News: Tagged as FF Basic Gothic

Are you the next FontFont designer?

The stories and faces behind some of our FontFont Designers

Have you got a tremendous typeface design up your sleeve? At FontFont, we are driven by our love for type and typography and are always on the lookout for new typographical talent. When we started back in 1990, our mission was to create ‘fonts for designers by designers’. Since then, designers from across the world have contributed to our library. Twice a year, the TypeBoard, a committee of internal and external experts come together to review submissions.

Our submission policy continues to be as open as ever; we look for original designs and judge all submissions based on their aesthetic, technical and practical merits. If accepted your design will join the ranks of typographical triumphs such as FF Meta, FF Scala, FF DIN, FF Ernestine, and FF Tisa.

From the well-known to the newly discovered, our designers come from all walks of life. Here are the stories and experiences of three different FontFont designers, who have recently released their typefaces through us.

A lengthy love affair | FF Spinoza

Max PhillipsMax Phillips, a New York–based art director, illustrator, toy designer, and novelist (of the award winning ‘Fade to Blonde’), released his first ever typeface as a FontFont. His first beautiful typeface FF Spinoza was developed over a period (on and off) of eleven years. An elegant workhorse, FF Spinoza is a classic text family with individual character to hold its own in display sizes.

We asked Max what it was like to become a FontFont Designer:

‘Basically, I was asked to join a club whose members include Kris Sowersby, Tobias Frere-Jones, Akira Kobayashi, Jean-François Porchez, LeTeRror, Hannes von Döhren, Martin Majoor, Nick Shinn, Jeremy Tankard… the list goes on. And, of course, Neville Brody and Erik Spiekermann. It was the greatest honor of my professional life.’

When describing what it was like to work with FontFont, he said,

FF Spinoza

‘FontFont took tremendous pains with the work. When Andreas Frohloff returned his first edits on Spinoza, I was a bit dazed.  He’d altered almost every glyph in every font.  In some cases he'd clearly improved things.  In some cases I felt that he was correcting real problems, but that I wanted to correct them in my own way. Andreas was there to help. And that's the way things went. FontFont put a lot of work into Spinoza, but they left the final design decisions to me, even though I was a first-timer and they're the world's foremost independent foundry.’

Joining forces | FF Basic Gothic

Hannes von DöhrenIn contrast to Max, Hannes von Döhren has been designing typefaces for a number of years and set up his own foundry HVD Fonts in 2008. He became well known for his highly successful releases such as Brandon Grotesque, Brevia, Livory, ITC Chino, and Reklame Script. 

In 2010, working with Livius Dietzel, he joined forces with FontFont to release FF Basic Gothic.

FF Basic Gothic

‘On the one hand type design is all about creativity, optical decisions – the visual, but on the other hand there is a lot of engineering behind a font. Therein, I believe, lies the strength of FontFont. There are many type designers who would prefer to concentrate on the visual. FontFont takes over the visual and technical quality testing of font production and with that guarantees an high level of quality for their fonts.’

Fulfilling a FontFont dream | FF Ernestine

Nina StössingerNina Stössinger was also one of our designers who released her first ever commercial typeface design, FF Ernestine, through us. Having studied Multimedia Design and later Type Design, Nina set up her studio in Basel in 2008. Ernestine was born from the search for a versatile monoline text typeface; it's warm with a serious overtone, feminine with an underlying rigid assurance, above all it is charmingly sturdy. She first drew the Roman as a study project at the postgraduate Type Design programme in Zurich, and the Italic in dialogue with Hrant Papazian’s Armenian design.

When asked about what it was like working with FontFont she said:

FF Ernestine

‘To be honest, I have for a long time dreamed of one day not only designing a typeface, but releasing it through FontFont! Ambitious dreams – and I’m still amazed that they have actually come true. I am both proud and humbled to be part of this great library which in my perception sits right at the crossroads of relevance and innovation, utmost professionalism and agile freshness, trustworthiness and openness to experiment.’

Now it’s your turn …  

With the next TypeBoard happening on May 21, you still have time to submit your designs.

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Mobile FontFonts expanded to Android

We are delighted to announce the expansion of our Mobile FontFonts for use on the Android app development platform. Now the design process for creating both beautiful Android and iOS applications is as seamless as possible.

Android MobileFontFonts

Just like webfonts, mobile fonts protect brands and help set apps apart from the crowd. Following in the footsteps of the splendidly screen-optimized Office and Web FontFonts, Mobile FontFonts enhance the user experience. They allow designers and developers to break from the mold of system fonts and give their products some personality. 15 selected families are available in packs with 4 fonts each.

Simple Licensing

Licensing for Mobile FontFonts suits the needs of the app developer. A team of up to five developers can share one license for their app portfolio. There’s no time limit on the license, nor annual royalty requirements, just a one-time license fee.

Try for Free

FontFont offers a free download of FF Basic Gothic Mobile Pro Black Italic for developers to test in Android and iOS apps. Visit MobileFontFonts.com to download. You will also find sample codes for both platforms and an easy manual to use Mobile FontFonts in less than 5 steps.

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Mobile FontFonts released

FontShop International is once again leading the way in typographic technology and releasing Mobile FontFonts tailored specifically for use in iOS apps. Available at MobileFontFonts.com, the files are optimized to make the design process for making beautiful iOS applications as seamless as possible. Mobile FontFonts are optimized for screen and licensed for use on mobile devices. When designing a native app for a mobile device, like iPhone, Mobile FontFonts allow the designer to specify fonts outside the options that come preinstalled. Mobile FontFonts are presently supported in iOS only.

Mobile FontFonts on an Apple iPhone4s

Introducing Mobile FontFonts

Just like webfonts, mobile fonts protect brands and help set apps apart from the crowd. Optimized by hand for the device screen, Mobile FontFonts enhance the user experience. Mobile FontFonts let designers and developers break from the mold of system fonts and give their products some personality. With language support included, Mobile FontFonts allow for consistent, subtle branding to a global audience. 56 mobile fonts from 15 popular families are available in 14 packs with 4 fonts each.

Simple Licensing

Licensing for Mobile FontFonts serves the needs of the iOS developer. A team of up to five developers can share one license for their app portfolio. There's no time limit on the license, nor royalty requirements.

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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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In-Use: FF Basic Gothic and FF Scala for TYPO Berlin 2011

As always, Europe’s biggest design conference was awaited with much eager anticipation. As always, it was a tremendous success. And, as always, the visual style of the conference was carefully scrutinized by the critical eyes of the attending designers.

Traditionally, the conference’s theme motto changes every year and is interpreted by Berlin design agency studio adhoc. This year’s motif was “Shift”. To express this concept, Magnus Hengge and his team fittingly chose FF Scala, a FontFont classic, and paired it up with FF Basic Gothic, a brand new FontFont. While FF Scala has proven its flexibility and versatility for the last 20 years, FF Basic Gothic has yet to be put to the test at all. So it was all the more delightful that they both met the challenge head-on and mastered it with flying colors.

TYPO Berlin 2011 Advertisement
Conference advertisement

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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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