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FF Aad™ is the first typeface to join FontFont from designer Aad van Dommelen, a former type student of Gerrit Noordzij’s at the Royal Academy in The Hague. The modern sans serif with its humanist character has horizontal ending terminals which in turn transforms the negative shape between the letters into an open and simpler forms. Resulting in clean and easy-to-read words.
His five weight family, includes genuine italics, is both neutral and elegant in appearance making it great for a multitude of applications particularly corporate purposes, such as annual reports, corporate brochures and branding.
Spring is here and so is the first FontFont Release of 2015, the rather wonderful FF 69!
New Release: FF Aad
FF Aad is the first typeface to join FontFont from designer Aad van Dommelen, a former type student of Gerrit Noordzij’s at the Royal Academy in The Hague. The modern sans serif with its humanist character has horizontal ending terminals which in turn transforms the negative shape between the letters into an open and simpler forms. Resulting in clean and easy-to-read words.
His five weight family, which includes genuine italics, is both neutral and elegant in appearance making it ideal for a multitude of applications particularly when used for corporate purposes such as annual reports, corporate brochures and branding.
New Release: FF Eggo
First up we are proud to introduce FF Eggo. Created by Warsaw based designer Łukasz Dziedzic, FF Eggo came from a request for a script font with multiple weights. Rather than just the classic calligraphy styles, thus allowing the script to have multiple and flexible uses.
Unique characteristics of the font include italics (a real rarity in script form) a thin style reminiscent of a pen or a thin marker, whilst the bolder styles could have been done with a brush or market. However, whilst it takes a step away from a traditional script its uppercase works well both alone and mixed with lowercase characters.
This is a script typeface that promises not to bore you after one use, with its five weights you can use it again and again, keeping the taste but changing the flavour.
Useful for sign lettering to chalkboards, FF Eggo was designed to be flexible, and it really does what it says on the tin.
New Style Extension: FF Mark Ultra
One of our biggest releases of recent years FF Mark by Hannes von Döhren, Christoph Koeberlin and the FontFont Type Department has undergone an extension in the form of an ultra-heavy and strong weight, known as FF Mark Ultra.
Whilst it is based on the characteristics of FF Mark, the new weight FF Mark Ultra required specific designing. When drawing such extreme weights totally different design solutions are required which meant that the new weight has been created independently but retaining references to the original. Thanks to this new addition the FF Mark family the weight spectrum from hairline to the maximum possible, without loosing character.
The loud and proud weight is ideal for perfect for display settings giving maximum impact in big sizes.
New Styles Extension: FF Yoga & FF Yoga Sans
The new members give a fresh look to the family creating further more interesting opportunities for use building on its primary suggested use for book work.
During the process contrast was left in the hairline, which could be argued as not a real hairline, which shows a distinct sensibility for display uses. Whilst a light weight of the regular was created making it suitable for short texts.permalink
The ever flexible FF Yoga® adds more strings to its bow with this latest extension.
“…To be really versatile—a type family has to span a wide range of weights,” FF Yoga® designer Xavier Dupré explained in a recent interview. The now superfamily builds on the previous versions made primarily for book work, adding Hairline, Thin, Light, and Medium weights.
During the process contrast was left in the hairline, which could be argued as not a real hairline, which shows a distinct sensibility for display uses. Whilst a light weight of the regular was created making it suitable for short texts.
The new members give a fresh look to the family creating further more interesting opportunities for use building on its primary suggested use for book work.permalink
We are over the moon to announce that the microsite for FF Franziska (www.fffranziska.com) has been recognised in the annual Type Directors Club (TDC) competition. The TDC is a leading international organisation, whose mission it is to promote and foster support for excellence in typography.
Designed by Jakob Runge, FF Franziska started life a master thesis at Muthesius Academy of Fine Arts and Design in Kiel (Germany) under the guidance of Albert-Jan Pool and Prof. André Heers in 2012. A robust serif type family, it is great for setting body copy as well as headlines using Hairline and Black.
*Please note, this discount is valid for one month only and applies only to the FF Franziska family.permalink
We’re looking for a full-time Marketing Communications Specialist to join our team in our Berlin office on a permanent basis. As part of our E-Commerce Team, you will be responsible for spreading the word about FontShop and FontFont through creative campaigns and effective marketing.
You will be responsible for:
- Creating, planning and organizing campaigns to market FontShop and FontFont products
- Content planning and copy writing including articles, newsletters, direct mailings
- Running social media channels (we have many)
- Organizing, negotiating and seeking out relevant sponsorship opportunities
- Creating other opportunities (PR etc.) to raise the profile of both brands
- Establishing and maintaining good working relationships with typography foundries and designers
- Support the work of the Marketing Manager and undertake any tasks he requires
- Work closely with Graphic Designers to create collateral and marketing materials
- Other ad-hoc administrative tasks
What we’re looking for:
- A background in marketing or communications with at least 2–5 years experience
- Creativity and a flair for writing
- An eye for detail and a knack for spotting a typo (especially an incorrect apostrophe ;)
- Great organization and the ability to handle multiple projects
- Fluency in English, German is a plus
- A knowledge of Google Analytics and Adwords is a plus but not a must
What we offer:
- A fun and friendly atmosphere
- A position within an enthusiastic creative team working closely with type designers and foundries from all over the world
- Attractive salary and holiday package
Please apply through the online portal.
Located in the Kreuzberg area of Berlin, FontShop is a leading font distribution platform with its own type foundry FontFont, the largest library of original and contemporary typefaces. We are part of the Monotype family, a leading global provider of type, technology and expertise, enabling optimal user experiences and brand integrity. We help creative professionals distinguish their work by employing exceptional type and advanced technologies in service to their imaginations.
Read all about the team in Berlin.
We are proud to sponsor the third Kerning Conference that takes place from 3-5 June in Faenza, Italy.
Dedicated to typography and web typography, it's the third conference since they started back in 2012. This year’s stellar line up includes Tobias Frere-Jones, Nicholas Felton and Laura Worthington as speakers and there is a whole host of workshops to choose from that take place on 3rd and 4th June.
You've still got time to get your hands on an early bird ticket.permalink
Mike Abbink is the designer of several internationally recognized typefaces, including most recently FF Kievit Slab and FF Milo Slab, FontFont (2013, 2014); and Brando, Bold Monday (2014). In 2014 Mike teamed up with designers Paul van der Laan and Pieter van Rosmalen of Bold Monday to create serif and sans additions to the GE corporate typeface family Inspira. Both Brando and the GE Inspira have recently won awards in the 61st Annual TDC Type Competition. Mike is also Senior Creative Director at the Museum of Modern Art in New York, and has a broad typography background from personal, in-house, and design agency work including MetaDesign in San Francisco, Apple, Wolff Olins on two coasts, and Saffron Consultants.
FontFont caught up with Mike at his home in Brooklyn. We toured his neighborhood, studio space, and dropped in to the city to see his office at MoMA.
What have you been drawing lately and what projects are you in the middle of?
I can show you work that was just finished for the Henri Matisse exhibit that my design team worked on in the MoMA design studio. It’s a Futura inspired black weight with roman, italic and reverse italic. I designed it to work well with the bespoke typeface (Henry) created for the Matisse catalog and designed by the Fraser Muggeridge studio in London. We developed this identity to be used as the Matisse exhibition title wall and products in the MoMA Design Store. We also ended up redoing the street-facing store windows using the Matisse identity typeface. I’m also very pleased by the way our print advertising has turned out. One that stood out for me was a full page ad in the New York Times, showing a single artwork and just small caption set in 7 point type. No tag line, call to action, exhibition info, address… just the image of Matisse’s Nuit de Noël. I have not seen that approach with any museum adverts which was quite refreshing and bold.
I’ve also been working on Brando Sans and what will ultimately become FF Kievit Serif; right now we’re currently getting the weights within the family fine tuned so it mixes well together with the sans and slab versions. I’ve been working on FF Kievit my whole career with the goal of building a cohesive family which includes a sans, slab and serif. The Serif and Slab versions have been done in collaboration with Paul van der Laan.
I see you’re working in Fontlab here; Is that your editor of choice at the moment?
Yeah. I’ve got RoboFont and I’m learning it, but all my current projects are in Fontlab and it’s the one I’m most comfortable in. When I’ve got some time, I like to learn in RoboFont, but if I’ve just got a couple of hours and want to jam I go with what I know. Erik Spiekermann has mentioned Glyphs to me recently so that is on my list to learn as well.
Since you’ve lived and worked in both, how would you describe the difference in design culture between San Francisco and New York?
San Francisco is a great place to work as a designer, and it’s got connections to tech culture which is obviously pushing everything toward digital media and new ways of interacting with design and technology. But I’d say New York has a certain kind of gravitas that’s hard to beat based on the number of influential and legendary designers like Paul Rand, Milton Glaser, Vignelli, Chermayeff & Geismar, Paula Scher and Michael Beirut (just to name a few).
What’s the story behind FF Kievit? Where does it get its name? How do you say it?
It’s ‘key-veet.’ It’s a Dutch word. My parents are Dutch, and I spent summers visiting my relatives there in the Netherlands as a kid. FF Kievit was my first release. I started it when I was a student in Leah Hoffmitz’s digital font design class at Art Center in California. I was looking closely at designs like Frutiger that introduced humanist elements to a sans model and the skeletal structure of great oldstyle designs like Garamond. I wanted FF Kievit to land somewhere in the middle with the modernist flesh and the bone structure and proportions of a serif. I tried to make something with a natural personality, but that’s cooler in tone, not too expressive. The name Kievit is a Dutch name for a little bird that nests on the beaches there, it’s called a plover or Lapwing here in the states. There was a Dutch tradition to present the first found kievit egg of the year to the Queen, who took it and pronounced the official beginning of Spring. So in a small way, this first typeface is my little offering of something new. It also happens to be my mom’s maiden name so I’ve always had a connection to the name and the bird!
It seems like nearly every independent type designer these days has his or her own foundry label. Is yours next?
Maybe in 4–5 years, but for now I like things as they are because I still like my career as a graphic designer as well. Collaborating with designers who operate their own successful foundries gives me an idea of how much work goes into the marketing and technical and business ends. I’d rather focus on design and continue to collaborate with FontFont and my friends Paul van der Laan and Pieter van Rosmalen at Bold Monday. We have a great relationship and have worked on multiple bespoke typeface projects together as well as some personal type development.
PAGE is one of the leading design publications in Germany for creatives and professionals in design, advertising and media.
Working in conjunction with the agencies digitalmobil and SQUIECH Design, the team has recently overhauled their online presence. Both their print and online publications have been set in FontFonts including FF Mark and FF Quadraat, bringing a fresh, contemporary yet timeless look to the brand.
Combining the new with the old and with its roots firmly seated in 1920s German geometry, FF Mark has seen a meteoric rise since it’s release in 2013. Designed by Hannes von Döhren and Christoph Koeberlin, it was a special project initiated by Hannes and FontFont with input from Erik Spiekermann and the FontFont Type Department. Strong, simple and bold, and crafted with the utmost consideration and perfection (aka German Engineering), it is “ze Germanetric sans”. In the print magazine the headers are set in a variety of weights of FF Mark, whilst the whole website is set in FF Mark Web.
In the print magazine the body text is also set in another famous FontFont — Fred Smeijers’s FF Quadraat. One of the earliest typefaces to join our library it has become a go-to choice for many editorial designers.
Photos by Alex Rothpermalink
The latest “In-Use” case for the lively typeface of eight weights was designed by the Aclewe Werbeagentur Köln agency for a campaign for the official tourist office for Flanders and Brussels in conjunction with DB Bahn.
Across the advertising campaign, we see FF Scuba effectively put to use in highlighting the key promotions and points of interest for potential visitors.permalink
Next up in our Über FontFont series is Hannes von Döhren and Livius F. Dietzel’s functional and versatile FF Basic Gothic. Released in 2010, Hannes and Livius took inspiration from the letterforms of Gill Sans and Antique Olive to come up with a sans serif that was optimized for maximum legibility. At first glance it has a strikingly stripped back appearance but on closer inspection the precise, refined curves and straight lines add a touch of finesse.
Über FontFonts are typefaces that have been in demand the most during the last three months.permalink