FF Mark — “Ze Germanetric sans” has most recently been used in this beautiful reprint, by Przemek Dębowski and printed by Polish publishing house Karakter, of a collection of essays by the founder of the Bauhaus, Walter Gropius. Gropius’ “The Scope of Total Architecture” was originally written at a the time of an industrial boom during the early 20th Century, a time that bears a lot of influence on FF Mark — an up-to-date typeface rooted in 1920s German geometry. As a family that maintains the integrity of tradition but in a contemporary context, FF Mark is the ideal type partner to this collection of essays that are is still considered to be applicable to modern architecture today.
For these images and more head to the FontFont Behance page.
About FF Mark
FF Mark is a self-initiated collaboration between Hannes von Döhren, FontFont’s very own Christoph Koeberlin, and the entire FontFont Type Department. With the creative support/input of no less than Erik Spiekermann, they designed this distinctive typeface. FF Mark is strong, simple and bold in form and at a glance may appear to be typical of its predecessors from the time. On closer inspection, letter shapes are wider, letter proportions are better balanced and the x-height is uncharacteristically “normal” or higher, which increases its versatility tremendously.permalink
Rhizom is a student magazine project from the Department of Design at FH Münster and is a perfect example of Jakob Runge’s FF Franziska in action. Throughout the project several of the widths available within the family are put into use, contributing towards the clear design layout and flow of the magazine.permalink
FF Franziska designer Jakob Runge put together an impressive type specimen booklet and poster as shown in the pictures below. The specimen goes a long way to show the versitility and usability of Franziska before its development work by the FontFont Type Department.
For about 20 years, Pool has been involved in the development of FF DIN, which today is one of our most popular font families. In 2011 the Museum of Modern Art in New York added FF DIN to its permanent collection further establishing the family as one of the most worldly recognised and respected. He is also responsible for adding FF DIN Round to the family and also created another technically orientated typeface: FF OCR-F.
Pictured here in his country house where he resides with his wife and daughter, we see evidence of Pool’s unabiding love of typography throughout the tasteful rooms. From the rows upon rows of typographic books to quirky and inspirational type design pieces hung about the walls this really is the home of a type fanatic.
FontFonts by Albert-Jan Pool:
In our latest “In-Use” case we caught up with the team over at Berlin based communications agency Blumberry to chat to them about their latest project in which FF Chartwell and FF Tundra were a saving grace.
Who was your client and what was the topic of this project?
Our client was Huawei Technologies Germany GmbH, one of the leading suppliers of telecommunication solutions employing more than 150,000 people across 140 countries.
The project, named “Germany and China - Perception and Reality” was carried out in cooperation with the renowned German Institute of Global and Area Studies in Hamburg (GIGA) and the market research institute TNS Emnid in Bielefeld. Its aim was to examine the perceptions that Germans and Chinese have of one another in order to identify stereotypes before assessing them in a scientific context. In other words, what perceptions do the different nationalities have of each other and can they be refuted by facts?
Huawei had initially ran the study two years previous and so were keen to compare these results with those from the new study. However to use both lots of data to create a large, graphically and scientifically complex document that could be made accessible to a wider audience without hindering the scientific element of the content presented us with quite a challenge.
- How many people were involved?
As a team we were required to handle all aspects of presenting the survey results, and so during peak periods we had up to 15 people on the team.
Our responsibilities included the programming of the study’s microsite, implementation of a lavishly staged exhibition of the study results (in the form of an Experience Walk) and the production of collateral such as posters and bags.
- How did you decide on the layout?
The layout of the previous study was a great help. From this we were able to quickly see what worked with the data and what could be improved. We initially tried several versions of the layout, from the multi-column to single-column pages, as we wanted to avoid the graphics and text appearing to have no visible connection to each other. Instead, they should relate to one another and not inhibit the flow when reading the text. Against this background the one-sided layout proved to be the most effective.
- How did you choose the typefaces that featured in the final project? And in what way did the chosen typefaces help with production of the document?
We made the selection of typefaces very early on in the design process. We tried and tested multiple typefaces, including a sans serif typeface that is defined in the design manual. However, in continuous text weaknesses were obvious instantly – after all this particular sans serif typeface was originally designed for “way finding” and not for ease of reading when used for lengthy texts. For this reason, it was clear that we needed a serif for such an extensive study. Moving from the expressive FF Yoga and FF Tisa, we finally decided on the very reader-friendly FF Tundra by Ludwig Übele. FF Tundra’s quality in single-column layout with above-average long lines, made it the perfect choice for the study’s text.
With its focus around numerical data we hoped that FF Chartwell would save us an enormous amount of time. We had only a few weeks to build a variety of graphics from a data bundle of more than 1,000 pages, of which many of them contained graphical information and statistics.
Once we had all of the necessary data identified, extracted and excess material removed, the clear simplicity of FF Chartwell was very welcome. We would even go as far to say that had we been without this “chart tool” it would have been an even greater challenge to deliver on time.
Within a study of this size it is easy for mistakes to be missed. A graphical tool, such as FF Chartwell, helped to keep these errors to a minimum, because it works “only” by entering numbers, which as a result made the entire process less error prone.
We were also very grateful for FontFont’s detailed documentation on FF Chartwell as well as the useful tips and tricks from FontFont’s Jens Kutilek’s video tutorial. As a result even our consultants could proofread the entire study and make corrections via InDesign’s simplified mode without having to be taught about OpenType features first.
- What was the theme for the illustrations?
The style of the illustrations was closely coordinated with that of FF Chartwell – simple, clear and concise. This resulted in simple icons that clearly illustrated the content without lacking details.
left to right: Lars (concept and design), Christin (illustrations), Denise (concept) and Maurits (microsite and app).
For more information on these FontFont typefaces and further buying options head to fontfont.com.
Interview hosted by Alexander Roth, FontFont Marketing department.permalink
Last week we were priviledged to receive a visit from the one and only, Martin Majoor!
Before he left he gave us a little present in the form of an original type specimen from the launch of FF Scala, way back when! And we are really rather chuffed with it!
To find out more about this beautiful FF Scala specimen and the history of Martin’s first official typeface head over to our Behance page.
Following the latest announcement on the incredible extension of FF Good and FF Good Headline we are pleased to say that it is not the last of the “good news”.
As of now, all FF Good News and FF Good Headline News weights in all widths (formerly known as Book weights and specially drawn for setting newspaper copy) are available for just five of whichever currency you shop in! This makes for a nice incentive to test several widths before deciding on particular widths or even the whole family.
For the next in our ÜberFontFont series we celebrate the great all rounder that is FF Bau! A family described as a workhorse, this sans serif by Christian Schwartz is inspired by the Grotesk families from the Schelter & Giesecke foundry in Leipzig, Germany.
Designed by Schwartz as a revival of S&G’s Grotesks, the Regular, Medium, and Bold are drawn directly from S&G sources, whereas the Super weight was created for situations where subtlety would not be required. Recognised by the 2004 International Society of Typographic Designers awards the family first entered into the FontFont library back in 2002.
A reliable and versatile family FF Bau works brilliantly across a huge variety of mediums. From university projects, posters and magazines to websites and book covers the Grotesk inspired typeface really is a great go-to no matter the occasion, making it a perfect candidate for our ÜberFontFonts!
It’s Time for Action (There’s No Option). About Feminism by Mercedes Bunz, Maria E Buszek, Katy Deepwell and Amelia Jones. JRP|Ringier, 2007.permalink
Our next ‘In-Use’ case comes from a Kickstarter project for the world’s first wireless smart in-ear headphones known as The Dash. With the ability to hold a 1000 songs, built-in performance tracking and body sensors, The Dash looks to be the future in headphone technology.
As a kickstarter project the website is required to attract as much attention as possible, making the strong, bold and eye catching FF Mark the perfect typeface for drawing in potential investors.
FF Mark was designed by Hannes von Döhren, Christoph Koeberlin and the FontFont Type Department. Born from the idea to create an up-to-date typeface rooted in 1920s German geometry, the typeface is strong, simple and bold in form and at a glance may appear to be typical of its predecessors from the time.
The second of our posts on the FF Quixo notebook provides an insight into its design, specifications and printing via hand drawn sketches and images taken throughout the production process.
- Notebook: 13 × 21cm, 64 pages Papyrus Recyconomic Pale Pink 80g/m², cover is printed in two Pantone colors (Pantone 184 & Pantone Violet) + Black.
- Dust jacket: 52 × 84cm, Igepa Opakal 50g/m², 4 Pantone colors (Pantone 184, Pantone 705, Pantone Violet, Pantone Yellow) + Black.
- Printed at Gallery Print in Berlin.
- Available at the TYPO San Francisco and TYPO Berlin.
Initial illustrations of creating a specimen poster that doubles up as a dust jacket.
Thoughts on different ways of folding the dust jacket around the notebook.
Calculations for potential sizing of the specimen poster.
Color adjustments at the printers.
Fine-tuning the color and pressure values.
Talented craftsmen from Gallery Print in Berlin.
Checking the colors.
Eagle eyes — Céline and Natalie check the proof
Céline holding the first proof.permalink