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
Fitting in perfectly with the look and feel of the Travails Series, FF Quadraat’s latest in-use sees the dystinctive typeface add character to this unique series which provides a multifaceted firsthand perspective on this intriguing time and place.
The initial FF Quadraat serif family combined Renaissance elegance with contemporary ideas on construction and shaping.permalink
As part of the release of FF Quixo we produced these gorgeous notebooks and additional dust jacket which doubles up as a specimen poster for the award winning typeface.
The moleskin size inspired notebook is made up of 32 pages with a luxury textured feel to it. Throughout both the notebook and poster four Pantone colours were used. If you fancy getting your hands on one of these we will be giving them out at TYPO San Francisco and TYPO Berlin!
Dust jacket/specimen poster
FF Quixo notebook frontside with poster wrapper
FF Quixo notebook backside with poster wrapper
FF Quixo notebook frontside
FF Quixo notebook backside
About FF Quixo
“Quixo” is an onomatopoeic exaggeration. If you are a good listener, you will know that the word comes directly from the sound of dipping a brush into a bottle of ink. It is also the sound of that same bottle, dropping on the floor: “Quix-O!!”.
FF Quixo is a tool-based typeface family, based on the contrast of the pointed pen. Conceived from Frank Grießhammer’s graduation project at the Type and Media program at KABK Den Haag, the typeface is rooted in handwriting and explores the concept of increasing tool size in relation to weight. The visual influence of the tool is barely visible in the Regular weight, but more extreme in the Black one. The incorruptible result is a diverse spectrum of 12 styles (6 weights with Roman and Italic in each) suitable for compact and concise passages of text.
FF Quixo plays on various sides of creative type – headline and text, bold and fine. It is a typeface that can show a playful side without looking goofy and is equipped with all the features and considerations necessary to produce complex typography. It feels at home whenever a touch of personality, whim, and symbols are required, but also provides the necessary precision for more functional applications.
The Letter Fountain is a site created to support students and teachers who use the book Letter Fountain. The Letter Fountain is a unique typeface handbook: in addition to examining the form and anatomy of every letter in the alphabet (as well as punctuation marks and special characters), the book cross-references type designs with important works of art and art movements from Gutenberg’s times until today.
Offset is a new, curated collection of extraordinary, engaging imagery from top artists and storytellers around the world. Offset has an exceptional mix of photography and illustration, both commercial and editorial imagery from best-in-class artists who shoot for major advertising clients and world-renowned brands.
The California Sunday Magazine comes from the lab of Pop-Up Magazine. Together they set out to produce unforgettable storytelling from the West Coast of America. The pronounced serifs make Mitja Miklavčič’s FF Tisa Web extremely legible. Its unique details—including slightly exaggerated ink traps and a fairly upright italic—are particularly visible in display sizes.permalink
FF Ernestine has come over all sweet in its latest ‘In-Use’ case as the chosen font for Venco liquorice packaging. Available in several different flavours and styles including sweet, salty, salmiak, soft or tough, these Dutch liquorice treats are perfect for anyone with a sweet tooth!
FF Ernestine was born from the search for a versatile monolinear text typeface whose design could encompass seemingly opposite feelings. Its designer Nina Stössinger wanted to develop a solution that would feel warm, but also serious; slightly feminine, but not too swirly-girly – charming and sturdy at the same time.