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Our Collection Tier are affordable hidden gems, containing one family (sometimes more) at one very reasonable price under €/$ 100 each! Over the past few months, we’ve brought together a round up of our favorite picks and some tips for a particular intended use.
As mentioned in our previous post, making your mark in today’s brand saturated world is not always easy. A corporate identity often has to be many things at once: useable, memorable and interchangable. So when it comes to packaging and advertising for your brand, how can you balance the right amount of ‘look-at-me’ to make it stand apart without losing the brand voice? In this month’s installment of our Collection FontFont series, we bring together our top tips and FontFonts from the Collection Tier suitable for advertising and packaging.
Image: Paul Hudson/fStop (793034)
Image: Angelo Stitz
Image: Halfdark/fStop (450017)
Image: Larry Washburn/fStop (1129036)
Large. In this category, type is often set very large. While your selections don’t have to be too thick or heavy, they should ‘fill the space’ well. Letters that are a little condensed, and which you can set tightly, are a good bet. They’ll help you fit more text on a line and still pack a punch.
Attention. These typefaces are made for selling. Choose one whose letterforms are individual; your advertising and packaging should grab attention. Keep an eye out for what your competition is doing, though – you don’t want your products to appear interchangeable.
Multilingual. Not all of the text on packaging is meant to immediately call attention to itself. Lists of ingredients or instructions are a vital part of a package’s design, even if they aren’t one of the first elements noticed. Depending on where your products are sold, you may need to print this information in multiple languages, too. Make sure to select fonts that have the corresponding glyph ranges in their character sets.
About our Collection Tier
Our Collection Tier FontFonts are a selection of cost effective typographical treasures offered as full-families. All packages are available in OpenType with Standard language support (with a few key exceptions) and are all affordably priced under €/$ 100 each.permalink
These are the latest additions (release 46) to the FontFont library:
New FontFonts and extensions
FF Chambers Sans OT by Verena Gerlach – Verena Gerlach’s experiment with oppositional styles resulted in this combination of static grotesque forms and the dynamic forms of a traditional antique typeface. The weights and italics are finely balanced so that it is especially suitable for setting books, but its frugal originality is also appropriate for use in large sizes like in poster design. The type family contains a range of alternate characters, small caps, ligatures, and (in the Regular weight) swashed initials, making it a versatile typographic tool.
FF Enzo OT 1 by Tobias Kvant – Inspired by a variety of styles, both past and present, FF Enzo is a lively multi-weight sans serif. Its extremely large x-height, and short ascenders and descenders make it a powerful headline face, ideal for magazines, posters and such, but it will work fine for body text as well. The family includes italics, tabular figures and four sets of small figures. FF Enzo is the first major typeface from Sweden’s Tobias Kvant, yet it demonstrates a great deal of understanding and skill. We expect to see more in the future from this fine young talent.
FF Max Pro 3 by Morten Olsen – It’s always been popular, but Morten Olsen’s FF Max is due for a major resurgence in today’s design landscape of square forms and rounded edges. The typeface is as fresh now as it was when it was released five years ago, and now it’s even more flexible thanks to two new weights at either end of the family: Extra Light and Fat.
FF Netto OT by Daniel Utz – With FF Netto, Daniel Utz has stripped letters of any historical detail, leaving them with the barest, clearest forms possible. This makes FF Netto ideal for wayfinding, where quick recognition is essential. A series of simple and useful icons and arrows add to its utility for information design, and intelligent borders let you group the pictograms using just a few keystrokes.
FF Trixie HD Pro Light by Erik van Blokland – Since its release in 1991, from “The X-Files” to “Atonement”, FF Trixie has served as the defacto typeface of mystery and intrigue. For years, it was the most convincing typewriter font available, but FontFont veteran Erik van Blokland was not satisfied. Early printing and operating systems could only handle so many points per font, so FF Trixie’s outlines weren’t as realistic as he wanted. Enter OpenType. Now that technology has caught up with his vision, Van Blokland has thrown everything he can at it. The new FF Trixie offers Rough variations that have more detail for use at larger sizes, yet keep the same overall shape as the originals. But the real advancement is found in FF Trixie HD, which contains seven alternates for each character, each with its own weight and texture. Just like typewritten forms, the letters dance on the baseline and reveal the effect of ink on the ribbon. Van Blokland didn’t stop there. Playing with OpenType’s ability to automatically substitute glyphs, he added a variety of clever effects such as more erratic baseline shifting, faux Greek and Cyrillic, and censor simulation. FF Trixie HD sets a new standard for detail and artificial intelligence. We can safely say no digital font comes closer to emulating a mechanical typewriter. The OT package contains all the features above. Go Pro for CE, Greek, and Cyrillic support.read more