FIFTY2|3|4 by FontShop

FontFont Release Magazine No. 3 Releases 52, 53 and 54 | 2010

Fifty2|3|4 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 – colophon – 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 – preface – 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 commitment 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 (recently awarded at the TDC² 2011 competition), the playful yet very functional ff Suhmo, 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 languages, 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 – content – 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 Oldstyle 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 support 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 current 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.

web fontfont quick user guide Itâ&#x20AC;&#x2122;s that easy to use.

Upload the woff and eot files to your web server.

Apply your web font to any html elements.

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

– 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. – Web FontFont

Pro

Web FontFont

Advert Rough

Fago Condensed

Advert

Folk

Pro ∙

Web FontFont Providence Sans

Pro ∙

Quadraat

Alega

∙

Fontesque

∙

Quadraat Display

Alega Serif

∙

Fontesque Display

∙

Quadraat Headliner

Amman Sans

Fontesque Sans

∙

Quadraat Sans

Amman Serif

Fontesque Text

∙

Quadraat Sans Display

Ginger

∙

Scala

∙

Good

∙

Scala Sans

∙

Angie

∙

Archian Archian Stencil

∙

Good Condensed

∙

Signa

∙

Avance

∙

Good Wide

∙

Signa Condensed

∙

Basic Gothic

∙

Good Headline

∙

Signa Extended

∙

Bau

∙

Good Headline Condensed

∙

Softsoul

Good Headline Wide

∙

Speak

∙

Suhmo

Brokenscript Celeste

∙

Hands

Celeste Sans

∙

Hardsoul

Super Grotesk

Celeste Small Text

∙

Hydra

Tisa

Clan

∙

Hydra Extended

TradeMarker

Clan Compressed

∙

Hydra Text

Trixie

Clan Condensed

∙

Instant Types

Typestar

Clan Extended

∙

Kava

∙

Unit

∙

Clan Narrow

∙

Kievit

∙

Unit Rounded

∙

Clan Wide

∙

Mach

∙

Unit Slab

∙

Clifford

∙

Mach Condensed

∙

Yoga

∙

Cocon

∙

Mach Wide

∙

Yoga Sans

∙

Cocon Extra Condensed

∙

Market

Cocon Condensed

∙

Masala

∙

Dagny

∙

Masala Script

∙

Dax

∙

Meta

∙

Dax Compact

∙

Meta Condensed

∙

Dax Condensed

∙

Meta Serif

∙

Dax Wide

∙

Milo

∙

Daxline

∙

Milo Serif

∙

DIN

∙

Netto

DIN Condensed

∙

Nuvo

∙

DIN Round

∙

Olsen

∙

Prater Block

Disturbance Duper

∙

Prater Sans Prater Script

Enzo Fago

∙

Prater Serif

Fago Extended

∙

Providence

∙

More Web FontFonts will be available soon.

∙ ∙ ∙

FF Advert | FF Advert Rough by Just van Rossum | 1991 Now available as: OpenType (OT), Office FontFont (Offc) and Web FontFont (Web) Light Regular Bold Black One Two Three Four Five

– Smørrebrød Ω – Bratäpfel – Kirsebærsauce – La Befana

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.

.15121409

5 Layers

Smooth A vs. Rough ⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞↉⅟

FontFont Release Magazine Fifty2|3|4

The Big Deal!

FF Advert 30% OFF

SALE

5, 4, 3, 2, 1… Rough Saturday 18.12.2010

entire shop

ff Alega | ff Alega Serif by Siegfried Rückel | 2002

↑

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

ß→ß

A{A

•

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 characters, for example the capital X looks like a prehistoric 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 cursory 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.”

(Model making with stainPrecision less_ steel pipes.)° true italics, not obliques

�

^―

2-dimensional architecture

67.45°

fb ff ffi ffl fft fh fi fj fk fl ft fti 10_

FontFont Release Magazine Fifty2|3|4

•

☞

pipes with feet

☞

↑↑↑ Hier entwerten ↑↑↑

Gültigkeit siehe Tarif

ff Alega | ff Alega Serif ◂ ◂ ◂ ◂ ◂ ◂

Bold Italic Bold Italic Regular Light Italic Light

Small Caps Numeral Sets

◂ ◂ ◂ ◂ ◂ ◂

Arrows Greek Language Support

↑

Track-ID

Bold Italic Bold Italic Regular

Small Caps Numeral Sets Arrows

Light Italic Light

165G31N

Express

Einzelfahrschein

Beförderungsbedingungen sind einzuhalten!

Klasse

Wagennummer

Platz

Rückel, Siegfried (M)

Name des Passagiers

.221110

Berlin (D)

Abfahrt

Θεσσαλονίκη (GR)

Destination

ff Amman Sans | ff Amman Serif

by Yanone | 2010

true arabic italics

New FontFont

letʼs call them irabics

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

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 centennial celebrations. Never officially commissioned as a custom typeface, it was rather a birthday present from syntax and Yanone for Amman, and the perfect university 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. Good reasons for the tdc² judges to select ff Amman for a Certificate of Excellence in Type Design in 2011.

‫ڤ‬ ◌

Thin Thin Italic Light Light Italic Regular Italic Medium Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic Black Black Italic

Don’t believe .8 the hype!

Regular Italic Medium Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic

sans vs. serif

Forget about New York, visit Amman. ⅗ =

‫خخ‬

٥/٣

... like all those rockstars have!

I wish I had a magenta scarf 12_

FontFont Release Magazine Fifty2|3|4

ew n

ff Amman The first digital typeface containing true Arabic Italics.

Sans Thin

a b 8 n o r

Sans Light

Sans Regular

Sans Medium

Sans Bold

Sans Extra Bold

Sans Black

h e k g x p 4

Sans Arabic Thin Italic

Sans Thin Italic

Sans Arabic Light

Sans Arabic Light Italic

Sans Light Italic

Sans Italic

Sans Medium Italic

Sans Bold Italic

Sans Extra Bold Italic

Sans Black Italic

‫ھ‬ ‫ك‬ ‫ؤ‬ ‫ظ‬ ‫ش‬ ٤ ‫ۂ‬ ‫ۓ‬ ‫چ‬ ‫ؤ‬ ‫ه‬ ‫ٹ‬ ‫آ‬ ۴

Sans Arabic Thin

v s c k u 2 a q

Serif Regular

Serif Italic

Serif Medium

Serif Medium Italic

Serif Bold

Serif Bold Italic

Serif Extra Bold

Serif Extra Bold Italic

Sans Arabic Regular

Sans Arabic Italic

Sans Arabic Medium

Sans Arabic Medium Italic

Sans Arabic Bold

Sans Arabic Bold Italic

Sans Arabic Extra Bold

Sans Arabic Extra Bold Italic

Sans Arabic Black

Sans Arabic Black Italic

‫خ‬ ٣ ‫ی‬ ‫غ‬ ‫ن‬ ‫چ‬ ‫ڈ‬ ‫ط‬

Serif Arabic Regular

Serif Arabic Italic

Serif Arabic Medium

Serif Arabic Medium Italic

Serif Arabic Bold

Serif Arabic Bold Italic

Serif Arabic Extra Bold

Serif Arabic Extra Bold Italic

ff Angie by Jean FranÇois Porchez | 1993, 2010

• BLOOMING FloweRS † ⅝_ •

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

{

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

}

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 open Black mois plus tard, l’unique graisse du Angie a été soumise au Prix Morisawa et remporta le prix Brattinga en 1990. typofonderie.com

•

☞

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 keeping 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.

• ≈

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

Hederahedera felⁱx *with small caps caps

A|A|A|A|A|A|A|A|A|A|A *

14_

FontFont Release Magazine Fifty2|3|4

}

¾ Midnight ® + FF Archian by György Szönyei | 1999–2000, 2010 Now available as: OpenType (OT), Office FontFont (Offc) and Web FontFont (Web)

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 inspiration: 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 additionally available as Pro and supports Cyrillic.

Amphora Amphora Sans Boogie Woogie Initial Labirintus Labirintus Sans Night Normal Plastic Stencil Addicted to plastic Wilmos

Aprègarde – Traditions

» КАМУФЛЯЖ ◊ Labyrinth .57 ³ LAYERS

ERROR

Ligatures^

16_

FontFont Release Magazine Fifty2|3|4

I hope my eyes find a way out!

OBEY

1 9

A E Z E F F A%

d f

ü z

T a

8 e

f n t

5 2 3

u i

a h

7 8

1 s

2€

2 9

K 5 2

AD g

w a q b o

1 2 9 z

A R CAH B I H AAN 4

S R

AQ o

8 4 ◊

C V

j k

v ü

4 ü

u m a

4 3

U 3

9 8 4

error:

K –György o

1 9

AT 5 1

A# Z f d

Szönye 4

6 5

E H Ä O

G o

v w

√ c

Y h ö e v w

4 i

7 o

F X 7 5

f l z a

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

a · aª

New FontFont

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

(7 · 7)

↗

† _The name _says it all. Alternates

Extra Light Extra Light Italic Light Light Italic Regular Italic Book Book Italic Medium Medium Italic Demi Bold Demi Bold Italic Bold Bold Italic Black Black Italic

(0 · 0)

_|*

Wikipedia always knows the truth!

←

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 Department.

√¹⁶

Straße

One Way

est. since 2010

(ß · ß)

≠

↉

{ a a a a a a a a a a a a a a a a } 18_

FontFont Release Magazine Fifty2|3|4

ew n

_I¹⁶

Hannes von Döhren & Livius Dietzel

ff Basic Gothic

Nothing less than a new classic. Extra Light¹

{

Extra Light Italic² Light³ Light Italic⁴ Regular⁵ Italic⁶ Book⁷

↓

_I¹ _I² _I⁵ D Q _I³ d q d q _I⁴ 2

Book Italic⁸ Medium⁹ Medium Italic¹⁰ Demi Bold¹¹ Demi Bold Italic¹² Bold¹³ Bold Italic¹⁴

_I⁶F _I⁷ _I⁸ _I⁹ S f s f s _I¹⁰ _I¹¹ _I¹² G

•

_I¹⁵ X k

w x

}

Black¹⁵ Black Italic¹⁶

_I¹³ _I¹⁴ V i v

FF Bau by Christian Schwartz | 2002–2004

⅚_

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

R→R

Regular Italic Medium Medium Italic Bold Bold Italic Super Super Italic

– ULTRA –

– E.S.

→2

Oldschool, © neue schule / ., »Swans are bitches!«

In spite of — or perhaps because of — Helvetica’s reputation for cold, calculated 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 situations 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.

Without impact on climate change.

g→g

Spatien

f→f ∏

20_

™

FAQ*

Hot Metal Type FontFont Release Magazine Fifty2|3|4

a←a

*For further information, please consult the showing →

§ –8⅓

FF Bradlo Sans | FF Bradlo Slab by Andrej Krátky | 1995 Now available as: OpenType (OT/Pro) Regular Bold

– ‡

Regular Bold

Česká

∞

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 appearance. 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.

I Love Inktraps!

And what about slab serifs?

22_

FontFont Release Magazine Fifty2|3|4

◊ Isn’t it cool?

–B3

.a .8 .h .N .K

.s .u

dicopper silver trichloride –AgCl₃Cu₂

.5 .g .X

–N1 .R .d

.y .O .b .r

.z .T .x .o

aluminium sulfate –Al₂(SO₄)₃

–E8

.Z .a .& .s

.k .7 .c .f .w

.p .B .4

.j .h .@ .l .G

barium permanganate –Ba(MnO₄)₂

.g .E .2 .n

–K4

.q .U

.y .O .k .5 .§ .K

–FF Bradlo Sans & Slab –Andrej Krátky

borazine –B₃N₃H₆

ff Cellini | FF Cellini Titling

Now available as: OpenType (OT/Pro) Regular Italic Medium Bold

45$,

by Albert Boton | 2003

– Smoking in medium size –

So beautiful ... and yet so useful Titling Regular Titling Italic

–

†

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.

HAUTE COUTURE

a } a_ ⅖

by Francesco Bello©

ff Cellini

FF Cellini Titling

pure poetry ™ 24_

FontFont Release Magazine Fifty2|3|4

{cp ct sp st ff ffi ffl fi fl }

Cellini & FF Cellini Titling

Albert Boton

Limenitis populi Poplar Admiral

Papilio machaon

Old World Swallowtail

Catocala fraxini Blue Underwing

Catocala nupta

French Red Underwing

ÂŠ 2010 FSI FontShop International

y Parnassius apollo

Acherontia

Deathâ&#x20AC;&#x2122;s-head Hawkmoth

Mountain Apollo

Image: 1895, Dr. F. Nemos

FF Child’s Play by

John Critchley | 1993

Teenage YOU! Mutant Ninja Turtles! Hank

Now available as: OpenType (OT)

Age Five Age Six Age Seven Age Eight Age Nine Age Ten Dingbats NouhC

9 stinks!

18.2.

04.09.

G This y 4 2 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 children’s drawings and featuring a series of paint effects. It enables the user to rediscover their first tentative scribbles and progress to more deliberate letterforms.

is 1 fun! s

Mr. Anderson

no, me!

kathrin + markus = Sex

YEAH! 26_

FontFont Release Magazine Fifty2|3|4

I B Stacey.

J 6

Brian was here. 18.12.2010

a b hg gh e k g a e J lUilje h b h g k g h g I h f T g IJ Ue h hg h eTf g ef d

cd e f d ab c hg ij e ef ghe fhge eL f f gh e L ij kiljji

f g e h bgh a g h L e ijji hggh j j j j i i

Lars, at t he age of 8 years

er, 5

Alexand

Jonas, 9 years o ld

Kor

e, 10 Jan Paul Berlin

Jens

& Si War lke, 9 den bur

nel i Ebs us, 7 torf yea rs

Till

a, 6 l u s & Ur en) d r a h (Rüg t Eber n e Tr

d's Play y FF Chil Critchle n h o J y b

IJ T klJlI

•

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

Now available as: OpenType (OT)

CST Berlin East Original Round CST Berlin East Original CST Berlin East Regular CST Berlin East Medium CST Berlin East Bold CST Berlin West Original CST Berlin West Regular CST Berlin West Medium CST Berlin West Bold

ßß vs.

Which one is more aggressive?

STOP ▶ 11.09.1989 – You are leaving the American sector! –

↑

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.

Vous entrez dans le secteur Français! –

℗ 28_

√²

→

In alphabetical order:

•

FontFont Release Magazine Fifty2|3|4

EAST vs. WEST

A A A A A A A A A

Seestra

– straße

TAXI

lzufe

ße Kantstra

Schül.str.

ße antstra

e Ems

ße a r t hs

udw

East Bold

WC West Bold

befestigte Staatsgrenze

30 km

Fernsehturm

P Münzstraße Hotel

Ω P

East Original Round

Volkspark Friedrichshain

TAXI

. Str

Str.

D’dorf. Str.

Fehrberliner

East Medium

Berliner Mauer

€ Ebertstraß

rc i k ig

Ost

TAXI

Alexanderstraße

Bhf. Friedrichstraße

†

West Medium

Alexanderplatz

str.

Leibnitz str.

Wiel.str.

West

bu Lietzen

1933 1945

Alexanderplatz

M.–EyStr.

amm

raße t S r e g r

East Regular

Ω

d Kurfürsten

ndamm

TAXI

∆ Uhlandstraße

es 1933 d ße a r t 1945 S

West Regular

Siegessäule

n u J . 17

inufer

Charité

r Straße

Technische Universität Berlin

nae

rch Ma

Alto

id l a v In

e Straß

e TAXI ß a r nst

TAXI

Spandauer Str.

TAXI xr -Alle

a M l r Ka

O.-Br.-Str.

se n Lui

klin ran

e ß a r est

East Original

West Original

Parkanlagen Mitte

Gerichte

Memhardstraße TAXI

Otto-Braun-Straße

City Street Type | FF CST Berlin | Verena Gerlach, Ole Schäfer

Karl-Liebknecht-Straße

inkle

Z EIC HENERKL Ä RUNG

Friedrichstraße

r Da↗ m

Saatw

-Straße

Berlin-Tegel

Mem

har

Poliklinik

Spandauer St TAXI

ff Dax by Hans Reichel | 1995–2000

↵Return The Bad Bank to Sender

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

№ *

???

Hans Reichel’s first design to be published by fsi FontShop International was FF Dax Condensed (1995) 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. Index 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 tradition, 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, newspapers, for posters, flyers ... whenever a little more noise is needed.

⌥

unambiguous:

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

/ 30_

†

€

⇩ Я думаю это первый, но не последный раз... ⇧ ↔

†

A streamliner provides less {0∙0} resistance to air.

nice rhyme

%⁵

The Pro versions even speak Greek now. Light Light Italic Regular Italic Medium DAX Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic Black Black Italic

+ Αθήνα, έχουμε ένα πρόβλημα!

Bilateral Economic Interest

d g m n p q r u

FontFont Release Magazine Fifty2|3|4

℮

ff Dax / γραμμάτιο είσπραξης Εθνική Τράπεζα της Ελλάδος

↑

1312101749

(Name of the bank)

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

Reichel, Hans

①

Oldstyle Figures

Lining Figures

098726140325

3647589102

②③

Published by (Type Foundry):

FontFont

④ WEIGHTS

6,—

Range:

AAAAAAAAAAAA

⑤⑥

Weight (light / light italic):

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

⑦

Weight (regular / italic):

ff Dax Condensed, which developed from the idea

⑧

Weight (medium / medium italic):

of combining the clarity of a narrow Futura with

⑨

Weight (bold / bold italic):

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

⑩

Weight (extra bold / extra bold italic):

but very legible typeface of timeless design.

⑪

Weight (black / black italic):

Very characteristic are the missing spurs.

⑫

Location:

Θεσσαλονίκη

⌘

Date

Signature

⑬⑭⌫

DIN

FF DIN Round by Albert-Jan Pool | 2010

[Light]¹

New FontFont

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

⅐ Light Regular Medium Bold Black

_⁸

FF DIN’s simplicity and industrial straightforwardness have been softened and rendered more emotional thanks to FF DIN Round. Especially comprehensive design 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 appliances, sportswear, shoes or medical products. The typeface is also very suitable for screen-based applications: in web design or mobile devices.

[Bold]⁴

№ 968473

Ешё одна [Black]⁵ & немецкая индустриалная норма.

←

[Medium]³

32_

∆ 101215

FontFont Release Magazine Fifty2|3|4

a ←

[Regular]²

FF DIN Round

Albert-Jan Pool

→ München

№

→ Душанбе

→ Ħamrun

→ Norfolk

→ Garðabær

№

2010

→ Light

⁹|846.

ew n

№

⁴|253.

Regular ←

→ Medium №

⁸|943.

⁷|205.

Bold ←

→ Black №

2|017.

ff Engine by Alex Scholing | 1995–1996 Now available as: OpenType (OT) Light Light Italic Regular Italic Bold Bold Italic

Oh, no! Collisions: ﬁ ﬂ 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).

Gasoline

e·€

Feels like warp speed!

Ladies and gentlemen, start your FF Engines!

Ee_

_Δ

6.2-liter V8 34_

FontFont Release Magazine Fifty2|3|4

parking

≈136km

Power _

℗

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

11111₁1

Alternates

g·g

0.1

0.2 Ω 0.083756

Alternates

8.0

e⋅€ | g⋅g

ff Engine™ ∆ .3

0.4

+ Small Caps 6-GEAR

a a a a a a

Light

0.5

1.0 1.2

FF Fontesque | Display | Sans | Text by Nick Shinn | 1994–2010 Combine styles as layers Now available as: OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro)

Mom & Dad

←

really this way‽

•

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.

What • dreams are ★★ • • made ♥ ♥ of.

The new Display style have been added and FF Fontesque even speaks Cyrillic now. Regular Italic Bold Bold Italic Extra Bold

FAIRY TALES

small brains, big muscles ☞

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.

Display Light Display Light Italic Display Regular Display Italic Display Bold Display Bold Italic Display Extra Bold

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.

Sans Ultra Light Sans Light Sans Light Italic Sans Regular Sans Italic Sans Bold Sans Bold Italic Sans Extra Bold

•

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!

Text • Regular +•= Text Italic Text Bold Text Bold Italic

Grimmʼs Fairy Tale:

Little Red Riding Hood

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.

a|a

Display

36_

Text

FontFont Release Magazine Fifty2|3|4

1674 Sheep

••• • • • • fury frames included •••

FF Ginger by Jürgen Huber | 2002

↑

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

it’s about time

Light Light Italic Regular Italic Icons 7bCm3

17:4523

O s ⅒⅛⅜⅝=⅒⅛⅜⅝

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 choices 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.

Flamboyant _Ω⁷ ITALICSsober & ROMANS q

→

take over the

FontFont Release Magazine Fifty2|3|4

→

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

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

℮

a|a | a

Condensed | Regular | Wide

Очень Хорошо Loading...75%

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

4₧

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 Black Black Italic Wide Light Wide Light Italic Wide Book Wide Book Italic Wide Medium Wide Medium Italic Wide Bold Wide Bold Italic Wide Black Wide 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 Black Black Italic Wide Light Wide Light Italic Wide Book Wide Book Italic Wide Medium Wide Medium Italic ff Good ≈ ff Good Headline Wide Bold Wide Bold Italic Wide Black Wide Black Italic

Gigabytes⁽⁶⁰⁾»® of styles ¬ a≈a

•Ж

[

FontFont Release Magazine Fifty2|3|4

OK‽ [

Format Error: too much Data!

I can’t show ’em all 40_

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.

dat;:a error

ERROR_PIPE_LOCAL

invaliд request

фail on INT 24.

IOCTL call

s_ystem problem

access denied

design: jonas kaminski

ﬀ Good | ﬀ Good Headline by Łukasz Dziedzic

30 styles each

ff Hands

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

√4(⅐+⅜)⁶ ≠ ∑[Ω]

Why is there a python on my desktop?!

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

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

ROCK’N & ROLL is a handscript I HATE MATHS ... NOT font with small caps That’s Right! right?! and fractions!

Erikrighthand Justlefthand

0:57

bt ce ee een eer ees ff ffi ffl

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.

Exceptional Letterrors ∏ = 3,14159265 really?

42_

FontFont Release Magazine Fifty2|3|4

Ω

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 Although digital it seems like handwritten!

09-11-10

Playlist

1.DooDoo(Lo-fi)

2.Gasbuis

3.Get Away From

3.Get Away From My Tune

4.It’s Showing

5.Kopter(Helicopter)

6.Kortebroek

7.Letterror Hoompah by Erik & Just*

FF Hydra | FF Hydra Text Now available as: OpenType (OT), Office FontFont (Offc) and Web FontFont (Web)

by Silvio Napoleone | 2004

Book Book Italic Medium Medium Italic Bold Bold Italic Extended Book Extended Book Italic Extended Medium Extended Medium Italic Extended Bold Extended Bold Italic

TYPHON + ECHIDNA

Text Light Text Light Italic Text Regular Text Italic Some texts about Text Bold Text Bold Italic Text Black Text Black Italic

What is FF Hydra? Greek Island Satellite of Pluto Cluster of Galaxies Hydrogen Ship Chess Computer Record Label Royal Navy Vessel Rock Band

⅒ 44_

1253 BC

∞ Ancient All gods have tattooed

‡

FontFont Release Magazine Fifty2|3|4

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.

nameless serpentlike @ chthonic water(*_ beast Hercules vs. FF Hydra

a city

a rock band

an American wrestler

a roller coaster

a literary magazine

a Royal Navy vessel

a Transformers character

a FontFont

a chess computer

a hydrogen ship

an air-to-ground missile

a Marvel supervillain

a hip hop record label

an internet advertising company

Silvio Napoleone 2004

ÂŠ 2010 FSI FontShop International

a satellite of pluto

a star constellation

a supercluster of galaxies

a greek island

a genus of simple fresh-water animals

a mythological many-headed serpent

ff Instant Types by Just van Rossum | 1992 Now available as: OpenType (OT), Office FontFont (Offc) and Web FontFont (Web)

℅

Confidential Dynamoe Flightcase Karton Stamp Gothic

I’m glad stamps have lowercase letters, too!

top secret

vintag 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.

άκρως απόρρητος

AAAAA

ID: 25046

on a FF Karton?

Σφραγίδα

☞

οσκάφος 46_

FontFont Release Magazine Fifty2|3|4

Sorry, but this is FF confidential

FF Confidential Just van Rossum

ÂŠ 2010 FSI FontShop International

tSho p

I Fon

10 FS

ÂŠ 20

nal

natio

Inter

FF Flight case 199

ÂŠ 2010 FSI FontShop International

FF Karton FF Karton

№ 0934

☞

S P T 1

T – H 9

A G I 9

M O C 2

ff Kava

by Yanone | 2009–2010

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

{

₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ Accompanying italics complete the family now. Thin Thin Italic Light Light Italic Regular Italic Bold Bold Italic Black Black Italic

;)

⅟

I donʼt like the taste of coffee ...

Yummy, pepper plants!

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.

... and I hate yogurt, too!

I prefer some small cups of tea...

‡

./ 125.6 °F ... best served at:

52 °C ≈

52_

FontFont Release Magazine Fifty2|3|4

“ The coffee part of the name comes from the cafés that influenced its design. For the new typeface Yanone was looking for a short and striking name with an indirect connection to coffee 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 “coffee”. 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

ff Marten | ff Marten Grotesque Now available as: OpenType (OT/Pro) Regular Regular

▴

by Martin Wenzel | 1991

⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞↉

∆⁸

No worries, FF Marten has lowercase letters, too ▸ 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.

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

□ 54_

▾

Ω⁴

– Siamese twins: ▸ one hard, one soft. –

Find the difference! Sorry, but this one looks Grotesque ▸

Serial Number: 0192856892

FontFont Release Magazine Fifty2|3|4

M B R – A

A O 3 V T

ОСТАРОЖНО

5 Ø C 1 T

T T O R A

3 { R U C

R 2 } Д S K * ОПАСНО

Martin Wenzel

ff Massive by Donald Beekman | 2010 Base 1+solid 1 new fontfont

FF Massive is a typeface system designed by Amsterdam based designer Donald Beekman. With original sketches dating back as Avalable as: far as 2001, FF Massive already has a long history and has since OpenType (OT) been used in many DBXL designs. The typeface is suitable for Base 1+Line 1 logos, flyers, posters and magazine headlines. Be it drum’n’bass, 1 Base techno or trance, FF Massive has a distinct musical background. 1 Line With its 2010 release the FF Massive OT family was expanded 1 Solid with an extra outline version into eight different OpenType fonts, 1 Top divided in four variations which together form a versatile typo2 Base Base 2+Line 2 graphic system. The eight different FF Massive variations enable 2 Line the user to compose a number of combinations, which can lead to 2 Solid surprising results, especially when using contrasting colors. The 2 Top fonts come with a manual explaining how the FF Massive type system is best employed. Enjoy!

Ante UP

100% win

ITʼs only a

gambling problem Base 2+solid 2

If youʼre loosing

8$ ? ∞ **** 20$ CA$H solid 1+Top 1

Bucks!

Gimme some more

47$

solid 2+Top 2 56_

FontFont Release Magazine Fifty2|3|4

{/}

ew n

ﬆ

• size zero FF Meta Condensed

by Erik Spiekermann | 1991–2003

Какая Красавица! Да! Очень!

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

ριμωγμένος FF Meta Condensed even speaks Cyrillic now. Normal Italic Book Book Italic Medium Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic Black Black Italic

|◂

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 publishing 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 additional 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.

|◂

12% more condensed

▸|

Not 24%

← less readable!

▸|

/Polyglot*

g▸g

alternates

_ffi}

⅞

starring in Wagnerʼs The Ride of the Valkyries

58_

FontFont Release Magazine Fifty2|3|4

↙

↖

no introduction needed

FF Meta Condensed

Erik Spiekermann

n n a m r ek e i p S k i r E

R 012.4698-7

FF Meta Condensed

Erik Spiekermann

d e s n e d n oC a t e M F F

R 012.4698-5

ААББВ ГДЕЗИ ÀÁÂÃ ÅÆÇÈÉÊ ; : E D D C CB ÍÎÏÐÑÒÓÔÕÖØÙÚ AAAA AAAA BCCDDE:; ИЙ КМННОПР Þßàáâã å Р Р ССТ У УФХЦ ЦЧ Ú ; I H H G G G F F EEEE EEEE FFGGGHHI; ШЩЪЫЬЭЮЮЯЯ æçèéêëìíîïðñòóô абвгдее жж õöùúû ýþÿĀāĂă N M M LLLLKJ II II JKLLLLMMN зийкллмноппрр ĄąĆćĈĉĊċČčĎďĐ стуфхц ч ч đĒēĔĕ ĘęĚěĜĝĞ ; ; R Q P P O O O N NĬĭ NNOOO OPPQR;; шщъ ыьььэююя OġĢģĤĥĦħĨ ΑΒS S U U T T T T S R R SSSTTTTUUV; ;V!"#$%&')(:;<=>? ©¼¿½±¾°²³¹º® ΚΛΜΝΞΞΟΠΡΣΣΤ ΥΦΦΧ ΨΩΩΪΫ Z Z Y Y X W WXY YZZ /. ./¢£¤¥¦{|}„–—―“‚‘ € ₴ № ℗ ™ Ω Ϋάέήίΰαβγδεζηθι κλμνξ ξοπρςσ τυ ∂∆∏∑−∙√∞∫≈≠ } ] ) ( { )]} ≤ ≥ ⋅ - * + ﬆ φχψωϊϋό ϐϑϒϓ {( ϔϕϕЀЁЂ ЃЄЄЅІЇ □ ● ○ ○● ‰´^]\[ □ ЊЊЋЌЍЎЎЏ [\]^´‰ Ј

Ì Ê É ÈÇÆ Å Ã Â Á À ÚÙØÖÕÔÓÒÑÐÏÎÍ å ãâáàßÞ Ú ô ó ò ñ ð ï î í ì ë ê é èç æ ăĂāĀÿþý ûúùöõ Đ ď Ď čČ ċĊ ĉĈ ćĆ ą Ą ĞĝĜěĚęĘ ĕĔēĒđ ĭĬ ĨħĦĥĤģĢġ ΒΑ ΤΣΣΡΠΟΞΞΝΜΛΚ Ϋ Ϊ Ω ΩΨ ΧΦ Φ Υ ι θ η ζ ε δ γ β α ΰ ί ή έ άΫ υ τ σ ς ρ π οξ ξ ν μ λ κ ϓϒϑϐ όϋϊωψχφ Ї І ЅЄЄЃ Ђ Ё Ѐ ϕ ϕ ϔ Џ Ў Ў Ѝ Ќ ЋЊ Њ Ј

И З Е ДГ ВББАА Р П О Н Н МК Й И ЧЦЦХФУУ ТСС РР Я Я Ю Ю Э Ь Ы ЪЩ Ш жж еедгвба ррппонмллкйиз чч цхфутс яююэьььы ъщш ?>=<;:()'&%$#"! ®º¹³²°¾±½¿¼© ‘‚“―—–„}|{¦¥¤£¢ Ω ™ ℗ № ₴ € ≠≈∫∞√∙−∑∏∆∂ ﬆ+*-⋅≥≤

R 012.4698-5

R 012.4698-7

h t o R Erik r e dSpiekermann n ax e lA & r e g ü r K s r aL : n g i s e D

FF Meta Condensed Condensed Normal

AA ABBCCDDE EEEEF GGHHIIII IJKLLL MNNNN O OPPQRRRSSS STTTU VWXY YZZ Condensed Book Italic

A A ABBCCDDEE EEEFFG HIIIII JKLLLMMNN N OOOPPQRRRSSS STT XYYZZ

R 012.4698-9

Condensed Normal Italic

AAA BBCCDDEEE EEEEFFGGGHHIIII I J K L L LM M N N N O OPPQRRRSSS STTTUUVWXY Z Condensed Medium

AAABBCCD EE EEEF GHHIIIII JK MMNNNNO OOPPQRRRSSSS T T TUUV Y Y Z Z

Condensed Book

AAAABBC DDEEE EEFFGGGHHIIIIIJ KLLLM NN OOOPPQRRRSSS TTUUVWXYYZZ Condensed Medium Italic

AABBCCDDEEEE EEEFF HIIIII JKLLLMMNNNNO OO QRRRSSSS T T TUUV W X Y Y Z

FF Meta Condensed k o o B d e s n e d n oC

EE E D D CB B A A A A J I I I I I H HGGGFFEE NN MLLLK SSS R R R Q P P O O O Z Z Y Y X W VU U T T c i l a t I m u i d e M d e s n e d n oC

E E E E D D CC B B A A IIIIIH FFEEE ONN N N MML L L K J SSSS R R R Q O O ZY YXWVUUTTT d l o b a r t x E d e s n e d n oC

Erik Spiekermann c i l a t I l a m r o N d e s n e d n oC

E E E D D CC B B A A A I I II HHGGGFFEEEE NN N MML L L K J I SSS R R R Q P P O O Z Y X W VU U T T TS m u i d e M d e s n e d n oC

EE D CC B B A A A I I I IIHHG FEEE ONNNNMM KJ SSSS R R R Q P P O O Z Z Y Y VUUT T T c i l a t I d l o B d e s n e d n oC

Condensed Bold

Condensed Bold Italic

Condensed Extra Bold

E D D CC B B A A A BCCDDEEE A A ABBCCDDE J I I I I I H HGGGFFEE EEFFGGGHHIIIIIJ EEFFGGGHHIIIIIJ O LLK K LLMMNN KLL O T SSSS R R R Q P P O OOPP RSSSS OPPQRRRSSSST ZZY Y VUUT T Y YZZ TTTUUVWXY YZZ T T U UV

E E E D DCC B J I I I IIHHGGGFFEE NNMMLL K SSSSR PPOO ZZY Y X W VUUT T T

Condensed Extra Bold Italic

Condensed Black

Condensed Black Italic

EEEDD BA A A JII HGGGFFEE OONNNMMLLLK T T SRRR O ZZY Y XWVUUT

AAABBCCDDEE E FGGG IIIIIJK LLLMMNNNNOO OPPQRR SST UUVWX Y YZZ ABBCCDD E EEFFGGGHHIIIIIJ KL MNNNNO OPPQRRRSSSST T UVW ZZ R 012.4698-9

A A AB DDEEE EEFFGGGH IIJ KLLLMMNNNOO O RRRS T T TUUVWX Y YZZ

c i l a t I k c a l B d e s n e d n oC

EEE CBBAAA AAABBC EEE J I I I I IHHGGG EE EE GGGHHIIIIIJ NMMLLLK KLLLMMN TSSSRRRQ PPO OPP QRR RS S ST ZZY YX TT TT XY YZZ R 012.4698-5

kc a l B d e s n e d n oC

R 012.4698-3 l a m r o N d e s n e d n oC

E D D CC B B A A A I I IIHHGG FEEEE NNNNM LLLKJI SSS R R R Q P P O O Z Z Y Y X W V U T T TS c i l a t I k o o B d e s n e d n oC

E EDDCCBBA A A IIIIIH GFFEEE N N N M ML L L K J SSS R R R Q P P O O O ZZYYX T TS d l o B d e s n e d n oC

E E D D CC B B A A A K J I I I I I GGGF E OONNNNMMLLL T SS RRQPPO ZZY Y XW VUU c i l a t I d l o b a r t x E d e s n e d n oC

E D D CC B B A J I I I I IHHGGG FFEE ONNNNM LK TSSSSR RRQ PPO ZZ WVU T

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

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

2 ⅟₂ l Cacao

Pssst ... Momʼs secret recipe

ff Milo Serif supports now Baltic, CE, Turkish, Latin 3 and Latin Extended. Regular Italic Text Text Italic Medium Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic Black Black Italic

Milo was started in 2000 with the goal of creating a comTh fä fb ff ffb ffh ffi ffk ffl fh ff fi fj fk fl pact typeface with very low ascenders and descenders. Because

‡

×7

of its compact design ff Milo is a workhorse typeface suitable 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!

Yummy, chocolate and malt powder.

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

Sounds very nice

‰⋅% 60_

FontFont Release Magazine Fifty2|3|4

220 °C for 20 min

I love pretzels

ÂŠ fsi FontShop International

Mike Abbink & Paul van der Laan

ff Milo Serif

m k

c a

Black

Black Italic

f Bold

Medium

d Bold Italic

b Text

Regular

h Extra Bold

2009

O N

P Regular Italic

Text Italic

Medium Italic

Extra Bold Italic

iiiiii

ff Olsen by Morten Rostgaard Olsen | 2001 Now available as: OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro) Light Light Italic Regular Italic Bold Bold Italic

Regular job in_

→ Skælskør

{ff ffi ffl fi fl}

–45.2°

Looks like a nature-boy to me ...

rock-hard.

55° 41 N, 12° 35 O København, Center 62_

FontFont Release Magazine Fifty2|3|4

Bold

Regular

↑↑↑ Light

↖

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 published 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.

⅖

The creative is the place where one50° 20° 0° 20° no 40° else has ever been. You have to leave the city of your comfort and go into n the wilderness of your intuition.

45° 42 74 –Alan Alda 12° 35 93 arcminutes

arcseconds

arcminutes

arcseconds

↑ ff Olsen

ff Signa by Ole Søndergaard | 2000–2004

North

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

_85m/h

↑² , ♁ Scattered (g) ←¹ to the →³ est four winds. ♂ ↓⁴ condensed

ff Signa now even speaks Cyrillic.

Condensed Light Condensed Light Italic Condensed Book Condensed Book Italic Condensed Bold Condensed Bold Italic Condensed Black Condensed Black Italic Light Light Italic Book Book Italic Bold Bold Italic Black Black Italic Extended Light Extended Light Italic Extended Book Extended Book Italic Extended Bold Extended Bold Italic Extended Black Extended Black Italic

East

regular

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 contemporary, 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 developed 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.

South

extended

færdselsåre

«««

vehicolo longo

64_

FontFont Release Magazine Fifty2|3|4

–5

VOR125

–10

447

.789

–50 VS

DME–––

VOR1

24 W

20 31–000 580

77.5 NM FMC L

STD

30 800 –10 STD

DME–––

VOR1

24 W 30

261 011

_ FF Signa _ Ole Søndergaa

+447

2001

77.5 NM FMC L

30 800

–10

261 011

–10

HOG HRS

Hog HRS

31 000 80

31 000 31 200

240

24 W

–5

260

–50 200 VS 31

320

DME–––

SMC 261 LNUM 011

340

CMD

–10

–5

ALT HOLD 5

296

H 246

447

.567

_ ff Signa _ Ole Søndergaard

–10

240

31 000

–5

LNAV

FMC SPD

–5

260

CMD

H 246 №2

320

2001

340

ALT HOLD 5

H 246

312

FF Signa Ole Søndergaard

LNAV

FMC A°

LNAV

FMC Caps

ff Suhmo by Alex Rütten | 2010 New FontFont

Cyborgs:

Available as: OpenType (OT/Pro), Office FontFont (Offc/Offc Pro) and Web FontFont (Web/Web Pro) Light Light Italic Regular Italic Bold Bold Italic Black Black Italic

(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-lettering 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 developing character and sparkle in headlines. ff Suhmo’s extensive character set includes numerous special characters and ligatures, several figure sets and small caps throughout 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, allowing 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 often cross the baseline or the x-height.

½ Machine k ½ Human

a beauty!

{You Can’t Kill A Machine}

¶ <

53.

– I guess this robot has feelings –

Choose between: –_ Pen & Paper ¹ – _Smartphone ² – _Laptop ³ Screenplay – _Typewriter ⁴

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

66_

FontFont Release Magazine Fifty2|3|4

ew n

Styles

Light | Light Italic Regular | Italic Bold | Bold Italic Black | Black Italic

ff Suhmo

IIIIIIII .1916

Designer

Lining

01 2 3 4 5 6 7 8 9

Alex Rütten

rR Small Caps

Oldstyle

0 1 2 3 4 5 6 7 8 9 { [ ( $£¥€) ] }

.101201

Light

Light Italic

Regular

.84

Italic

E g Ŋ Ω ß y k H z Œ n ct B N K Ə § * * * *

Bold

Y g C ∂ Ð *

Bold Italic

Ħ B ø ﬆ *

Black

Black Italic

U & b ¢ *

ff Tisa by Mitja Miklavčič | 2008–2010

{ink traps}

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

Th Tk Tl fb ff ffb ffh ffi ffj ffk ffl fh fi fj fk fl ligatures New heavy weights (Extra Bold and Black)

join the ff Tisa family. Latest news: ff Tisa Sans is coming soon.

◃

Goal: soft @ slab serif † wood type,

Thin Thin Italic Light Light Italic Regular Italic Medium Medium Italic Bold Bold Italic Extra Bold Extra Bold Italic Black Black Italic

arrows

Slovenian designer Mitja Miklavčič drew ff Tisa to meet the technological and aesthetic requirements of modern magazine use. His primary goal was to develop a softer, more dynamic version of a nineteenthcentury 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.

excellent design*

(*tdc certificate)

a|a|a|a|a|a|a weights

№ [14 ÷ 2] = 7 68_

FontFont Release Magazine Fifty2|3|4

thin–black

▸

� ↘ • “ One small step for {a} man, √ one giant leap ff Unit Slab by Erik Spiekermann, Christian Schwartz & Kris Sowersby | 2009

* 1934, † 1968

Юрий Гагарин

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

When Erik Spiekermann and Christian Schwartz first started work on ff Meta Serif, they were also plan ning 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 fami lies 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, espe cially 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 half finished while ff Meta Serif was completed.

первый человек в космосе_

ff Unit Slab now even speaks Cyrillic and Greek.

Thin Thin Italic Light Light Italic Regular Italic Medium Medium Italic Bold Bold Italic Black Black Italic Ultra Ultra Italic

⇡

– Mission Control: T – 10 – engine

№9

for mankind ...”

Neil Armstrong

* 1930, † ∞

← 70_

ß◁ß

→

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

FontFont Release Magazine Fifty2|3|4

Αστροναυτική

↑

Thin

Light

Regular

Medium

Bold

Black

Ultra

↱ Посадка 0.98476 Δ

Christian Schwartz

↑ Erik Spiekermann

Kris Sowersby

FontFont Release Magazine No. 3 Releases 52, 53 and 54 | 2010

Fifty2|3|4

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