News: Tagged as FF Seria
FF Seria started as a Latin script family; Martin Majoor began the design in 1996, and we released it in 2000. Nine years later, we brought FF Seria Arabic onto the market, which Majoor developed together with Pascal Zoghbi, a Dutch-trained type designer based in Lebanon. Their tandem Arabic family was the first Arabic typeface published by FontFont; it grew out of an earlier collaboration named Sada, which had been designed as part of the Khatt Foundation’s Typographic Matchmaking project.
Both the Arabic and English editions of Reflections on Islamic Art were designed by Muiz Anwar, a graphic designer based in London – and also a former intern with us at FontFont. Anwar’s solution for these books is reduced and thoughtful. Each edition is a mirror of the other. Images play the primary role in the design, often taking up full pages, or half of a spread.
In order for the Arabic and English titles to take up the similar amounts of visual space, the Arabic title employs long kashidas – or lengthening strokes. However, the English title makes use of additional space, too. Had Anwar set the English title in upper and lowercase, its words would have been much shorter; by switching to all caps, letterspacing may be applied. The combination of tracked capitals in English and kashidas in Arabic is an interesting solution.
The books’ colour palettes are reduced, drawing more attention to the images themselves when their appear. Text in the Reflections on Islamic Arteditions is always either black-on-white or white-on-black. The tables of contents are handled in a similar way as the books’ title pages. Yet the typographic hierarchies are not identical in each edition: for the English-language, author names are set in FF Seria Italic, setting them apart from the main text in FF Seria Regular. Whereas in the Arabic typography there isn’t an italic weight in FF Seria Arabic, so the Arabic text has a slightly more even feel.
FF Seria Italic is an upright italic. Its letters have only a minimal slant. This sets it apart from the italics in Majoor’s other typeface families; FF Nexus Italic and FF Scala Italic both feature a steeper slope.
Anwar is a type designer and letterer himself, and he contributed more to Reflections on Islamic Art than just its typesetting. Each chapter opens with a very short text in a thin, dotted-line constructed Arabic script that he designed for the purpose. The hard geometry and ‘digital’ nature of Anwar’s lettering in these books contrasts well with the pen-shaped form of FF Seria Arabic.
Regarding his design, Anwar wrote to tell us that he aimed ‘to reflect the architecture of the Museum of Islamic Art, an environment with an amazing collection of unique and intricately wrought works of art’. He continued, ‘the book is the building and its design is the architecture; its job is to maximize the impression the words and the images make on the viewer/reader. My design is rooted in the grid system traditions evident in the layout of Qur’anic and other Islamic manuscripts. Margins are wide and generous to allow the eye space to appreciate the variant detail of each piece of work. The reduced colour palette for the book is an extension of the architectural aesthetic I.M. Pei established for the MIA building.’
Great care has been taken to ensure that the harmony achieved and evident in an
Arabic spread is reflected with equal beauty in a Latin spread – with particular elements
reflected/reversed to conform to Arabic and Latin reading patterns. The grid layout for internal spreads is based on the proportions of early Arabic manuscripts, which characteristically featured expansive borders. Although these borders were often used for annotation, commentary and illumination, in many cases they were left blank, allowing greater emphasis to be placed on the content centralised on the page.
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
BERLIN, GERMANY, April 2009 — FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Dingbats 2.0 OT — The original FF Dingbats font package was designed in 1993 when there was no other symbol font available except Zapf Dingbats. The FF Dingbats package was the first with some 800 symbols and icons from the world of modern communication: faxes, ISDN, disks, keyboards … all absolutely usable. But over the following years times have been changing and quite a lot of pictograms for office communication are no longer needed – no-one uses floppy disks nowadays – or simply changed their appearance, so Johannes Erler and Henning Skibbe started a complete redesign two years ago.
All pictograms have now been revised and adjusted according to the current stylistic vocabulary. Arrow and number fonts have been reworked and extended as well. All symbols have been sorted into clear categories, and the font “Strong Forms” includes the most needed symbols in a bolder version. Besides this, many symbols can be layered and coloured via an easy-to-use layering feature (see FF Dingbats 2.0 info guide PDF). All this makes FF Dingbats 2.0 a state-of-the-art font package again and probably the largest collection of contemporary symbols and icons for office communication.
FF Milo® was started in 2000 with the goal of a compact typeface with very low ascenders and descenders. Because of its compact design FF Milo is a workhorse typeface suitable for magazine and newspaper typography. It has modern bones with a touch of detail for distinction (especially in the italics). The name Milo is from a resilient grain and that's why the designer chose this name for the typeface. He wanted it to be a basic usable font like corn or grain is to any culture.
With the help of Paul van der Laan for kerning, spacing and production, Michael Abbink developed FF Milo Serif as a companion to the Sans, but it is also perfectly suitable as a stand alone typeface or used together with any other sans serif typeface. Like FF Milo, FF Milo Serif is a text face with the utmost legibility, perfect for setting newspapers and magazine copy. Although rooted with historical attributes it is truly a contemporary face. FF Milo Serif comes with SC, TF, OSF, LF as well as a wealth of ligatures. Like the Sans, FF Milo Serif is also a resilient grain!
FF Seria® Arabic, originally called Sada, by designer Pascal Zoghbi, is an Arabic type companion to FF Seria, designed in the nineties by Martin Majoor. The Arabic type family was part of the Typographic Matchmaking 01 project organised by the Khatt Foundation. Echo, which means “Sada” in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada/Seria Arabic is the echo of FF Seria. FF Seria Arabic is a young crispy type based on the Arabic Nasekh style. The Regular and Bold are text typefaces, the Light is both display and text type, while the Black is purely a display typeface.read more
The International Society of Typographic Designers, with jurors Derek Birdsall, Anita Boyd, David Carson, Fred Flade, Chris Foges, Vince Frost, Lucienne Roberts and Erik Torstensson, have chosen two of our FontFont families for ISTD International TypoGraphic Awards 2001. The awards ceremony took place in London on November 27th, 2001.read more
ATypI (Association Typographique Internationale) sponsored the international competition of type design bukva:raz! as a special contribution to the United Nations Year of Dialogue among Civilizations 2001. The name of the competition translates as “letter:one!”; bukva is the Russian word for “letter” (as in letterform) and raz for “one” (as in two thousand one). Bukva:raz! is aimed at promoting cultural pluralism and encouraging diversity, interaction and co-operation in typographic communications. Type designers from many regions and nations, of various ethnic, linguistic and cultural backgrounds had been invited to contribute to the contest. We had asked our FontFont designers to submit their FontFonts and here are the winners:read more