News: Tagged as FF Hydra
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
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 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
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.
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.
FF Atma Serif (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Child’s Play (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Cube (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Eureka Mono (NEW: Offc | Offc Pro | Web | Web Pro)
FF Fago Mono (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Hydra/Text (NEW: Pro | Offc Pro | Web Pro)
FF Instant Types (NEW: Pro | Offc Pro | Web Pro)
FF Meta Correspondence (NEW: Offc Pro | Web Pro)
FF Typestar (NEW: Pro | Offc Pro | Web Pro)
FF Zine Sans/Serif/Slab Display (NEW: Pro | Offc | Offc Pro | Web | Web Pro)permalink
BERLIN, GERMANY, June 2010 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Amman came into existence as Yanone’s graduation project at Bauhaus University in Weimar, Germany. In late 2008, Yanone set out to Amman, the capital of Jordan, following an invitation by Ahmad Humeid from the local design and branding office Syntax. They were to re-brand the capital’s municipality in preparation of Amman’s centennial celebrations.
First and main part of Yanone’s diptychon »Amman The FFilm« about the making of the FF Amman typeface for Jordan’s capital on occasion of its centennial celebrations in 2009.
Never officially commissioned as a custom typeface, it was rather a birthday present from Syntax and Yanone for Amman, and the perfect university graduation project for Yanone. In the end, the typeface with several typographic novelties has been widely used for all kinds of municipal services in Amman. The family consists of seven sans and four serif weights, each with their true Italics and both Latin and Arabic character sets. It is one of the largest bilingual families ever made, one of the few designed bilingually from scratch and the first containing true Arabic Italics.
FF DIN Round — This welcome addition to FontFont’s most popular family brings a softness to FF DIN’s simplicity and industrial sterility. FF DIN Round is more than a “search-and-replace” rounded version of its predecessor. Albert-Jan Pool and his team redrew each letterform to maintain the structure of the original. This ensures FF DIN and FF DIN Round will work well together in logos, slogans, price tags, etc. as compatible parts of advertising campaigns and corporate identities.
FF DIN Round is not only a good companion to FF DIN, its smooth and friendly curves make it work on its own for branding strategies for family cars, bikes, household appliances, sportswear, shoes, or medical products. It’s also very legible on screen.
FF Suhmo is inspired by classic Egyptian and typewriter fonts such as Courier and American Typewriter, which feature headline and text use. This impressive duality was Alex Rütten’s guideline for the concept of FF Suhmo. At the same time, many formal details were derived from the typical neon-lettering you can find on aged Italian restaurants in Germany. FF Suhmo has short ascenders and descenders and a generous x-height, making it a good choice for editorial design. It combines simplicity and functionality with playfulness, offering interesting details such as loops and swashes and a slight stroke contrast. Its varied details are unobtrusive in text sizes while developing character and sparkle in headlines.
FF Suhmo’s extensive character set includes numerous special characters and ligatures, several figure sets and small caps throughout all styles. The family consists of 4 weights: Light, Regular, Bold and Black, each with an Italic. The weights were staggered to complement each other within a layout, the Black corresponding to the Regular and the Light corresponding to the Bold weight, allowing words or phrases to be clearly stressed within a text. The Italics are lighter than the Roman and have a relatively slight angle of slope. The forms are derived from a manual writing process and often cross the base-line or the x-height.read more