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LDBDBDB H G H G H G H G OBDBDBD eine neue schrift auszuwählen gehört zu den schönsten Aufgaben im Grafikdesign. Nur: Wie findet man die geeignete Schrift für eine Drucksache? Sicher ist das Internet ein effektives Suchwerkzeug. Allein bei der Beurteilung eines Druckergebnisses hilft es nicht weiter: Typografen wollen die Schrift »live« auf Papier erleben.
Unsere Kollegen bei FontShop USA haben sich deshalb das FontBooklet ausgedacht. Es stellt eine Auswahl hochwertiger Satzschriften so dar, dass man sie beurteilen und vergleichen kann. Hierfür sind die Seiten im Innenteil perforiert. Wir waren sofort überzeugt von diesem Konzept und haben Ausgabe 1 fast unverändert nachgedruckt. Die englischen Texte beeinträchtigen nicht die Beurteilung der Satzqualität. Bewahren Sie das FontBooklet an Ihrem Schreibtisch auf, damit Sie es für das nächste Kundengespräch gleich zur Hand haben. Neben den vorgestellten Familien sind noch FF Unit (redaktionelle Texte) und FF Clifford Borders im Einsatz. Download → www.fontshop.de ↓ fontbooklet1.pdf
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Ag Eighteen
Ag Nine
ff Clifford abcdefghijklmnopqrstuvwxyz [äçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÄÇÈÎÑØÜÝŽÆŒ} 18/24pt Eighteen, +15‰
Ag
Six
Arnhem
6
Fred Smeijers ourtype, 2002
Though inspired by Wilson’s Long Primer, an 18th century metal type, ff Clifford was not intended to be a faithful reproduction, but a font designed specifically for digital use. Designer Akira Kobayashi also wanted to maintain the optically correct size variations commonly used for lead type so that the design would function in a variety of sizes. 18/25pt, ff Clifford Eighteen
So he created three versions: ff Clifford Eighteen, Nine, and Six. The former has greater broke contrast, narrower letter forms, and a tighter fit, while the latter is bolder and wider with sturdier hairlines and serifs, and looser spacing. The family also includes an extensive character complement: a wide variety of ligatures, plain and swash italics, and text and lining figures. Thoughtful consideration also means that numerals align with the small caps, as do the ampersand, monetary symbols, parentheses, brackets and some of the punctuation signs. The family is rounded out by ff Clifford Borders, a beatiful collection of 18th century borders and ornaments. 9/12pt, ff Clifford Nine
My first impression of digital type was not good. I remember ff Clifford very clearly when I first used a digital version of Bembo. . . After seeing the a, and another 6 letter, I got into a slight panic. Akira Kobayashi fontfont, 1999 None of the letters looked like Bembo!. . After a while I checked the Bembo Italic and slowly began to realise that the fonts were indeed Bembo. I calmed down enough to recall that the typeface was originally designed for metal type, and most of the specimens and texts I saw were set in metal type in text size. . . I knew that a metal typeface was cut or designed separately for each size, but a film composition or digital face is a kind of compromise, having proportions designed for reduction and enlargement. . . As long as the type has one master design, this limitation is inevitable. . . The ultimate solution was optical scaling, or to design different masters for different ranges of sizes – the ordinary method of making a series of typefaces for the previous five hundred years S akira kobayashi 6/8pt, ff Clifford Six
fp Dancer
6
Morten Olsen fontpartners, 2007
Corpid
6
Luc(as) de Groot LucasFonts, 1997
Lisboa Sans
6
Ricardo Santos fountain, 2004
‥
itc Mendoza
6
JosĂŠ Mendoza y Almeida itc, 1991
ff Maiola
6
Veronika Burian FontFont, 2005
ff Meta Serif abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Book, +30‰
ff Meta Serif Book & Italic Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of a typeface still cannot be generated by software alone.
ff Meta Serif Medium & Italic Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of a typeface still cannot be generated by
9/12pt
9/12pt
ff Meta Serif Bold & Italic
ff Meta Serif Black & Italic
Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of
Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of
9/12pt
9/12pt
@ fft ↑ • Ħ ⅞ ģ
Ə
→
6/7pt, ff Meta Serif Book Obviously, a serif Meta needed to fit in with the existing Meta sans serif
family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more condensed than the sans.
Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more condensed than the sans. 7/9pt
Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more 8/10pt
Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two 9/12pt
Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals 10/13pt
Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale 11/14pt
The OpenType version of ff Meta Serif offers Book, Medium, Bold, and Black weights, each including Italics, Small Caps, alternate numeral styles—proportional, tabular, lining, oldstyle—extra ligatures, case-sensitive punctuation, and a range of arrows and other symbols. (The Pro version also supports Eastern European languages.) While it is a typeface that can stand up on its own in a wide range of applications, 6 the extra benefit is its close relationship to the original ff Meta, its sans serif sister. The two families can be mixed in the same line, and one can be used to accentuate the other. Using both on the same page adds variety & meaning to a text. 18pt, ff Meta & ff Meta Serif
ff Meta Serif
Erik Spiekermann Christian Schwartz Kris Sowersby FontFont, 2007
Pragma nd
6
Christopher Burke neufville digital, 2001
Proxima Nova
6
Mark Simonson mark simonson studio, 2005
ff Quadraat abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +15‰
Serif
Sans
Sans Condensed
Headliner
Regular Italic Bold Bold Italic
Regular Italic Bold
Regular Italic Bold Bold Italic
Light Light Italic Bold Bold Italic
Small Caps
Small Caps
Regular Italic Bold Bold Italic
regular ff Quadraat
6
Fred Smeijers fontfont, 1992–2000
Cyrillic
Regular Italic Bold Bold Italic Serif Display
Sans Display
Monospaced
Italic Bold Italic
Semibold Black
Regular Italic Bold Bold Italic
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in 16th century type. It was first release 14/17pt, ff Quadraat Italic
R at the end of 1992, but developments since then have encouraged its 20/24pt, Display
6/7pt, ff Quadraat Although originating as a digital typeface, FF Quadraat is based on hand-made
forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable 7/9pt Although originating as a digital typeface, FF Quadraat is based on hand-made
forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable now includes sans, display, Cyrillic
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the 8/10pt
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenthcentury type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. 9/12pt
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family 10/13pt
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, 11/14pt
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable now includes sans, display, condensed, Cyrillic, and monospaced variants, each with their own characteristics but all clearly related. This is a testament to Smeijers’ original intent, since the FF Quadraat design did not come out of the blue; there were some strong starting requirements. The general character, for
Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable now includes sans, display, condensed, Cyrillic, and monospaced variants, each with their own characteristics but all clearly related. This is a testament to Smeijers’ original intent, since the FF Quadraat design did not come out of the blue; there were some strong starting requirements. The general character, for
9/12pt, ff Quadraat
9/12pt, ff Quadraat Sans
example, needed to be traditional—it had to be a proper text face—but at the same time it had to have a certain contemporary attitude. It also had to be as economical with space as the perennial Times Roman, though preferably less contrasty. And the new design had to be a little more flamboyant, but not at the cost of legibility. The sans serif fonts were added in 1997, Quadraat joining such esteemed company as Jan van Krimpen’s Romulus and Martin Majoor’s FF Scala, in the Dutch tradition of matching sans serif and seriffed faces.
example, needed to be traditional— it had to be a proper text face—but at the same time it had to have a certain contemporary attitude. It also had to be as economical with space as the perennial Times Roman, though preferably less contrasty. And the new design had to be a little more flamboyant, but not at the cost of legibility. The sans serif fonts were added in 1997, Quadraat joining such esteemed company as Jan van Krimpen’s Romulus and Martin Majoor’s FF Scala, in the Dutch tradition of matching sans serif
11/13pt
11/13pt
Sansa
6
Fred Smeijers ourtype, 2007
Rom
blk
Ita
Sansa abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +30‰
Whitman
6
Kent Lew font bureau, 2002
FontShop Bergmannstr. 102 10961 Berlin T 030 69596-333 F 030 6928865 → www.fontshop.de ↓ fontbooklet1.pdf