News: Tagged as Felix Braden
What a way to start 2013! Three of our new FontFonts have been acknowledged in the prestigious Communication Arts Typographic Annual 2013.
Recognizing the great and the good in the world of typography, the latest annual is the third edition and was judged by three typographic experts: Gail Anderson, Jessica Hische and Jesse Ragan. With over 1900 entries to the competition, we were absolutely thrilled to hear that FF Ernestine, FF Scuba and FF Tisa Sans have each been honored best of the year in typeface design. With an acceptance rate of less than 10%, the Communication Arts Typography Competition is a major competition and inclusion is one of the most-coveted awards in the typographic industry.
FF Ernestine is the first commercial typeface designed by Nina Stössinger. Born out of the search for a versatile monoline text typeface, it is warm with a serious overtone, feminine with an underlying rigid assurance but above all charmingly sturdy. Felix Braden’s first release through FontFont is FF Scuba. The design combines constructed letters, like an almost rectangular o, with dynamic strokes and other written elements, giving the typeface a lively touch, while still keeping it true to its technical roots. Last year, the highly anticipated sans counterpart to Mitja Miklavčič’s popular FF Tisa arrived. FF Tisa Sans has a softer and friendlier feel compared to its serif sister. Whether paired with FF Tisa or used alone, FF Tisa Sans is a perfect choice for branding and editorial projects.
Previous FontFont winners of the Communication Arts Typographic Annual include:
- Max Phillips’s elegant workhorse, FF Spinoza
- Jörg Hemker’s matured and balanced, FF Sero
- Łukasz Dziedzic’s sturdy serif superfamily, FF More
For their latest exhibition, the theme is ‘Musik liegt in der Schrift’ (Music is in the typeface) and they invited graphic and type designers from around the world to display their work. We were absolutely delighted that the FF Scuba video was chosen to form part of the exhibition.
Designed by Felix Braden, FF Scuba is a readable contemporary sans, with a distinctive character. Searching for an offline companion for Verdana and unable to find the tone he was looking for, Braden set about developing a new series of types, which became FF Scuba. A mix of constructed letters and dynamic strokes gives the typeface a lively touch, while still keeping true to its technical roots.
Part of our FF 59 release back in May, we were inspired by the friendly and distinctive character of FF Scuba and the newest EP from the rising star Tourist. So we wanted to combine both passions and explore a different way of ‘showing’ type, the result was a video.
About the Klingspor Museum
The Klingspor Museum for Modern International Book Art, Typography and Calligraphy is located in Offenbach and has a huge collection of literature on book production, history of letterpress printing, typography and calligraphy, graphic techniques and the art of paper making. The exhibition will be on show until 6 January 2013.permalink
The Norwegian agency Fasett, who are responsible for the corporate identity and communications for Gladmat (Norway’s largest food festival), used FF Scuba as the corporate font for this year’s festival.
The campaign for this year’s event combined colourful and playful ‘food faces’ with bold statements.
We spoke with Benjamin Hickethier from Fasett to find out more about the project and their choice of typeface ...
We chose FF Scuba as a new corporate font for Gladmat because we were looking for a fresh new approach, in an evolutionary modernization of the CI that was developed by Fasett more than a decade ago.
The Gladmat Team wanted to keep the old logo symbol, so we were looking for some letters that would work well with the strong image and with the theme for this year, which was fruit and vegtables.
We loved FF Scuba from the day it was released, so it was not hard to choose, we had it in the back of our heads, waiting for the perfect deployment. It’s a lovely font with all its details and overall appearance – a pleasure to look at, and to read. It comes with a lot of character, while at the same time staying well-mannered in the background, presenting message and communicated images in a sober, yet joyful way.
Technically, it’s a great pleasure of course, as with all FontFonts. FF Scuba is perfectly fit – both in print and screen.
Used on posters, t-shirts and in the below video, FF Scuba provided a great match for the project; the typeface’s friendly form lent a fresh and original feel to identity of the festival.
We think it looks truly scrumptious! You can still get your hands on the free regular weight of FF Scuba, grab it now!
Have you used a FontFont typeface in a recent project? We're always on the hunt for in-use cases and would love to hear from you, just send a quick note to email@example.com and she will be in touch.permalink
If music be the food of love, play on. If type is what voice is to speech, speak louder. Here at FontFont, we are driven by our love for type and powered by a passion for music.
Inspired by the friendly and distinctive character of FF Scuba by Felix Braden and the newest EP from the rising star Tourist; we wanted to combine both passions and explore a different way of ‘showing’ type. We are delighted to share with our video for FF Scuba.
About FF Scuba
Searching for an offline companion for Verdana and not finding the exact tone he was looking for, designer Felix Braden set off to develop FF Scuba.
It’s a legible contemporary sans with a frank, friendly, distinctive character. In small sizes FF Scuba blends well and in display sizes it rings fresh and original. It combines constructed letters — like an almost rectangular o — with dynamic strokes and other elements that refer to handwriting, lending a lively touch to the font’s truly technical roots.
For a limited time, FF Scuba Regular OT and Web are available for free download.
Will Phillips a.k.a Tourist announced his debut 7" and digital EP release on Make Mine in March 2012. Will has made a name for himself with his remixes under the name Little Loud and his mixes over the past 18 months for artists such as Ariel Pink, HEALTH, Yeasayer, and Memory Tapes were regular fixtures on many a music blog. Under his new moniker, Will loves to use analogue tapes and field recordings to create a melodic sound that really resonates when listened to alone or on the dance floor.permalink
Felix, your Internet-persona is tied up with the identity of one of your websites, Floodfonts and your twitter. Your website’s been around for about 12 years now. I remember seeing your free fonts for the first time around in 2004. Will any of these be upgraded or expanded to commercial families some day?
I actually have the most fun with the first 52 characters when designing type. The chance that I extend an old alphabet is therefore slim as there only remains the hard and fiddly work. It must therefore be for a special occasion. Just recently Typekit approached me and asked whether they could offer Moby, Hydrophilia and Bigfish in their library and that was an opportunity. Their idea to look after the complete hosting of webfonts so that the web designer doesn’t need to worry about it, really enthused me. I still offer the extended printer fonts with the additional character sets free on my website.
FF Scuba is your first typeface in the FontFont library, but you have released other families through Fountain, URW++ and Volcano Type. What was it like working with FontFont? How are we different from other foundries?
Without wanting to suck up, the collaboration with FontFont was super. The intensity of the mentoring and the effort that was invested in the development of FF Scuba is really remarkable. Big thanks again to Andreas Frohloff who made numerous suggestions for corrections and who brought the font a gigantic step forward. During the two years that we worked together on FF Scuba I learnt so much about type design.
You studied graphic design at the FH Trier. In the past few years, the German type design scene has gotten to know several Trier students and graduates through their attendance at Typostammtische (German type meet-ups), or from the work of other designers like Stefan Hübsch and Sascha Timplan. Did you have any classes in type design while you were a student?
Unfortunately, type design wasn’t offered as a subject whilst I was studying in Trier. As far as I am aware this hasn’t changed. However, there is a great Typography teacher, Professor Andreas Hogan, who encourages students to engage with type design. He really encouraged me with the design of my alphabets. One had at least the possibility in Typography to design a typeface as a term paper.
Even before you started your studies, you had already created your first digital fonts. Were these typefaces just 1990s-era design explorations for you – like so many graphic designers who discovered Fontographer at that time – or was it something more deep … like love at first sight?
Somehow both – in 1993 after completing my secondary school studies I wanted to absolutely design and study Graphic Design. Without having a proper perception of what it was like, I looked for an internship at an advertising agency. With luck I got a position at Gaga – an ambitious Design office where exactly the experimental atmosphere of departure of the 1990s prevailed and opened for me a whole new world. There I met the designer Jens Gehlhaar who was before my studies a really good teacher in type design. The fact that Fontographer was at that time really hip, and every designer ‘played about’ with it, was of course helpful to reduce inhibitions. I created my first alphabet within a week for the demo tape of a friend’s metal band.
FF Scuba outline tests
Aside from typeface design, you also work as a graphic designer. How would you best describe yourself? As a type designer? A communications designer? Or are specific labels within design not something that you identify with?
I am actually very happy that I don’t just do type design and also engage with editorial design, corporate design and illustration. The excursions into other design areas have always brought me a great deal and also the exchange with other people in other disciplines. If I was to classify myself then it would be somewhere between illustration and typography. My designer roots lie definitely in drawing and type is the topic that in the past few years has interested and engaged me the most. Lastly, I think that drawing and designing with type are very helpful skills if someone wants to draw letters and logotypes – so what I do now is inevitably a result of my background.
You live and work in Cologne, a city on the Rhine River and one of the oldest settlements in Germany. What is the design scene like there? Do you think that designers in Cologne work in a different manner than in other big German cities?
I don’t know, whether it is because of the times of Behance or the immense opportunities to exchange and share amongst designers, whether there actually is something like country specific styles, let alone city specific styles.
For me, the direct exchange with other designers is very important. At the moment, the type design scene in Cologne is very small and I don’t think I can find a typical Cologne style. We rarely get together for a Typostammtisch, but when we do, I spend weeks getting excited about it. There are always really interesting guests there, who are a great source of inspiration to me, such as Indra Kupferschmid, Dan Reynolds or Alex Rütten. Sometimes, I look somewhat wistfully at the design scene in Berlin and Munich, where every week there are opportunities to meet up.
Yet when it comes to the history of the town, I find that Cologne is extremely interesting. As soon as you dig a bit deeper into a town area you find something spectacular. Alone in the Romano-Germanic Museum you can find so many magnificent classical typographical finds that it is really worth a visit.
When you compare your first sketches on paper with the final release-version of a typeface, how much of the original feeling remains in the finished design?
When it came to bringing FF Scuba to market, I fished out some old sketches and was very surprised at the similarity that the end result had with the first drawings. The double page spread ‘cobang’ is actually the first sketch that I did for FF Scuba (at that time it was called Adria). I removed some of the oddities, such as the tapered ascenders but other than that it is very close to the release version, isn’t it?
I’ve read that part of the inspiration behind FF Scuba was to create an offline companion for Verdana. In which way do you think that FF Scuba is most similar to Verdana, and where is it the most different?
I think the biggest similarity that FF Scuba has with Verdana is at a distance or on a screen in small pixel sizes. Also when it runs closer together and the letters are narrower- you can compare Verdana and FF Scuba in size 12 in TextEdit, the fonts are differentiated through a number of letters such as I, J or M but the appearence is very similar.
As soon as the letters become bigger the details such as the tapered ends of the stems or the almost rectangular o are noticeable and then the two typefaces bear little similarity. Also with the bolder weights the differences are particularly apparent: with Verdana Bold the horizontals – through the orientation on the pixel – are only half as heavy as the verticals, FF Scuba doesn’t have this contrast, the horizontals appear study/massive.
Are there any specific design applications where you think that FF Scuba would be a particularly apt choice for graphic designers?
I think FF Scuba has a lot of character, especially for a sans serif optimized for long body texts. That makes it a good tool for branding. I believe that with FF Scuba I have succeeded in allowing a warm, human aspect to flow into a very dry technical design. A contrast that in my opinion also illustrates the uniqueness of the typeface - therefore is FF Scuba perfectly appropriate for firms with a high technical affinity but that see people at the heart of their business for example in the media or computer industry.
Felix Braden’s correction notes
Every type designer has their secret dream client. If you had to pick one “long shot” area for FF Scuba to be uses, where would that be?
Like many other type designers, I was shocked by the announcement a few years ago that Ikea was using Verdana as their corporate font and with that placed comfort and cost-saving above all design criteria. I can’t quite exactly remember, but I think at this time I began working on FF Scuba. I would be really excited if Ikea used FF Scuba as the corporate font for print media and Verdana for the screen – I don’t mind if they also used it for correspondence.
Aside from FF Scuba, do you have a favourite FontFont?
If you were to give someone starting out in typography one piece of advice what would it be?
Don’t hesitate, just do it! With type design, plan-less work sometimes avenges itself later, but you don’t have to start with a super family.
Felix Braden studied communication design at the Fachhochschule Trier with Prof. Andreas Hogan and worked as assistant of Jens Gehlhaar at Gaga Design. He was one of the founders of Glashaus-Design and has worked as Art Director at MWK and freelance type designer in Cologne since 2003. In 2000, he founded the free font foundry Floodfonts and designed numerous typefaces which are available as webfonts via Typekit. His commercial fonts are distributed by Fountain (Capri, Sadness, Grimoire), URW++ (Supernormale) and Volcanotype (Bikini).
For a limited time, FF Scuba Regular OT and Web are available for free download.permalink
It is with much anticipation and excitement that we announce our 59th release. With three brand new designs, one extension and a whole array of new Offc, Web and Pro versions of some of our classic FontFonts; FF 59 is one of our biggest releases yet.
The new designs
FF Scuba is a legible contemporary sans with a distinctive character. Searching for an offline companion for Verdana and not finding the exact tone he was looking for, designer Felix Braden set off to develop a new series of types. The resulting family is a bit tighter and more condensed than Verdana. In small sizes FF Scuba blends well with Verdana, and in display sizes it reveals its particular originality. The design combines constructed letters, like an almost rectangular o, with dynamic strokes and other elements referring to writing. This mix gives the typeface a lively touch, while still keeping true to its technical roots.
For a limited time, FF Scuba Regular is available for free download in OT and Web formats. Download it on the Goodies page.
FF Tisa Sans
FF Tisa Sans is Slovenian designer Mitja Miklavčič’s follow-up typeface to FF Tisa. Whether used together or separately, both of his families are excellent choices for branding projects and complex editorial applications. The original FF Tisa is one of the new-millennium favorites in the FontFont library—known for its sturdy and friendly forms, hence its common use in newspapers and magazines.
In all important details, FF Tisa Sans matches FF Tisa perfectly. Aside from the lack of serifs, the Sans features slightly reduced ink traps. Necessary system elements have been fine-tuned to one another, including the color density of blocks of text, the proportions of the letterforms and their distinctive stroke endings, and even the eye-catching Italics. Of course, the FF Tisa Sans character set contains the same range of characters and typographic features as the original FF Tisa, too. Since FF Tisa Sans should prove quite suitable for signage and information design projects, Miklavčič included a range of specially designed arrows in each font as well.
Designed by Travis Kochel, FF Chartwell is a fantastic typeface for creating simple graphs. Driven by the frustration of creating graphs within design applications and inspired by typefaces such as FF Beowolf and FF PicLig, Travis saw an opportunity to take advantage of OpenType technology to simplify the process.
FF Chartwell (Pies, Lines, Bars) was originally released in 2011 under the TK Type foundry. In 2012, it was added to the FontFont library with the addition of four new chart styles, the Polar Series as well as Bars Vertical.
The Polar Series (Rose, Rings, and Radar) is a set of new designs, which take on the form of more experimental charts. In an effort to make the charts smarter and more dynamic, each design reacts not only to the data entered, but the number of values.
Updated and extended FontFonts
FF Meta Serif: Light and Extra Bold
Following the Greek/Cyrillic language update to FF Meta Serif in FF 58, we’ve now added two new weights to FF Meta Serif—Light and Extra Bold.
New Pro versions
Pro FontFonts enjoy the distinction of extended language support and ease of use, affording the typographer the ability to set text in a much broader range of languages. All Pro FontFonts include Extended Latin (Central European) characters, but may additionally support Cyrillic, Greek, or other/additional scripts. The following FontFonts now include Pro language support and thus speaking 36 Latin-based languages more.
New Office and Web FontFonts
We are continually updating our library to ensure that our FontFonts are in the most up to date and useable formats. With our latest release, we’ve updated a whole host of our portfolio for the use on the web, among them classics such as FF Strada, FF Legato, FF Transit, and FF Schulbuch.
All these faces additionally come in Offc versions, fonts tuned to work best in programs like Microsoft Word or PowerPoint.permalink