News: Tagged as FF Advert

New release: FF 60

How quickly the time has flown since FF 59, we can’t quite believe it is release time again. With two new designs, two extensions and a myriad of updates we are delighted to introduce our latest release, FF 60.

The new designs

FF Marselis  

FF Marselis FF Marselis

From the designer of FF Cube and FF Speak comes FF Marselis. Jan Maack’s newest design crossbreeds geometric and humanistic forms, creating a freshly dynamic sans serif family. All of the counters in the typeface are open; certain superfluous strokes have been eliminated – there are no spurs on the b or q, for instance.

Many designers chance upon using the same graphic shape for the lowercase ‘a’ and ‘e’ – indeed, the idea seems simple enough: just rotate the form 180° and you should be done! However, almost all attempts at this sort of theoretical simplification fail in practice. With FF Marselis, Jan Maack has found a key to making it work. Rather than whole letterforms, a tear-drop form repeats throughout the alphabet, not only in the bowl of the lowercase ‘a’ or ‘e’, but also in the ‘k’ and the uppercase ‘Q’. Its distinct character makes FF Marselis a perfect choice for today’s corporate and branding projects.

Introductory offer: You can get 50 % off any FF Marselis product (until 31 October 2012).

FF ThreeSixFF ThreeSixFF ThreeSix

FF ThreeSix is a huge experimental optical type system consisting of six typefaces in eight weights, including four additional monospaced weights. It is the result of London-based Paul McNeil’s and Hamish Muir’s attempts to work within the restrictive rules of geometry to generate simple typographic forms emulating traditional type design principles, where a wide range of almost imperceptible compensatory optical tricks are used to create the illusion of evenness in the basic fabric of text.

The award-winning system – ISTD Premier Award and Certificate of Excellence – is based on a grid of 36 unit squares subdivided into 9 units and are constructed using only vertical or horizontal straight lines and circular arcs. Cap-height, x-height, ascent and descent measurements are consistent across all fonts and weights. The grid also determines character and word spacing, with all side-bearings and kerning pair values conforming to 9 unit increments.

As Wim Crouwel notes: ‘It is a fascination for the use of geometric systems in design that has resulted in these remarkable typefaces.’

Updated and extended FontFonts 

FF Chartwell WebFF Chartwell WebFF Chartwell Web

We always strive to give you the best possible solution. That’s why we didn’t make it easy on ourselves when it came to creating FF Chartwell Web. FF Chartwell already pushes the boundaries of OpenType, so when faced with the prospect of massive font file sizes (up to 47000 glyphs) and a lack of OpenType feature support in most web browsers to make FF Chartwell work on the web, we had to think creatively! Not satisfied with simply converting the desktop fonts into web fonts we sought to transform FF Chartwell into something more than just a font. Using some nifty JavaScript tricks you can now breathe life into charts, pies, graphs online.

Introducing FF Chartwell Web. Simple to use and fun to play around with, you can try it for yourself online using our demo.

Free font: For a limited time, you can get your hands on FF Chartwell Web Radar for free.

FF Meta Correspondence

FF Meta CorrespondenceFF Meta Correpondence

Erik Spiekermann’s best-known face is without doubt FF Meta. While it has proven its usability in almost any design task one can think of, its creator realized that it could be improved even more for use in the business world. The main features of the first version of FF Meta Correspondence included tabular figures (instead of oldstyle ones) and increased tracking, yet Spiekermann wanted to go a few steps further and take the typeface to another level.

Now, Erik Spiekermann and the FontFont team changed both proportions and shapes to a more robust style, removed contrast from accents and simplified forms and details to a more screen-friendly appearance. The very well-known lowercase g has been changed to a single-storey one, which is more common within the office environment. Above all, a set of useful arrows, icons, and office dingbats has been added. The resulting design is still FF Meta, but one that breathes Correspondence air.

The simplified forms and the high-quality screen optimization make FF Meta Correspondence a perfect typeface for use as a webfont or within the mobile environment.

New Office and Web FontFonts plus language extensions

Did you know our library contains over 2500 FontFonts? After a FontFont is released, the work doesn’t stop, we continually tinker and update our beloved FontFonts to ensure that they are in tip-top condition and in the most up to date and useable formats. In FF 60, some of our earliest releases such as Just van Rossum’s FF Advert, Ole Schäfer’s FF Zine, and John Critchley’s FF Child’s Play have been brought up to date and now come in Office and Web formats.

All these faces have also been upgraded so that they are now also offered in Pro versions, meaning they now include more Latin-based languages (e.g. Polish, Turkish, Czech).FF Advert

FF Advert/Rough (NEW: Pro | Offc Pro | Web Pro)

FF Atma Serif

FF Atma Serif (NEW: Pro | Offc | Offc Pro | Web | Web Pro)

FF Child's Play 

FF Child’s Play (NEW: Pro | Offc | Offc Pro | Web | Web Pro) FF Cube

FF Cube (NEW: Pro | Offc | Offc Pro | Web | Web Pro)

FF Eureka Mono

FF Eureka Mono (NEW: Offc | Offc Pro | Web | Web Pro)

FF Fago

FF Fago Mono (NEW: Pro | Offc | Offc Pro | Web | Web Pro)

FF Hydra

FF Hydra/Text (NEW: Pro | Offc Pro | Web Pro)

FF Instant

FF Instant Types (NEW: Pro | Offc Pro | Web Pro)

FF Meta Correspondence

FF Meta Correspondence (NEW: Offc Pro | Web Pro)

FF Typestar

FF Typestar (NEW: Pro | Offc Pro | Web Pro)FF Zine

FF Zine Sans/Serif/Slab Display (NEW: Pro | Offc | Offc Pro | Web | Web Pro)

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The a|ɑ-Team

Every now and then we are asked for typefaces containing alternative characters – the first letter of the alphabet is especially interesting in this respect as the Latin script knows two forms of the lower case a: the double-storey a is one of the most distinctive letters in a typeface while the single-storey a is rather neutral and decent. So you can considerably change the character of a typeface by simply swapping just one letter.

a-Alternatives

Thanks to OpenType both forms can be contained in one font and the user can easily switch between the two forms (in applications that support OT layout features, like Adobe’s Creative Suite for instance). Many of the innovative FontFonts offer this opportunity:

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New release: FF54

BERLIN, GERMANY, December 2010 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.

The new FontFonts

FF Basic Gothic

FF Basic Gothic — Due to its popularity online, Verdana has effectively become the basic sans serif. Yet in print it tends to looks too heavy and a little unwieldy. As a response to this FontFont releases FF Basic Gothic. Influenced by the early sans serif typefaces of the 19th century and developed for today’s highest standards, it is a sans serif optimized for maximum legibility. With its functional, basic look, it is willful but pleasant at the same time. Inspired by the unique letter forms of Gill Sans and Antique Olive, designers Hannes von Döhren and Livius Dietzel searched for exceptional yet legible proportions. At the same time, the letters are stripped down to their basic forms, with precise curves and straight lines, making FF Basic Gothic extremely versatile for a multitude of applications.

Their extended weight range makes it interesting for corporate designers; TYPO Berlin 2011 already trusts on FF Basic Gothic (as well as on FF Scala). The type family performs especially well in small sizes, both in print and on the screen – thanks to the hinting experts of the FontFont Type Department.

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