News: Tagged as FF Yoga
Tell us about your recent work in the FF Yoga® family.
In my previous FontFonts like FF Absara® or FF Sanuk®, I draw a wide range of weights because this is a different exercise to draw a hairline and a fat weight and both are really exciting; the line versus the mass. I feel like Botero and Giacometti at the same time.
In FF Yoga, the initial family was basic, a regular and bold with italics, in serif and sans. At that time, I thought that a small family was useful enough. It was primarily to be used in books. Actually, it seems that to reach a maximum number of uses, not only book design but also corporate identity, magazine and packaging work—in a word, to be really versatile—a type family has to span a wide range of weights. That’s the reason I designed lighter cuts as well as a medium one. These new cuts gave me a fresher view on this family and I assume that FF Yoga is now much more interesting to use. I kept some contrast in the hairline, which is not a real hairline, but that gives it a feminine touch and a distinctive sensibility in display use. The regular weight was slightly dark—I’ve prepared now a light weight suitable for short texts.
New FF Yoga weights are set in black.
New FF Yoga Sans® weights are set in black.
What initially caused you to travel through Asia? What led to your decision to live there?
This is the combination of two different things. The first was to try a different life from what we know in developed countries, to stop the monotony of a modern life in a big city like Paris. In French, we call that metro-boulot-dodo, which literally means subway, work, sleep. Initially, life in Cambodia was really full of freedom for me even though salaries are very low, but life was really exciting. Now, many things have changed here. I still like living here and the idea of going back to France full time is a bit difficult for me. The second reason was directly linked to my family since my great grandfather arrived in Indochina in 1904 and my grandmother has lived there about 50 years until the fall of Phnom Penh in 1975. By the way, my grandfather is buried in Phnom Penh. I also have a Cambodian aunt who divides her time between Paris and Phnom Penh. Since I was a kid my parent’s house has been full of Cambodian objects and photos, so Cambodia and my family has a long history. I can say that the purpose of living in this country was the discovery of my father’s country of birth.
What do you collect?
From very young I collected posters, especially movie posters. I have a few hundred huge old French posters from the 1930s and 40s printed in lithography, and also some recent ones from Poland and Japan. Most of my collection is in France. I also took an interest for a few years in illustrated books from the 1920s to 40s with wood engravings or etchings and set in letterpress. The Art deco period is the golden era for the illustrated book. I’m very touched by the work done by these book artists and printers who spent all their energy to produce these masterpieces which represent the best connection between creativity and technique. So, we can say that paper is important for me and I deplore that it’s not the case in Southeast Asian cultures, contrary to western or Japanese civilization.
How do things such as the local people, culture, or language show up in your work?
My culture is western and French before all. I like to observe things or people around me but this is difficult to know how it can show up in my work. A long time ago I did some fonts inspired by some shapes I saw here, but I simplified them and I’m not sure they’re any typically Asian marks left in the end result. If one detects some Asian influence in my work, this is not intentional.
Similarly, how does travel and motion influence your work?
Traveling is not a good thing for work! It’s best to stay in the same place with all one’s books and things nearby to be efficient and competitive. But it helps me to take a step back, considering my work as not really important since typography doesn’t interest anybody in Cambodia. My daily life is disconnected from my professional-online-life. I almost never talk about typography. It’s rare I work in my real Cambodian life, most of the time the purpose is to help friends. Today, I think most of my influences comes from old books I collect.
How do you develop new ideas; / Who do you discuss your ideas with?
I have a few colleagues in Europe who can be considered advisers and I ask them sometimes for their views on a project. I also ask what they need in term of a font and that may result on a custom project like Vista stencil, a typeface quickly developed just for a friend. I may also add some special glyphs or useful dingbats. Most of the time, I design the shapes I like, trying to reach the needs of the market, but this is not the first motivation. I want to be proud of all my typefaces and consider each one truly my creation. I think there is a link between all my fonts when put in chronological order. A new creation is often a reaction on the previous one. FF Yoga has some roots in Malaga, for example—we can see some similarities—but the idea of FF Yoga was to draw shapes more invisible and useful in body text.
Malaga for Emigre
More At Home With and At Work With episodes:
At Home With Erik Spiekermann
Spring is here and so is the first FontFont Release of 2015, the rather wonderful FF 69!
New Release: FF Aad
FF Aad is the first typeface to join FontFont from designer Aad van Dommelen, a former type student of Gerrit Noordzij’s at the Royal Academy in The Hague. The modern sans serif with its humanist character has horizontal ending terminals which in turn transforms the negative shape between the letters into an open and simpler forms. Resulting in clean and easy-to-read words.
His five weight family, which includes genuine italics, is both neutral and elegant in appearance making it ideal for a multitude of applications particularly when used for corporate purposes such as annual reports, corporate brochures and branding.
New Release: FF Eggo
First up we are proud to introduce FF Eggo. Created by Warsaw based designer Łukasz Dziedzic, FF Eggo came from a request for a script font with multiple weights. Rather than just the classic calligraphy styles, thus allowing the script to have multiple and flexible uses.
Unique characteristics of the font include italics (a real rarity in script form) a thin style reminiscent of a pen or a thin marker, whilst the bolder styles could have been done with a brush or market. However, whilst it takes a step away from a traditional script its uppercase works well both alone and mixed with lowercase characters.
This is a script typeface that promises not to bore you after one use, with its five weights you can use it again and again, keeping the taste but changing the flavour.
Useful for sign lettering to chalkboards, FF Eggo was designed to be flexible, and it really does what it says on the tin.
New Style Extension: FF Mark Ultra
One of our biggest releases of recent years FF Mark by Hannes von Döhren, Christoph Koeberlin and the FontFont Type Department has undergone an extension in the form of an ultra-heavy and strong weight, known as FF Mark Ultra.
Whilst it is based on the characteristics of FF Mark, the new weight FF Mark Ultra required specific designing. When drawing such extreme weights totally different design solutions are required which meant that the new weight has been created independently but retaining references to the original. Thanks to this new addition the FF Mark family the weight spectrum from hairline to the maximum possible, without loosing character.
The loud and proud weight is ideal for perfect for display settings giving maximum impact in big sizes.
New Styles Extension: FF Yoga & FF Yoga Sans
The new members give a fresh look to the family creating further more interesting opportunities for use building on its primary suggested use for book work.
During the process contrast was left in the hairline, which could be argued as not a real hairline, which shows a distinct sensibility for display uses. Whilst a light weight of the regular was created making it suitable for short texts.permalink
The ever flexible FF Yoga® adds more strings to its bow with this latest extension.
“…To be really versatile—a type family has to span a wide range of weights,” FF Yoga® designer Xavier Dupré explained in a recent interview. The now superfamily builds on the previous versions made primarily for book work, adding Hairline, Thin, Light, and Medium weights.
During the process contrast was left in the hairline, which could be argued as not a real hairline, which shows a distinct sensibility for display uses. Whilst a light weight of the regular was created making it suitable for short texts.
The new members give a fresh look to the family creating further more interesting opportunities for use building on its primary suggested use for book work.permalink
In our latest “In-Use” case we caught up with the team over at Berlin based communications agency Blumberry to chat to them about their latest project in which FF Chartwell and FF Tundra were a saving grace.
Who was your client and what was the topic of this project?
Our client was Huawei Technologies Germany GmbH, one of the leading suppliers of telecommunication solutions employing more than 150,000 people across 140 countries.
The project, named “Germany and China - Perception and Reality” was carried out in cooperation with the renowned German Institute of Global and Area Studies in Hamburg (GIGA) and the market research institute TNS Emnid in Bielefeld. Its aim was to examine the perceptions that Germans and Chinese have of one another in order to identify stereotypes before assessing them in a scientific context. In other words, what perceptions do the different nationalities have of each other and can they be refuted by facts?
Huawei had initially ran the study two years previous and so were keen to compare these results with those from the new study. However to use both lots of data to create a large, graphically and scientifically complex document that could be made accessible to a wider audience without hindering the scientific element of the content presented us with quite a challenge.
- How many people were involved?
As a team we were required to handle all aspects of presenting the survey results, and so during peak periods we had up to 15 people on the team.
Our responsibilities included the programming of the study’s microsite, implementation of a lavishly staged exhibition of the study results (in the form of an Experience Walk) and the production of collateral such as posters and bags.
- How did you decide on the layout?
The layout of the previous study was a great help. From this we were able to quickly see what worked with the data and what could be improved. We initially tried several versions of the layout, from the multi-column to single-column pages, as we wanted to avoid the graphics and text appearing to have no visible connection to each other. Instead, they should relate to one another and not inhibit the flow when reading the text. Against this background the one-sided layout proved to be the most effective.
- How did you choose the typefaces that featured in the final project? And in what way did the chosen typefaces help with production of the document?
We made the selection of typefaces very early on in the design process. We tried and tested multiple typefaces, including a sans serif typeface that is defined in the design manual. However, in continuous text weaknesses were obvious instantly – after all this particular sans serif typeface was originally designed for “way finding” and not for ease of reading when used for lengthy texts. For this reason, it was clear that we needed a serif for such an extensive study. Moving from the expressive FF Yoga and FF Tisa, we finally decided on the very reader-friendly FF Tundra by Ludwig Übele. FF Tundra’s quality in single-column layout with above-average long lines, made it the perfect choice for the study’s text.
With its focus around numerical data we hoped that FF Chartwell would save us an enormous amount of time. We had only a few weeks to build a variety of graphics from a data bundle of more than 1,000 pages, of which many of them contained graphical information and statistics.
Once we had all of the necessary data identified, extracted and excess material removed, the clear simplicity of FF Chartwell was very welcome. We would even go as far to say that had we been without this “chart tool” it would have been an even greater challenge to deliver on time.
Within a study of this size it is easy for mistakes to be missed. A graphical tool, such as FF Chartwell, helped to keep these errors to a minimum, because it works “only” by entering numbers, which as a result made the entire process less error prone.
We were also very grateful for FontFont’s detailed documentation on FF Chartwell as well as the useful tips and tricks from FontFont’s Jens Kutilek’s video tutorial. As a result even our consultants could proofread the entire study and make corrections via InDesign’s simplified mode without having to be taught about OpenType features first.
- What was the theme for the illustrations?
The style of the illustrations was closely coordinated with that of FF Chartwell – simple, clear and concise. This resulted in simple icons that clearly illustrated the content without lacking details.
left to right: Lars (concept and design), Christin (illustrations), Denise (concept) and Maurits (microsite and app).
For more information on these FontFont typefaces and further buying options head to fontfont.com.
Interview hosted by Alexander Roth, FontFont Marketing department.permalink
2011 was a bumper year of releases, from Nina Stössinger’s exceptionally successful FF Ernestine to Ludwig Übele's exquisite FF Tundra, our library is full of typographical treats for you to feast on.
To keep you up to date with the latest trending fonts, every quarter we will announce our ÜberFontFonts.
ÜberFontFonts are the rising stars of the library, that have been in demand the most during the last quarter. So now you will never miss a FontFont typographical trend!
Our ÜberFontFonts for the first quarter of 2012 were:permalink
Typographic diversity – A new era for web design
BERLIN, GERMANY, February 2010
A more diverse and beautiful web is about to unfold. The latest release of the FontFont® typeface library marks the beginning of a new era for typography – FSI FontShop® International is introducing the first ever stand-alone FontFonts for the web. Finally web designers can use professional typefaces for their projects without relying on system fonts or webfont services. This long-awaited step enables a more seamless and effective transition from print design to the web. More than 30 of the most successful FontFont families are available now as Web FontFonts, including FF DIN®, FF Meta®, FF Dax®, and FF Kievit®. More will follow soon.
BERLIN, GERMANY, December 2009 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
Xavier Dupré’s FF Yoga family is a type system conceived to work for newspapers and magazines thanks to its strong personality and good legibility. The Serif weights with their sturdy serifs are a good choice for body text, but they also serve as an original headline face with their subtly chiseled counters inspired by blackletters. FF Yoga mixes the harshness of blackletters with the balanced rhythm and round shapes of the Garalde typefaces. FF Yoga Sans is a contemporary alternative to Gill Sans and a sober companion to Yoga Serif.
FF Mister K Dingbats are the newcomers to Julia Sysmäläinen’s FF Mister K family, a script typeface based on Franz Kafka’s manuscripts. It started with Finnish illustrator Oili Kokkonen creating some pretty funny cartoon characters using letterforms of FF Mister K Regular. Soon after, the design of almost 600 pictograms was on its way. All are based on glyph parts of the Regular with which they make a very good match.read more