there are single and two-story versions included in each font. FF Advert is the smooth alternative to FF Advert Rough which includes five roughened variations of FF Advert Bold, in progressive degrees of thickness. All the variations have the same widths so they can be layered on top of each other as though they formed a colorful, mind-expanding cake. Yet most interesting things happen when you slightly shift and/or rotate the stacked weights.

Now available as:OpenType (OT), Office FontFont (Offc) and Web FontFont (Web)

LightRegularBoldBlack

OneTwoThreeFourFive

FF Advert | FF Advert Rough by Just van Rossum | 1991

*⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞↉⅟

SALESALESALE5, 4, 3, 2, 1… Rough

Buy or cryBuy or cry

Nothing but the best ...

30% OFF

⅓ offentire shop

Saturday 18.12.2010

The Big Deal!

FF Advert

© 2010 FSI FontShop International

(Model makingwith stain-less_steel pipes.)°

2-dimensional architecture

pipes with feet

67.45°

Precision

A A

true italics, not obliques

↑

^―

ß → ß

B

• fb ff ffi ffl fft fh fi fj fk fl ft fti

•


Siegfried Rückel: “My intention was to create a face with a technical look that was still very readable and suitable for headlines as well as body text. While working on several fun faces I suddenly discovered a form which seemed to be a good basis for a new font. This form appears in all ff Alega fonts, especially in the letters b, d, p, q and h, m, n and u as well as in most of the stroke endings and character curves. It was a challenge to find new forms for several char-acters, for example the capital X looks like a pre-historic cave painting or primitive African art. I also transferred the Antiqua lower case g into a technoid form. I tested legibility using texts from pharmaceutical products which you really must read character by character because you wouldn’t recognize the words with just a cur-sory glance at the text. The family contains true italics with emphasis on the handwritten character as you can see in the long descender of the italic f. The widths of the upper case letters correspond to the lower case letters which gives the face a homogenous look and emphasizes its technical character. This means that the small caps have the same optical width as the upper case letters. In the ot cff versions with layout features you will find alternative commercial ats (@, @), an old form of the German double s (ß, ß), 15 f and t ligatures and several different arrows. I think you can use ff Alega for headlines, as a corporate typeface or text face, as well as for pop magazines, business journals and anthroposophic typography. When I originally designed ff Alega I did not consider a serif version. But following the release of ff Alega, I experimented with serifs and decided the effort was worthwhile. ff Alega Serif has a technical look, but is very readable. It combines well with the original sans serif face.”

Now available as:OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro)

LightLight ItalicRegularItalicBoldBold Italic


ff Alega | ff Alega Serif by Siegfried Rückel | 2002

.221110Einzelfahrschein↑

81

ff Alega | ff Alega Serif

↑↑↑ Hier entwerten ↑↑↑

165G31NTrack-ID

Name des Passagiers

Abfahrt

Berlin (D)

Θεσσαλονίκη (GR)Rückel, Siegfried (M) Destination

PlatzKlasse

Express

Wagennummer

Gültigkeit siehe Tarif

Beförderungsbedingungensind einzuhalten!

Small Caps

Numeral Sets

Arrows

Small Caps

Numeral Sets

Arrows

Greek Language Support

Light

Light Italic

Regular

Italic

Bold

Bold Italic

Light

Light Italic

Regular

Italic

Bold

Bold Italic

© 2010 fsi FontShop International

Don’tbelievethe hype! .8

ڤ®

خ خ »

,

⅗ = ٣/٥

Forget about New York,

visit Amman.

letʼs call them irabics

... like all those rockstars have!

sans vs. serif

I wish I had a magenta scarf

true arabic italics

قصة وصول التسريبات إلى ويكيليكس


ff Amman came into existence as Yanone’s graduation project at Bauhaus University in Weimar, Germany. In late 2008, Yanone set out to Amman, the capital of Jordan, following an invitation by Ahmad Humeid from the local design and branding office syntax. They were to re-brand the capital’s municipality in preparation of Amman’s cen-tennial celebrations. Never officially commissioned as a custom typeface, it was rather a birthday present from syntax and Yanone for Amman, and the perfect universi-ty graduation project for Yanone. In the end, the typeface with several typographic novelties has been widely used for all kinds of municipal services in Amman. The family consists of seven sans and four serif weights, each with their true Italics and both Latin and Arabic character sets. It is one of the largest bilingual families ever made, one of the few designed bilingually from scratch and the first containing true Arabic Italics.

New FontFont

Available as:OpenType (OT/Pro), Office FontFont (Offc) and Web FontFont (Web)

ThinThin ItalicLightLight ItalicRegularItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

RegularItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold Italic

ff Amman Sans | ff Amman Serif by Yanone | 2010

hekgxp4

ھؤشۂچه

آ

ab8nory

كظ٤ۓؤ

ٹ۴

vcua

sk2q

خینڈ

٣غچط

Serif Italic

Serif Medium Italic

Serif Bold Italic

Serif Extra Bold Italic

Serif Regular

Serif Medium

Serif Bold

Serif Extra Bold

Serif Arabic Italic

Serif Arabic Medium Italic

Serif Arabic Bold Italic

Serif Arabic Extra Bold Italic

Serif Arabic Regular

Serif Arabic Medium

Serif Arabic Bold

Serif Arabic Extra Bold

Sans Thin

Sans Thin Italic

Sans Light Italic

Sans Italic

Sans Medium Italic

Sans Bold Italic

Sans Extra Bold Italic

Sans Black Italic

Sans Light

Sans Regular

Sans Medium

Sans Bold

Sans Extra Bold

Sans Black

Sans Arabic Thin

Sans Arabic Thin Italic

Sans Arabic Light Italic

Sans Arabic Italic

Sans Arabic Medium Italic

Sans Arabic Bold Italic

Sans Arabic Extra Bold Italic

Sans Arabic Black Italic

Sans Arabic Light

Sans Arabic Regular

Sans Arabic Medium

Sans Arabic Bold

Sans Arabic Extra Bold

Sans Arabic Black


ff AmmanThe rst digital typeface containing true Arabic Italics.

new

Angie a été le premier caractère typographique créé par Jean François Porchez, débuté pendant ses années d’école de design en 1989. Le design à l’époque avait été créé à la main sur papier calque et carte à gratter. Quelques mois plus tard, l’unique graisse du Angie a été soumise au Prix Morisawa et remporta le prix Brattinga en 1990.

BLOOMINGFloweRS

•

Th · fb · ff · ffb · ffh · ffi · ffj · ffk · ffl · fft · fh · fi · fj · fk · fl · ft

typofonderie.com

Hederahedera felⁱx

A | A | A | A | A | A | A | A | A | A | A

•

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*with small caps caps

†

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ff Angie has a humanistic touch. Its roots are in cuneiform writing; the asymmetrical serifs remind us of triangular-shaped figures engraved onto tablets. Legibility is improved by keep-ing letter shapes open and quite distinct from one another. The Italics are lighter, narrower and more flowing than the Romans. Ornaments together with Black Open Caps for headlines complete the ff Angie family. Angie won the Brattinga prize at the 1990 Morisawa Awards in Japan. With the release of the OpenType versions, Demi Bold and Extra Bold weights have been added.


With the recent update completely new Demi Bold and Extra Bold weights have been added.

RegularItalicDemi BoldDemi Bold ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

open Black

ff Angie by Jean FranÇois Porchez | 1993, 2010

A | A | A | A | A | A | A | A | A | A | A

КАМУФЛЯЖ

¾Midnight

.57

®

»

AprègardeTraditions–

+

Labyrinth

ERROR

/

◊³

I hope my eyes find a way out!

LAYERS OBEY

Addicted to plastic

Ligatures^КАМУФЛЯЖ


The FF Archian family resulted from the desire to create a geometric font using vertical and horizontal elements without any curves. FF Archian Normal was the first of the family, the product of playful manipulation of form and function. The other weights followed as variations on a theme, each with a different inspira-tion: architecture, painting or fine arts. The family was extended in 2010 by two more weights, Amphora and Labirintus, and a Stencil version, inspired by Russian constructivist avantgarde traditions.


New styles available such as Amphora,Labirintus and Stencil. The latter is addi-tionally available as Pro and supports Cyrillic.

AmphoraAmphora SansBoogie WoogieInitialLabirintusLabirintus SansNightNormalPlasticStencilWilmos

FF Archian by György Szönyei | 1999–2000, 2010

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_The name_says it all.

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(0 · 0)

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≠

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Wikipediaalwaysknows

the truth!One Way

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Due to its popularity online, Verdana has effectively become the basic sans serif. Yet in print it tends to looks too heavy and a little unwieldy. As a response to this FontFont releases ff Basic Gothic. Influenced by the early sans serif typefaces of the 19th century and developed for today’s highest standards, it is a sans serif optimized for maximum legibility. With its functional, basic look, it is willful but pleasant at the same time. Inspired by the unique letter forms of Gill Sans and Antique Olive, designers Hannes von Döhren and Livius F. Dietzel searched for exceptional yet legible proportions. At the same time, the letters are stripped down to their basic forms, with precise curves and straight lines, making ff Basic Gothic extremely versatile for a multitude of applications. Corporate designers like the extended weight range; TYPO Berlin 2011 already uses ff Basic Gothic. The type family performs especially well in small sizes, both in print and on the screen – thanks to the hinting experts of the FontFont Type Depart-ment.

New FontFont

Available as:OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro)

Extra LightExtra Light ItalicLightLight ItalicRegularItalicBookBook ItalicMediumMedium ItalicDemi BoldDemi Bold ItalicBoldBold ItalicBlackBlack Italic

ff Basic Gothic by Hannes von Döhren & Livius Dietzel | 2010

Extra Light¹

Extra Light Italic²

Light³

Light Italic⁴

Regular⁵

Italic⁶

Book⁷

Book Italic⁸

Medium⁹

Medium Italic¹⁰

Demi Bold¹¹

Demi Bold Italic¹²

Bold¹³

Bold Italic¹⁴

Black¹⁵

Black Italic¹⁶

2010

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_I¹⁰ _I¹¹ _I¹²

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ff Basic GothicHannes von Döhren & Livius Dietzel


↓

Nothing less than a new classic.

new

Old-school,neue schule / .,

R → R

⅚_ALTERNATES

Hot Metal Type

– E.S.

»Swans are bitches!«

Spatien

*For further information, please consult the showing →

Without impact on climate change.

2→ 2

f → f

∏

FAQ*

g → g

– ULTRA –

a ← a™

©


In spite of — or perhaps because of — Helvetica’s reputation for cold, cal-culated perfection, it has been the world’s most popular Latin typeface for over four decades. Drawn by Max Miedinger and introduced under the name Neue Haas Grotesk in 1957, its roots lie in much quirkier and personable material. Its earliest direct ancestor, known simply as Grotesk, was first introduced by the Schelter & Giesecke foundry in Leipzig around 1880. The Bauhaus, in nearby Dessau, chose this face as the main workhorse for their printing shop and used it for the vast majority of their classic experiments in asymmetrical typography. In 1999 Erik Spiekermann asked type designer Christian Schwartz to consider drawing a revival of S&G’s Grotesk, updating the family for contemporary typographic needs without rationalizing away the spirit and warmth of the original. The Regular, Medium, and Bold are drawn directly from S&G sources, and the Super was added for situa- tions where subtlety would be inappropriate. The family is released in 2002 under the name FF Bau, in homage to the most noted users of the original.


RegularItalicMediumMedium ItalicBoldBold ItalicSuperSuper Italic

FF Bau by Christian Schwartz | 2002–2004

I Love Inktraps!And what about slab serifs?

Česká

Isn’t it cool?

∞

×

◊

‡–

+*

n¶–8⅓

§


FF Bradlo is Andrej Krátky’s first typeface to be published. It was designed originally for a bank and even after its digitizing remains quite formal, retaining its original chiseled appear-ance. Krátky characterizes the typeface as being dynamic, yet also quite medieval. Its asymmetrical serifs and formal details set it apart from other similar faces — specifically the pronounced ink traps in its angular corners, a relic from the early days of printing which Krátky implements to enhance the face’s aesthetic quality.

Now available as:OpenType (OT/Pro)

RegularBold

RegularBold

FF Bradlo Sans | FF Bradlo Slab by Andrej Krátky | 1995

*

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–K4

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.$ .f .w .i.Z .a .& .s

.p .B .4

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.G .m.g .E .2 .n

.q .U .e

.k.y .O

.5 .K.§

dicopper silver trichloride –AgCl₃Cu₂

aluminium sulfate –Al₂(SO₄)₃

barium permanganate –Ba(MnO₄)₂

borazine –B₃N₃H₆

–Andrej Krátky


–FF Bradlo Sans & Slab

So beautiful ... and yet so useful

HAUTE COUTURE

45$,

⅖–

/

†

z

(*

a a_cp ct sp st ff ffi ffl fi fl

ff Cellini

pure poetry ™

FF Cellini Titling

– Smoking in medium size –

by Francesco Bello©


Designed in 1974 for the Hollenstein collection, these particular “Bodoni” typefaces had existed only for photosetting. Albert Boton designed the Regular in the ’90s, adding the Italic in 2002. For the release of ff Cellini, Boton completed the family with small caps for the Regular weight, Titling versions, and a Medium and Bold. The structure of ff Cellini is similar to other Bodonis (in fact all Bodonis are similar to each other, but differ in details like the curves in O, G, Q, the forms of the serifs, the arm of the t, etc.). Noteworthy in ff Cellini are the ball terminals which were lengthened into drop-like shapes in a, f, j etc.


RegularItalicMediumBold

Titling RegularTitling Italic

ff Cellini | FF Cellini Titling by Albert Boton | 2003

Acherontia

y

xv

Death’s-head HawkmothParnassius apolloMountain Apollo

m

Papilio machaonOld World Swallowtail

Catocala nuptaFrench Red Underwing

Limenitis populiPoplar Admiral

Catocala fraxiniBlue Underwing

o

s

w

ag

rf

u

Cellini & FF Cellini TitlingAlbert Boton


Image: 1895, Dr. F. Nemos

This is fun!

9

12

G y4

6Us

J

A

P

kathrin + markus = Sex

Hank stinks!

YEAH!

no, me!

04.09.

TeenageMutant Ninja Turtles!

18.2.

YOU!

Brian was here.18.12.2010

I B Stacey.Mr. Anderson


FF Child’s Play is a collection of unique typefaces frozen in time! They are based on the handwriting of children between 5 and 10 years old, and include a special dingbat font composed entirely of chil-dren’s drawings and featuring a series of paint effects. It enables the user to rediscover their first tentative scribbles and progress to more delib-erate letterforms.

Now available as:

OpenType (OT)

Age Five

Age SixAge SevenAge Eight

Age NineAge Ten

Dingbats NouhC

FF Child’s Play by John Critchley | 1993

ijij

ij

ijijijijij ij

ij

ijij ij

ghgh ghgh

gh gh ghgh gh

ghgh

gh

gh

gh

gh ghgh

ghghghgh ef

ef

efef

efef

ef

ef

ef

ef

ef

ef

cdcd

cd

cd

cd

ab

abab

ab

ab

Jan Paule, 10

Berlin

kl

kl

kl

kl

klkl kl

eL

U

TIJIJe

eIJ eI

Je

U T

IJ

LLee

L

L

T

UTI

J

eU T

IJ

Jonas, 9 years old

Alexander, 5


FF Child's Play

by John Critchley

Lars, at the age of 8 years

Jens & Silke, 9 Wardenburg

Eberhard &

Ursula, 6

Trent (Rügen)

Till Kornelius, 7 yearsEbstorf

–You are leaving the American sector!–Vous entrez dans le secteur Français!–

&

√²→

ßß↑

•

•

11.09.1989STOPWhich one is more aggressive?

In alphabetical order:

EAST vs. WEST

¾

A A A A AA A A A

vs.


For decades two different signage systems divided East and West Berlin. The West used a sans serif dating back to the 1930s, while the East preferred a technically-tinted sans face from the 1950s. Ole Schäfer and Verena Gerlach based their designs on the street signs themselves rather than the sketches from which the signs were made. This resulted in there being two versions for the East and a single version for the West. The FontFont character set includes many characters that would never be found on a street sign so Schäfer and Gerlach designed the missing letters, punctuation and symbols. They also designed special headline fonts for both East and West available in three weights: Regular, Medium and Bold. In addition, they created lining figures and a series of arrows and other useful symbols.

Now available as:OpenType (OT)

CST Berlin East Original RoundCST Berlin East OriginalCST Berlin East RegularCST Berlin East MediumCST Berlin East BoldCST Berlin West OriginalCST Berlin West RegularCST Berlin West MediumCST Berlin West Bold

FF City Street Type (CST) by Verena Gerlach & Ole Schäfer | 2000

Fried

richst

raße

VolksparkFriedrichshain

Karl-L

iebkne

cht-St

raße

Spandauer Str.

Münzstraße

Alexanderplatz

MemhardstraßeMemhardstraße

Alexanderstraße Karl-Marx-Alle

Spandauer Str.

Karl-L

iebkne

cht-St

raße

Otto-B

raun-S

traße

.rtS-.rB-.O

Kurfürstendamm Kurfürstendamm

Kantstraße M.–Ey-Str.Kantstraße

Einsteinufer

Salzufer

Straße des 17. Juni

Invalidenstraße

Seestraße

Sees

traß

e

Saatwinkler Damm

eßar

tS

eßar

ts

AltonaerLuisen

Straße

March

Franklin-

Straße

Lietzenburger Straße

Ludwigkirchstraße

D’dorf.

Fehrberliner Platz

TAXI

P

P

H

ß

† Ω

€

@

Å

P

TAXI P

P 5

ß

7

H

TAXI

TAXITAXI

TAXI

TAXI

TAXI

Uhlandstraße

Ebertstraße

U6

Emser

Str.Str.

Schül.-

Leibnitz

Wiel.-

str.

str.str.

str.

Str.

19331945

8

13

WC

WC

∆

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Bhf. Friedrichstraße

U

Siegessäule

Fernsehturm

Poliklinik

Hotel

Gerichte

ParkanlagenMitte

Alexander-platz

CharitéTechnischeUniversität

Berlin

Berlin-Tegel

–

19331945

West Original

West Regular

Berliner Mauer befestigte Staatsgrenze

East Original

West Medium

East Original RoundTAXI

West Bold

H

WC

East Regular

East Medium

East Bold

5

Ω

P

0 5 10 15 20 25 30 km

Z E I C H E N E R K L Ä R U N GCity Street Type | FF CST Berlin | Verena Gerlach, Ole Schäfer

© FSI FontShop International

Ost

West

A stream-linerprovideslessresistanceto air.

+Αθήνα, έχουμε

ένα πρόβλημα!

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это первый,но не

последныйраз...

↵

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Return The Bad Bank to Sender???

unambiguous:

nice rhyme

DAX Index

↑ HGN + 0.56 | = BCF ± 0.00 | ↓ ADC – 4.56

d g m n p q r uBilateral Economic Interest


Hans Reichel’s first design to be published by fsi FontShop International was FF Dax Condensed (1995) which developed from the idea of combin-ing the clarity of a narrow Futura with a “slightly roman touch” to make a space-saving but very legible typeface of timeless design. Very characteristic for the typeface are the missing spurs in the d, g, m, n, p, q, r and u. The family quickly grew to include the wider, but still narrow, ff Dax, followed by ff Dax Wide, less space-saving than its predecessors but still on the slender side. And, in keeping with tradi-tion, available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black. FF Dax Compact is a useful extension of the ff Dax family. The main difference in comparison to the regular version is that ascenders and descenders are relatively small and the upper case letters have the same height as the lower case letters with ascenders. That makes the typeface appear larger and more compact when set at the same point size. The width is somewhere between FF Dax Condensed and FF Schmalhans. FF Dax Compact is especially suitable for headlines in magazines, news-papers, for posters, flyers ... whenever a little more noise is needed.


The Pro versions even speak Greek now.

LightLight ItalicRegularItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

ff Dax by Hans Reichel | 1995–2000

_

①

②③

④

⑤⑥

⑦

⑧

⑨

⑩

⑪

⑫

⑬⑭

Sender: Surname, Name / Company (max. 23 chars)

(Name of the bank) (Bank code)

ff Dax / γραμμάτιο είσπραξης ↑↑

Oldstyle Figures Lining Figures

Published by (Type Foundry):

Weight (light / light italic):

Weight (regular / italic):

Weight (medium / medium italic):

Weight (bold / bold italic):

Weight (extra bold / extra bold italic):

Weight (black / black italic):

Range:

Location:

Date Signature

WEIGHTS

Reichel, Hans

Εθνική Τράπεζα της Ελλάδος 1312101749

FontFont

Θεσσαλονίκη

098726140325 3647589102

6,— A A A A A A A A A A A A


Hans Reichel’s first design to be published by fsi was

ff Dax Condensed, which developed from the idea

of combining the clarity of a narrow Futura with

a “slightly Roman touch” to make a space-saving

but very legible typeface of timeless design.

Very characteristic are the missing spurs.

x

Ешё однанемецкаяиндустриалнаянорма.

DIN

∆ 101215

968473

[Regular]²

[Medium]³

[Black]⁵

[Light]¹

[Bold]⁴

←←

⅐_⁸

_&

+ aaaaa32_ FontFont Release Magazine Fifty2|3|4

FF DIN’s simplicity and industrial straightforwardness have been softened and rendered more emotional thanks to FF DIN Round. Especially comprehensive de-sign projects with disparate elements need to be clearly distinguishable yet still recognizable as players on the same team will benefit from combining of FF DIN and FF DIN Round. Think of logos, slogans, price tags, etc. as part of advertising campaigns and shop designs, calling attention and communicating their uniqueness. FF DIN Round is not only a good companion to FF DIN, as a standalone typeface its smooth and friendly curves make it a perfect candidate for branding strategies for products and services as varied as family cars, bikes, household applian ces, sportswear, shoes or medical products. The typeface is also very suitable for screen-based applications: in web design or mobile devices.

New FontFont


LightRegularMediumBoldBlack

FF DIN Round by Albert-Jan Pool | 2010

DIN[Black]⁵

new

2|017.

⁸|943.

⁷|205.

⁹|846.

→ Garðabær

→ Black

→ Medium

Bold ←

Regular ←

→ Light

→ Norfolk

→ Ħamrun

→ Душанбе

→ München

FF DIN Round Albert-Jan Pool2010

⁴|253.

B

B

M

R

L


Ladies and gentlemen, start your FF Engines!

Choose your bodywork:Light, Regular or Bold...

Oh, no! Collisions: fi fl

Feels like warp speed!

parking

6.2-liter V8

e · €

g · gAlternates

Ee_

_

_Δ 11111₁1

≈136km

Gasoline

Power


According to Alex Scholing “ff Engine was an attempt at making a good, solid, general-purpose typeface with as little effort as possible. The first thing I did to reduce complications was do away with the contrast in the letters, which means ff Engine is a so-called monolinear typeface (well, almost; try to find how I cheated …). To enhance legibility I added small serif-like bulges at the ends of the stems.” Scholing later decided that his first typeface was rather immature — which is not necessarily a bad thing. However, for years he worked on a more sophisticated typeface based on the same idea. This became ff Roice (2003).

Now available as:OpenType (OT)


ff Engine by Alex Scholing | 1995–1996

0.1

0.2

0.4

0.5

1.0

1.2

8.0

∆ .3

6-GEAR

Alternates

+ Small Caps


Ω 0.083756

ff Engine™e⋅€ | g⋅g

Light ItalicaRegularaItalicaBoldaBold Italica

Lighta

FAIRY TALES

←

•

•

•••

•••

••

•• •

♥

•

•

1674 SheepLittle Red Riding Hood

Mom & Dad

a | a

Grimmʼs Fairy Tale:

Display

Combine styles as layers

really this way‽

fury frames included

• + • =

Text

small brains, big muscles Whatdreams

aremadeof.♥

•

•

•


What’s the idea behind FF Fontesque, Nick Shinn?I wanted to do something that was very loose, with really extreme proportions, but at the same time it needed to be beautifully drawn. And although it would be a “novelty” face, it would set like real type, with a bold and a proper italic. And be original. That was the challenge. FF Fontesque is based on several concurrent design principles. Like animation; this is the idea that the characters are alive, moving, and can’t stand still. It’s expressed globally in the irregularity of size, varying angles of the uprights, and non-adherence to the baseline. Individually, each character is stretching, with sinuous curves and proportions that don’t divide evenly: each letter has a small part and a big part.

Doesn’t that harm legibility?Quite the opposite. In FF Fontesque I maximized the irregularity of the texture of white space to improve legibility. If you look at the word “sea” in Helvetica, with its six similar spaces, you can see what I’ve tried to avoid.

FF Fontesque Text:The original FF Fontesque is a graceful, delicate face – a display face, really. So for a wider variety of body-copy use, the addition of a more robust “text” version is a good idea. The weight is slightly heavier, the hairlines are thicker and the serifs bigger. Also, the sidebearings are wider. However, I’ve kept some details fine to preserve the “cut” of the face. But there’s another reason for a text version. I get the impression, from the way I’ve seen FF Fontesque used over the past few years, that in many instances people would prefer a little more heft. You know the kind of thing that can go wrong: someone uses FF Fontesque to surprint a busy photo, and it’s not quite strong enough, so they add a drop shadow, but it still doesn’t look right, because the hairlines are so fine. A text version would help here too, at display size.

FF Fontesque Sans:Introducing the typeface that belongs in every food cupboard, uh, fonts folder, Nick Shinn has taken his popular FF Fontesque, peeled off the serifs, thrown it in a pot with some Helvetica, added a dash of Swiss, and cooked to perfection. Mmm, enjoy!

FF Fontesque Display:With the publication of the OpenType Pro version, besides more language support, additional alternate glpyhs and ornaments, a few more new Display weights complete the family to perfection.

Now available as:OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro) The new Display style have been added and FF Fontesque even speaks Cyrillic now.

RegularItalicBoldBold ItalicExtra Bold

Display LightDisplay Light ItalicDisplay RegularDisplay ItalicDisplay BoldDisplay Bold ItalicDisplay Extra Bold

Sans Ultra LightSans LightSans Light ItalicSans RegularSans ItalicSans BoldSans Bold ItalicSans Extra Bold

Text RegularText ItalicText BoldText Bold Italic

FF Fontesque | Display | Sans | Text by Nick Shinn | 1994–2010

FlamboyantITALICS &

sober ROMANS

17:4523

_Ω⁷

→

|q

©

↑

→take over the

it’s about time⅒ ⅛ ⅜ ⅝ = ⅒ ⅛ ⅜ ⅝

v

sO


FF Ginger is an alternative to the widely-used Crillee and Serpentine faces, which are especially popular in bold italic. They express speed and dynamism and are popular choi- ces for internet providers, couriers, service bureaus, etc. FF Ginger’s Light weight and matching Icons extend its typographic scope. The Flamboyant versions, accessible via the Stylistic Alternates OpenType feature, add a spark to individual letters and initial caps.


LightLight ItalicRegularItalicIcons 7bCm3

FF Ginger by Jürgen Huber | 2002

Gigabytes⁽⁶⁰⁾of styles ¬

• Ж

»®

Format Error:too much Data!

I can’t show ’em all

REGISTRY

Loading...75%Очень Хорошо

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a | a | aCondensed | Regular | Wide

ff Good ≈ ff Good Headline

a ≈ a

4₧

[ [40_ FontFont Release Magazine Fifty2|3|4

What was boosted from 9 styles to 60 styles? FF Good. Łukasz Dziedzic’s versatile straight-sided sans serif has been radically overhauled. The original incarnation of this contemporary alternative for News/Trade Gothic was a rather small family of three weights in three widths, with no italics. The new version however comes in five weights ranging from Light to Black, in Condensed, Regular, and Wide widths, all with matching italics, and small caps for both Roman and italic styles.

Now available as:OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web Font (Web/Web Pro)

21 new weights and italics, as well as 30 additional new Headline styles have been added.

Condensed LightCondensed Light ItalicCondensed BookCondensed Book ItalicCondensed MediumCondensed Medium ItalicCondensen BoldCondensed Bold ItalicCondensed BlackCondensed Black ItalicLightLight ItalicBookBook ItalicMediumMedium ItalicBoldBold ItalicBlackBlack ItalicWide LightWide Light ItalicWide BookWide Book ItalicWide MediumWide Medium ItalicWide BoldWide Bold ItalicWide BlackWide Black Italic

Condensed Light

Condensed Light Italic

Condensed Book

Condensed Book Italic

Condensed Medium

Condensed Medium Italic

Condensen Bold

Condensed Bold Italic

Condensed Black

Condensed Black Italic

Light

Light Italic

Book

Book Italic

Medium

Medium Italic

Bold

Bold Italic

BlackBlack ItalicWide LightWide Light ItalicWide Book

Wide Book Italic

Wide MediumWide Medium Italic

Wide BoldWide Bold ItalicWide BlackWide Black Italic

ff Good | ff Good Headline by Łukasz Dziedzic | 2007, 2010

ff Good | ff Good Headlineby Łukasz Dziedzic

30 styles each

design: jonas kaminski


dat;:a error

dãta losss_ystem problem

invaliд request фail on INT 24.

ERROR_PIPE_LOCAL

access denied

IOCTL call

Rock’n & Rollis a handscriptfont with small caps and fractions!

That’s Right!right?!

√4(⅐+⅜)⁶ ≠ ∑[Ω]

aa bf bt ce ee een eer ees ff ffi ffl

Exceptional Letterrors

Although digital it seems like handwritten!really?

840:57Ω∏ = 3,14159265

I HATE MATHS ... NOT

aa Th ce ct ee een eer ees eê eë en er err es fft fj ft fi fl ff ffi ffl ll oe on ot ott rr

st te tee tf tj tt tz

I don’t think it makes sense!Try this: 2+5≠4

Why

is th

ere

a py

thon

on m

y des

ktop

?!


The archetypes of digital handwriting, these fonts were the result of experiments with (at the time) new software, and years of indoctrination of how to write. Erik van Blokland and Just van Rossum of LettError were educated in an environment where handwritten letterforms were considered to be the origin of all typography (both studied at the Royal Academy of Fine Arts in The Hague under Gerrit Noordzij). It was a natural step for them to derive a typographically sound font from their own hands. They wrote out the alphabet (Just is left-handed and used a thin fineliner; Erik is right-handed and used a fat marker.), then scanned and digitized the letters on a computer. These fonts became the first of many that allowed

people to indulge in the irony of typing a letter in a

handwritten script. In the mean time a lot of other

‘rough’ handwriting fonts have been designed by

others. Yet ff Erikrighthand and ff Justlefthand

remain quite different from the rest. LettError’s

pioneering work in this area has opened up whole

new areas in type design. For typo-buffs, ff Hands

also include a set of small caps and oldstyle figures,

and even ligatures. In 2010 the world’s first digital

handwriting fonts have been optimized again and

finally converted to OpenType.


ErikrighthandJustlefthand

ff Hands by Erik van Blokland & Just van Rossum | 1990, 2010

√4(⅐+⅜)⁶ ≠ ∑[Ω] Playli

by Erik & Ju*

09-11-10

© 2010 FSI FtShop Inrnatial

1.DooDoo(Lo-)2.Gasbuis

3.Get Away From 3.Get Away From My Tune

4.It’s Showing5.Kopr(Helicopr)6.Korbrk

7.Leor Hoompah

Ancient namelessserpent-likechthonicwater-beast

Greek IslandSatellite of Pluto

Cluster of GalaxiesHydrogen Ship

Chess ComputerRecord Label

Royal Navy VesselRock Band

What is FF Hydra?Some texts about

All gods have tattooed

⅒°

(*_

@

1253 BC

πTyphon + Echid-na

‡

∞

Hercules vs. FF Hydra


The inspiration behind the FF Hydra font family came mostly from the unique lettering of French poster art of the 19th and early 20th centuries. Silvio Napoleone found that the lettering of this period combined elements of whimsical, economical and impactful qualities and thought a typeface design incorporating these characteristics would be quite relevant for today’s modern design aesthetic. Stroke connections: After the initial inspiration he began sketching an extremely condensed sans serif typeface without variation in the stroke thickness. He then experimented specifically on the stroke connections and discovered organic forms which were both interesting and functional. The name: The name Hydra is inspired by the snakelike shapes created when the various strokes in the letterforms join. Hydra was a fierce mythical multiheaded water serpent in Greek mythology that ravaged both cattle and countryside. When one of its heads was cut off two new heads appeared. It was eventually slain by Hercules as his second labor. Hydra in practice: FF Hydra was designed to be extremely versatile for both the print and new media industries. The regular font provides impact with economy of width and creates a unique overall impression. The expanded version makes FF Hydra suitable for longer blocks of text. Other unique elements of the FF Hydra family are its characteristic soft ink trap-like connections. For the past decade old style numbers and true italics have been pretty common in sans serifs.


BookBook ItalicMediumMedium ItalicBoldBold ItalicExtended BookExtended Book ItalicExtended MediumExtended Medium ItalicExtended BoldExtended Bold Italic

Text LightText Light ItalicText RegularText ItalicText BoldText Bold ItalicText BlackText Black Italic

FF Hydra | FF Hydra Text by Silvio Napoleone | 2004

(*_

Silvio Napoleone2004

a myt

holog

ical m

any-

head

ed se

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t

a gen

us of

simp

le fre

sh-w

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anim

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land

a sup

erclu

ster

of g

alax

ies

a st

ar co

nste

llatio

n

a sat

ellite

of pl

uto

an in

tern

et a

dver

tisin

g co

mpa

ny

a lit

erar

y m

agaz

ine

a ro

ller c

oast

er

an A

mer

ican

wre

stle

r

a ro

ck b

and

a ci

ty

a hi

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p re

cord

labe

l

a M

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llain

an a

ir-t

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rou

nd

mis

sile

a hyd

roge

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hip

a c

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ss c

om

pu

ter

a F

on

tFo

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ran

sfo

rme

rs c

ha

ract

er

a R

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Na

vy v

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el


A A A A A

αεροσκάφος

I’m glad stamps have lowercase letters, too!

σφραγίδα

vintag

ID: 25046 Sorry, but this is FF confidential

top secret

άκρως απόρρητος

on a FF Karton?


Just as popular as FF Trixie are the FF Instant Types. Named after the places they come from, the fonts are character sets from the world around us. We see them every day, but do not really see the letters as typefaces. FF Instant Types makes those alphabets available to the digital typographer.


ConfidentialDynamoe

FlightcaseKartonStamp Gothic

ff Instant Types by Just van Rossum | 1992

vintag

Just van RossumFF Confidential


FF DYNAMOE


FF DYNAMOE


FFFlightcase199

© 2

010

FSI

Fon

tSh

op I

nt

er

nat

ion

al

FF

Ka

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on

FF

Ka

rt

on


FF

Ka

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on

FF

Ka

rt

on


0934

SPT1

T–H9

AGI9

MOC2


I donʼt like the taste of coffee ...

₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉¶

;)

*

‡

./

⅟

125.6 °F

... and I hate yogurt, too!

I prefer some small cups of tea...... best served at:

52 °C ≈

Yummy, pepper plants!

o


ff Kava started out as a free typeface called Kaffeesatz, published by Yanone in 2004 during the early stages of his type designing career. The bold weight was reminiscent of coffeehouse grotesk typefaces of the 1920s, while the lighter versions were supposed to bridge the gap to contemporary type design. The current ff Kava family is a carefully revised, more rounded version of the old Kaffeesatz fonts. A black weight has been added as well as small caps and more figure sets to form now an attractive modern and soft sans serif type family. In 2010, Italics were designed to enhance the family’s usefulness.


Accompanying italics complete the family now.

ThinThin ItalicLightLight ItalicRegularItalicBoldBold ItalicBlackBlack Italic

ff Kava by Yanone | 2009–2010


The FontFeed

FF Kava

“

”

The coee part of the name comes from the cafés that inuenced its design. For the new typeface Yanone was looking for a short and striking name with an indirect connection to coee or at least food. “Kava” is a coinage that has many connotations. The Arabic Qahwah sounds similar and etymologically is the origin of the word “coee”. Cava is the Catalan equivalent of the French Champagne – of course superior according to the Catalans – which is another sound-alike that Yanone really doesn’t mind for his typeface. The connection with the pepper plant of the same name, however not intentional, is not disliked.


The FontFeed

FF Kava

“

”

The coee part of the name comes from the cafés that inuenced its design. For the new typeface Yanone was looking for a short and striking name with an indirect connection to coee or at least food. “Kava” is a coinage that has many connotations. The Arabic Qahwah sounds similar and etymologically is the origin of the word “coee”. Cava is the Catalan equivalent of the French Champagne – of course superior according to the Catalans – which is another sound-alike that Yanone really doesn’t mind for his typeface. The connection with the pepper plant of the same name, however not intentional, is not disliked.

– How Grotesque!– This font has small caps,– several numeral sets,– fractions и даже– говорит по-русски!– You crazy FF Marten...

No worries, FF Marten has lowercase letters, too

–Siamese twins:

one hard,one soft.

–

Sorry, but this one looks Grotesque

⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞↉

Serial Number: 0192856892Find the difference!

m m

Ω⁴∆⁸


A simple design principle produces simple shapes. FF Marten is a headline face. The first design by Martin Wenzel was geometrically constructed yet manages to maintain a character of its own. It was one of the first FontFont display typefaces for which a Cyrillic character set was designed. In the early ’90s it was immediately picked up by young Russian lifestyle and music magazines and still has its fans around the globe.


Regular

Regular

ff Marten | ff Marten Grotesque by Martin Wenzel | 1991

T

OT

RA

3

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Д2

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M

RB

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ОСТАРОЖНО

Designed by

ОПАСНО

1$1$Base 1+Line 1

ITʼs only a

If youʼre loosing

¼

CA$H

?

100% win

Bucks!Gimme some more

/

****∞

Ante UP

gamblingproblem

Base 1+solid 1

5$5$

solid 1+Top 120$20$

Base 2+Line 2

3$3$

Base 2+solid 2

8$8$

solid 2+Top 247$47$


FF Massive is a typeface system designed by Amsterdam based designer Donald Beekman. With original sketches dating back as far as 2001, FF Massive already has a long history and has since been used in many DBXL designs. The typeface is suitable for logos, flyers, posters and magazine headlines. Be it drum’n’bass, techno or trance, FF Massive has a distinct musical background. With its 2010 release the FF Massive OT family was expanded with an extra outline version into eight different OpenType fonts, divided in four variations which together form a versatile typo-graphic system. The eight different FF Massive variations enable the user to compose a number of combinations, which can lead to surprising results, especially when using contrasting colors. The fonts come with a manual explaining how the FF Massive type system is best employed. Enjoy!

new fontfont

Avalable as:OpenType (OT)

1 Base1 Line1 Solid1 Top2 Base2 Line2 Solid2 Top

ff Massive by Donald Beekman | 2010

If youʼre loosing

new

size zero

a

Какая Красавица!

/Polyglot*

⅞+ _ffi

Да! Очень!

←

g g

12% more condensed

less readable!

στριμωγμένοςst

Not 24%alternates

no introduction needed

starring in Wagnerʼs The Ride of the Valkyries

|

|

|

|

•


FF Meta was originally (1985) conceived as a typeface for use in small point sizes. Contrary to its intended purpose, FF Meta very quickly became one of the most popular typefaces of the computer era, and has been referred to as the Helvetica of the 90s — not necessarily a compliment. It is used a lot in magazines, from the Normal weight in small point sizes for captions up to the Black version for large headlines. It is especially there that a condensed version has been missing. Some years ago a pub-lishing house commissioned a Black Condensed for the headlines of a new magazine. It unfortunately ceased publication after a few issues, but FF Meta Black Condensed survived. This version was the basis for the complete Condensed family, digitized by Ole Schäfer. Since headlines need to be bold before anything else, FF Meta Condensed has one addi-tional weight compared with FF Meta Extra Bold Condensed, which sits between Bold and Black. FF Meta Condensed contains all weights with old style as well as lining figures, there are fractions, ligatures, kerned lining figures, as well as the popular FF Meta arrows. The normal FF Meta already saves more than 12 % of space compared to a regular sans serif. FF Meta Condensed is another 12 % more condensed without being 24 % less readable.


FF Meta Condensed even speaks Cyrillic now.

NormalItalicBookBook ItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

FF Meta Condensed by Erik Spiekermann | 1991–2003

|

Erik Spiekermann FF Meta Condensed

Design: Lars Krüger & Alexander Roth

Condensed NormalCondensed Normal ItalicCondensed Book

Condensed Book ItalicCondensed MediumCondensed Medium Italic

Condensed BoldCondensed Bold ItalicCondensed Extrabold

Condensed Extrabold ItalicCondensed BlackCondensed Black Italic

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AAABBCCDDEEEEEFFGHIIIIIJKLLLMMNNNOOOPPQRRRSSSSTTXYYZZ

AAABBCCDEEEEEFGHHIIIIIJKMMNNNNOOOPPQRRRSSSSTTTUUVYYZZ

AABBCCDDEEEEEEEFFHIIIIIJKLLLMMNNNNOOOQRRRSSSSTTTUUVWXYYZ

AAABBCCDDEEEFGGGIIIIIJKLLLMMNNNNOOOPPQRRSST

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BCCDDEEEEEFFGGGHHIIIIIJKLLMMNNOOPPRSSSSTTTUUVWXYYZZ

AAABBCCDDEEEFFGGGHHIIIIIJKLLOOPPQRRRSSSSTTTUUVYYZZ

ABBCCDDEEEFFGGGHHIIIIIJKLMNNNNOOPPQRRRSSSSTTUVWZZ

AAABDDEEEEEFFGGGHIIJKLLLMMNNNOOORRRSTTTUUVWXYYZZ

AAABBCEEEEEGGGHHIIIIIJKLLLMMNOPPQRRRSSSTTTXYYZZ

AAAABCCDDE:;EEEEFFGGGHHI;IIJKLLLLMMNNNOOOOPPQR;;RSSSTTTTUUV;WXYYZZ/.()]

Erik Spiekermann R 012.4698-7FF Meta Condensed

Erik Spiekermann R 012.4698-9

R 012.4698-7 R 012.4698-5

R 012.4698-9 R 012.4698-5

FF Meta Condensed



Condensed Normal Condensed Normal Italic Condensed Book

Condensed Book Italic Condensed Medium Condensed Medium Italic

Condensed Bold Condensed Bold Italic Condensed Extra Bold

Condensed Extra Bold Italic Condensed Black Condensed Black Italic


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AAABBCCD EEEEEF GHHIII I IJK MMNNNNOOOPPQRRRSSSST T TUUV Y Y Z Z

AABBCCDDEEEEEEEFF HIIIIIJKLLLMMNNNNOOO QRRRSSSSTTTUUVW X Y YZ

AAABBCCDDEEE FGGG IIIIIJKLLLMMNNNNOOOPPQRR SST

U U V W X Y Y Z Z

BCCDDEEEEEFFGGGHHIIIIIJK LLMMNNOOPP RSSSSTTTUUVWXY YZZ

A A ABBCCDDEEEFFGGGHHIIIIIJKLL OOPPQRRRSSSSTT T U UV Y Y Z Z

ABBCCDD EEEFFGGGHHIIIIIJKL MNNNNOOPPQRRRSSSSTT U V W Z Z

A A AB DDEEEEEFFGGGH IIJKLLLMMNNNOOO RRRS TTT U U V W X Y Y Z Z

AAABBC EEEEE GGGHHIIIIIJKLLLMMNOPP QRR RS S STT T X Y Y Z Z

AAAA BCCDDE:;EEEE FFGGGHHI;II JKLLLLMMNNNOOO OPPQR;;R SSSTTTTUUV;WXY YZZ /. ( )]

Yummy,chocolate and malt powder.

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ch ck ct gi im in ip ir it sh sk sp st

I love pretzels

*Momʼs secret recipe

Sounds very nice &

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220 °C for 20 min

Pssst ...


ff Milo was started in 2000 with the goal of creating a com-pact typeface with very low ascenders and descenders. Because of its compact design ff Milo is a workhorse typeface suit-able for magazine and newspaper typography. It has modern bones with a touch of detail to make it distinctive (especially in the italics). The name Milo comes from a resilient grain and that’s why the designer chose this name for the typeface. He wanted it to be a basic usable font like corn or grain is to any culture. With the help of Paul van der Laan for kerning, spacing and production, Mike Abbink developed ff Milo Serif as a companion to the Sans, but it is also perfectly suitable as a stand alone typeface or used together with any other sans serif typeface. Like ff Milo, it is a text face with the utmost legibility, perfect for setting newspapers and magazine copy. Although rooted with historical attributes it is truly a contemporary face. ff Milo Serif comes with small caps, tabular figures, oldstyle figures, lining figures as well as a wealth of ligatures. Just like the Sans, ff Milo Serif is also a resilient grain!


ff Milo Serif supports now Baltic, CE, Turkish, Latin 3 and Latin Extended.

RegularItalicTextText ItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

ff Milo Serif by Michael Abbink & Paul van der Laan | 2009–2010

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Medium Italic

Bold Italic

Extra Bold Italic

Black Italic

Regular

Text

Medium

Bold

Extra Bold

Black

2009Mike Abbink & Paul van der Laan

ff Milo Serif

© fsi FontShop International

rock-hard.

→ Skælskør

København, Center55° 41 N, 12° 35 O

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Looks like a nature-boy to me ...


ff Olsen is a sturdy text face specifically designed for maximum readability at small sizes. The typeface combines details from sans and serif faces, incorporating the best of two worlds in one type design. The Roman is almost a slab-serif, with firm, tapered serifs, not unlike those of Gerard Unger’s Swift, and is virtually indestructible. The Italics have the structure of a semi-serif. In its original version – even before FontFont pub-lished it –, the Danish Ministry of Education adopted ff Olsen as its corporate typeface. The family comes in Light, Regular, Bold weights, all with matching Italics and small caps.



ff Olsen by Morten Rostgaard Olsen | 2001

45° 42 7412° 35 93

ff Olsen↑

The creative is the place where no one else has ever been. You have to leave the city of your comfort and go into the wilderness of your intuition.

–Alan Aldae

narcminutes arcseconds

arcminutes arcseconds

0° 20°20° 40° 50°


Scattered to the four winds.

↑²

«««ª

(g)

,

_85m/hcondensed

regular

South

North

East

West

extended

vehicolo longofærdselsåre

↓⁴

←¹ →³


ff Signa is radically different from most sans-serif text typefaces introduced during the 1990s. It does not belong to the category of ‘humanist sans-serif’; nor can it be blessed with ‘grotesques’ based on 19th-century models. Its forms are basic and simple, showing minimal details. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms that are at once interesting, harmonious and con-temporary, making for pleasant reading even at very small sizes. Concise letterforms and a minimum of detail produce clear and harmonious word images. ff Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage – hence the name – ff Signa is now a family with three widths, including italics and small caps for all weights and several types of figures. The typeface has devel-oped into a versatile family (there are Condensed, Extended and Correspondence versions, and in 2005 even ff Signa Serif was added) which can be used for corporate identities, brochures, magazines, communication, books and on-screen publications.


ff Signa now even speaks Cyrillic.

Condensed LightCondensed Light ItalicCondensed BookCondensed Book ItalicCondensed BoldCondensed Bold ItalicCondensed BlackCondensed Black ItalicLightLight ItalicBookBook ItalicBoldBold ItalicBlackBlack ItalicExtended LightExtended Light ItalicExtended BookExtended Book ItalicExtended BoldExtended Bold ItalicExtended BlackExtended Black Italic

ff Signa by Ole Søndergaard | 2000–2004

296

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29

340

320

260

240

FMC SPD LNAVH 246

ALT HOLD CMD

000

200

800

00020

80

51

24

25

–5

5

5

–5

–10

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77.5 NMFMC L

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DME––– STD

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31

447

24

3330

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21

20

296

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29

340

320

260

240

FMC A° LNAVH 246

000

200

800

00080

51

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5

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Cyborgs:½ Machine½ Human

ch/ck/cl/ct/fb/ff/ffi/ffl/fh/fi/fj/fk/fl/ft/sh/sk/sl/st

Choose between:–_ Pen & Paper ¹– _Smartphone ²

– _Laptop ³– _Typewriter ⁴.53.

You Can’t Kill A Machine

–I guess

this robot has

feelings–

Screenplay

what a beauty!

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(8)


ff Suhmo is inspired by classic Egyptian and typewriter fonts such as Courier and American Typewriter, which feature headline and text use. This impressive duality was a guideline for the concept. At the same time, many formal details were derived from the typical neon-let-tering you can find on aged Italian restaurants in Germany. ff Suhmo has short ascenders and descenders and a generous x-height, making it a good choice for editorial design. It combines simplicity and functionality with playfulness, offering interesting details such as loops and swashes and a slight stroke contrast. Its varied details are unobtrusive in text sizes while de-veloping character and sparkle in headlines. ff Suhmo’s extensive character set includes numerous special characters and ligatures, several figure sets and small caps through-out all styles. The ff Suhmo family consists of 4 weights: Light, Regular, Bold and Black, each with an Italic. The weights were staggered to complement each other within a layout, the Black corresponding to the Regular and the Light corresponding to the Bold weight, allow-ing words or phrases to be clearly stressed within a text. The Italics are lighter than the Roman and have a relatively slight angle of slope. The forms are derived from a manual writing process and of-ten cross the baseline or the x-height. FF Suhmo has won a Certificate of Excellence in Type Design in the TDC² 2011, the Type Design Competition of the Type Directors Club.

New FontFont


LightLight ItalicRegularItalicBoldBold ItalicBlackBlack Italic

ff Suhmo by Alex Rütten | 2010


Designer

Light Light Italic Regular

.101201 .84

Lining

.1916

Italic Bold

OldstyleSmall Caps

Styles

Bold Italic Black Black Italic

ff Suhmo

rR

Light | Light ItalicRegular | ItalicBold | Bold ItalicBlack | Black Italic

IIIIIIII

Alex Rütten 0 1 2 3 4 5 6 7 8 9

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[ ( $ £ ¥ € ) ]

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weights

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ligatures

arrows

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Slovenian designer Mitja Miklavčič drew ff Tisa to meet the technological and aesthetic requirements of modern magazine use. His primary goal was to de-velop a softer, more dynamic version of a nineteenth-century slab serif wood type. A large x-height and pronounced serifs make ff Tisa extremely legible in text sizes; its unique design details, including slightly exaggerated ink traps and a fairly upright italic, are becoming evident in display applications – ff Tisa Web even became one of the most popular web fonts so far. The typeface was selected by the tdc judges for a Certificate of Excellence in Type Design in 2007.

Now available as:OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro) New heavy weights (Extra Bold and Black)join the ff Tisa family. Latest news: ff Tisa Sans is coming soon.

ThinThin ItalicLightLight ItalicRegularItalicMediumMedium ItalicBoldBold ItalicExtra BoldExtra Bold ItalicBlackBlack Italic

ff Tisa by Mitja Miklavčič | 2008–2010

One small step for a man,one giant leap for mankind ...

Юрий Гагарин

– Mission Control: T – 10 –

Αστροναυτική

•√

[fb1 ff2 ffb3 ffh4 ffi5 ffj6 ffk7 ffl8 fft9 fh10 fi11 fj12 fk13 fl14 ft15]

→

9

ß ◁ ß←

Neil Armstrong

* 1934, † 1968

* 1930, † ∞

первый человек в космосе_

engine

“

”


When Erik Spiekermann and Christian Schwartz first star ted work on ff Meta Serif, they were also planning to do ff Unit Slab, either at the same time or right after ff Meta Serif was released. They figured that since ff Meta and ff Unit have so much in common, it would be smart to make two serif families that could be used together, along with either of the sans serifs. ff Meta, which has more organic details, was going to be the more traditional serif text face. ff Unit seemed like it would adapt well to being a clean and contemporary slab serif, especially since the i and I in the sans already showed them what the serifs would look like. Kris Sowersby and Christian Schwartz actually worked together to rough out complete ranges of testwords for both families at the same time, and ff Unit Slab sat halffinished while ff Meta Serif was completed.


ff Unit Slab now even speaks Cyrillic and Greek.

ThinThin ItalicLightLight ItalicRegularItalicMediumMedium ItalicBoldBold ItalicBlackBlack ItalicUltraUltra Italic

ff Unit Slab by Erik Spiekermann, Christian Schwartz & Kris Sowersby | 2009

Erik Spiekermann

Christian Schwartz

Kris Sowersby


с т р е л а 2

Thin

Light

Regu

lar

Medium

Bold

Black

Ultra

Посадка 0.98476 Δ

↑

↑

FontFont Release Magazine No. 3

Releases 52, 53 and 54 | 2010

Just van Rossum

Siegfried Rückel

Yanone

Jean François Porchez

György Szönyei

Hannes von Döhren & Livius Dietzel

Christian Schwartz

Andrej Krátky

Albert Boton

John Critchley

Verena Gerlach & Ole Schäfer

Hans Reichel

Albert-Jan Pool

Alex Scholing

Nick Shinn

Nick Shinn

Jürgen Huber

Łukasz Dziedzic

Erik van Blokland & Just van Rossum

Silvio Napoleone

Just van Rossum

Yanone

Martin Wenzel

Donald Beekman

Erik Spiekermann

Michael Abbink & Paul van der Laan

Morten Rostgaard Olsen

Ole Søndergaard

Alex Rütten

Mitja Miklavčič

Erik Spiekermann, Christian Schwartz & Kris Sowersby

Fifty2|3|4

fifty2|3|4 - fontfont release magazine no. 3

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