News: Tagged as FF Yoga
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