News: Tagged as Free FontFont
The Norwegian agency Fasett, who are responsible for the corporate identity and communications for Gladmat (Norway’s largest food festival), used FF Scuba as the corporate font for this year’s festival.
The campaign for this year’s event combined colourful and playful ‘food faces’ with bold statements.
We spoke with Benjamin Hickethier from Fasett to find out more about the project and their choice of typeface ...
We chose FF Scuba as a new corporate font for Gladmat because we were looking for a fresh new approach, in an evolutionary modernization of the CI that was developed by Fasett more than a decade ago.
The Gladmat Team wanted to keep the old logo symbol, so we were looking for some letters that would work well with the strong image and with the theme for this year, which was fruit and vegtables.
We loved FF Scuba from the day it was released, so it was not hard to choose, we had it in the back of our heads, waiting for the perfect deployment. It’s a lovely font with all its details and overall appearance – a pleasure to look at, and to read. It comes with a lot of character, while at the same time staying well-mannered in the background, presenting message and communicated images in a sober, yet joyful way.
Technically, it’s a great pleasure of course, as with all FontFonts. FF Scuba is perfectly fit – both in print and screen.
Used on posters, t-shirts and in the below video, FF Scuba provided a great match for the project; the typeface’s friendly form lent a fresh and original feel to identity of the festival.
We think it looks truly scrumptious! You can still get your hands on the free regular weight of FF Scuba, grab it now!
Have you used a FontFont typeface in a recent project? We're always on the hunt for in-use cases and would love to hear from you, just send a quick note to email@example.com and she will be in touch.permalink
If music be the food of love, play on. If type is what voice is to speech, speak louder. Here at FontFont, we are driven by our love for type and powered by a passion for music.
Inspired by the friendly and distinctive character of FF Scuba by Felix Braden and the newest EP from the rising star Tourist; we wanted to combine both passions and explore a different way of ‘showing’ type. We are delighted to share with our video for FF Scuba.
About FF Scuba
Searching for an offline companion for Verdana and not finding the exact tone he was looking for, designer Felix Braden set off to develop FF Scuba.
It’s a legible contemporary sans with a frank, friendly, distinctive character. In small sizes FF Scuba blends well and in display sizes it rings fresh and original. It combines constructed letters — like an almost rectangular o — with dynamic strokes and other elements that refer to handwriting, lending a lively touch to the font’s truly technical roots.
For a limited time, FF Scuba Regular OT and Web are available for free download.
Will Phillips a.k.a Tourist announced his debut 7" and digital EP release on Make Mine in March 2012. Will has made a name for himself with his remixes under the name Little Loud and his mixes over the past 18 months for artists such as Ariel Pink, HEALTH, Yeasayer, and Memory Tapes were regular fixtures on many a music blog. Under his new moniker, Will loves to use analogue tapes and field recordings to create a melodic sound that really resonates when listened to alone or on the dance floor.permalink
Felix, your Internet-persona is tied up with the identity of one of your websites, Floodfonts and your twitter. Your website’s been around for about 12 years now. I remember seeing your free fonts for the first time around in 2004. Will any of these be upgraded or expanded to commercial families some day?
I actually have the most fun with the first 52 characters when designing type. The chance that I extend an old alphabet is therefore slim as there only remains the hard and fiddly work. It must therefore be for a special occasion. Just recently Typekit approached me and asked whether they could offer Moby, Hydrophilia and Bigfish in their library and that was an opportunity. Their idea to look after the complete hosting of webfonts so that the web designer doesn’t need to worry about it, really enthused me. I still offer the extended printer fonts with the additional character sets free on my website.
FF Scuba is your first typeface in the FontFont library, but you have released other families through Fountain, URW++ and Volcano Type. What was it like working with FontFont? How are we different from other foundries?
Without wanting to suck up, the collaboration with FontFont was super. The intensity of the mentoring and the effort that was invested in the development of FF Scuba is really remarkable. Big thanks again to Andreas Frohloff who made numerous suggestions for corrections and who brought the font a gigantic step forward. During the two years that we worked together on FF Scuba I learnt so much about type design.
You studied graphic design at the FH Trier. In the past few years, the German type design scene has gotten to know several Trier students and graduates through their attendance at Typostammtische (German type meet-ups), or from the work of other designers like Stefan Hübsch and Sascha Timplan. Did you have any classes in type design while you were a student?
Unfortunately, type design wasn’t offered as a subject whilst I was studying in Trier. As far as I am aware this hasn’t changed. However, there is a great Typography teacher, Professor Andreas Hogan, who encourages students to engage with type design. He really encouraged me with the design of my alphabets. One had at least the possibility in Typography to design a typeface as a term paper.
Even before you started your studies, you had already created your first digital fonts. Were these typefaces just 1990s-era design explorations for you – like so many graphic designers who discovered Fontographer at that time – or was it something more deep … like love at first sight?
Somehow both – in 1993 after completing my secondary school studies I wanted to absolutely design and study Graphic Design. Without having a proper perception of what it was like, I looked for an internship at an advertising agency. With luck I got a position at Gaga – an ambitious Design office where exactly the experimental atmosphere of departure of the 1990s prevailed and opened for me a whole new world. There I met the designer Jens Gehlhaar who was before my studies a really good teacher in type design. The fact that Fontographer was at that time really hip, and every designer ‘played about’ with it, was of course helpful to reduce inhibitions. I created my first alphabet within a week for the demo tape of a friend’s metal band.
FF Scuba outline tests
Aside from typeface design, you also work as a graphic designer. How would you best describe yourself? As a type designer? A communications designer? Or are specific labels within design not something that you identify with?
I am actually very happy that I don’t just do type design and also engage with editorial design, corporate design and illustration. The excursions into other design areas have always brought me a great deal and also the exchange with other people in other disciplines. If I was to classify myself then it would be somewhere between illustration and typography. My designer roots lie definitely in drawing and type is the topic that in the past few years has interested and engaged me the most. Lastly, I think that drawing and designing with type are very helpful skills if someone wants to draw letters and logotypes – so what I do now is inevitably a result of my background.
You live and work in Cologne, a city on the Rhine River and one of the oldest settlements in Germany. What is the design scene like there? Do you think that designers in Cologne work in a different manner than in other big German cities?
I don’t know, whether it is because of the times of Behance or the immense opportunities to exchange and share amongst designers, whether there actually is something like country specific styles, let alone city specific styles.
For me, the direct exchange with other designers is very important. At the moment, the type design scene in Cologne is very small and I don’t think I can find a typical Cologne style. We rarely get together for a Typostammtisch, but when we do, I spend weeks getting excited about it. There are always really interesting guests there, who are a great source of inspiration to me, such as Indra Kupferschmid, Dan Reynolds or Alex Rütten. Sometimes, I look somewhat wistfully at the design scene in Berlin and Munich, where every week there are opportunities to meet up.
Yet when it comes to the history of the town, I find that Cologne is extremely interesting. As soon as you dig a bit deeper into a town area you find something spectacular. Alone in the Romano-Germanic Museum you can find so many magnificent classical typographical finds that it is really worth a visit.
When you compare your first sketches on paper with the final release-version of a typeface, how much of the original feeling remains in the finished design?
When it came to bringing FF Scuba to market, I fished out some old sketches and was very surprised at the similarity that the end result had with the first drawings. The double page spread ‘cobang’ is actually the first sketch that I did for FF Scuba (at that time it was called Adria). I removed some of the oddities, such as the tapered ascenders but other than that it is very close to the release version, isn’t it?
I’ve read that part of the inspiration behind FF Scuba was to create an offline companion for Verdana. In which way do you think that FF Scuba is most similar to Verdana, and where is it the most different?
I think the biggest similarity that FF Scuba has with Verdana is at a distance or on a screen in small pixel sizes. Also when it runs closer together and the letters are narrower- you can compare Verdana and FF Scuba in size 12 in TextEdit, the fonts are differentiated through a number of letters such as I, J or M but the appearence is very similar.
As soon as the letters become bigger the details such as the tapered ends of the stems or the almost rectangular o are noticeable and then the two typefaces bear little similarity. Also with the bolder weights the differences are particularly apparent: with Verdana Bold the horizontals – through the orientation on the pixel – are only half as heavy as the verticals, FF Scuba doesn’t have this contrast, the horizontals appear study/massive.
Are there any specific design applications where you think that FF Scuba would be a particularly apt choice for graphic designers?
I think FF Scuba has a lot of character, especially for a sans serif optimized for long body texts. That makes it a good tool for branding. I believe that with FF Scuba I have succeeded in allowing a warm, human aspect to flow into a very dry technical design. A contrast that in my opinion also illustrates the uniqueness of the typeface - therefore is FF Scuba perfectly appropriate for firms with a high technical affinity but that see people at the heart of their business for example in the media or computer industry.
Felix Braden’s correction notes
Every type designer has their secret dream client. If you had to pick one “long shot” area for FF Scuba to be uses, where would that be?
Like many other type designers, I was shocked by the announcement a few years ago that Ikea was using Verdana as their corporate font and with that placed comfort and cost-saving above all design criteria. I can’t quite exactly remember, but I think at this time I began working on FF Scuba. I would be really excited if Ikea used FF Scuba as the corporate font for print media and Verdana for the screen – I don’t mind if they also used it for correspondence.
Aside from FF Scuba, do you have a favourite FontFont?
If you were to give someone starting out in typography one piece of advice what would it be?
Don’t hesitate, just do it! With type design, plan-less work sometimes avenges itself later, but you don’t have to start with a super family.
Felix Braden studied communication design at the Fachhochschule Trier with Prof. Andreas Hogan and worked as assistant of Jens Gehlhaar at Gaga Design. He was one of the founders of Glashaus-Design and has worked as Art Director at MWK and freelance type designer in Cologne since 2003. In 2000, he founded the free font foundry Floodfonts and designed numerous typefaces which are available as webfonts via Typekit. His commercial fonts are distributed by Fountain (Capri, Sadness, Grimoire), URW++ (Supernormale) and Volcanotype (Bikini).
For a limited time, FF Scuba Regular OT and Web are available for free download.permalink
We are delighted to announce the expansion of our Mobile FontFonts for use on the Android app development platform. Now the design process for creating both beautiful Android and iOS applications is as seamless as possible.
Just like webfonts, mobile fonts protect brands and help set apps apart from the crowd. Following in the footsteps of the splendidly screen-optimized Office and Web FontFonts, Mobile FontFonts enhance the user experience. They allow designers and developers to break from the mold of system fonts and give their products some personality. 15 selected families are available in packs with 4 fonts each.
Licensing for Mobile FontFonts suits the needs of the app developer. A team of up to five developers can share one license for their app portfolio. There’s no time limit on the license, nor annual royalty requirements, just a one-time license fee.
Try for Free
FontFont offers a free download of FF Basic Gothic Mobile Pro Black Italic for developers to test in Android and iOS apps. Visit MobileFontFonts.com to download. You will also find sample codes for both platforms and an easy manual to use Mobile FontFonts in less than 5 steps.permalink
Introducing the FontFont Library Tiers: Premium, Collection & Free
In an effort to minimize the amount of time customers spend choosing fonts, FontShop International has split its award-winning type library into three distinct tiers, dubbed the FontFont Library Tier system.
The FontFont® brand debuted in 1990, built around one simple premise: Erik Spiekermann and Neville Brody conceived of a library of innovative digital typefaces created by designers for designers. FontFont launched with a handful of types the founders commissioned from their colleagues and up and coming young talent. From those humble beginnings, the FontFont library has grown to include 750 families representing the work of more than 160 designers worldwide.
FontShop International carefully developed the FontFont library to meet the demands of type users with diverse needs. Hand picked twice yearly by the FontFont type board—helmed by Spiekermann, a self-proclaimed “typomaniac”—each typeface in the library has been chosen for aesthetic appeal, innovation, and craftsmanship. FontFonts are technically perfected and thoroughly road tested before release, ensuring that designers have the best possible experience when using these high-quality fonts in their typographic projects.
With 2,500 typefaces and counting, FontFont has become one of the largest contemporary type libraries in the world. Having so many designs to choose from can be both a blessing and a curse; leisurely sifting through thousands of fonts online is pleasurable for any type lover, but it can be a daunting task at 3 a.m. when deadlines loom.
Enter the FontFont think tank: FSI’s dedicated team of type fanatics and technical gurus were determined to make font selection as easy as possible. After countless hours spent on research and in talking with type users, their mission was to minimize the amount of time each customer had to spend on selecting fonts. To achieve this goal, they decided to split the FontFont library into three distinct tiers.
FontFont Premium Tier: The Most Popular FontFonts
FontFont’s Premium Tier includes today’s most popular FontFonts and will feature the latest releases going forward. This tier, the largest in the new system, showcases international favorites like Albert-Jan Pool’s FF DIN®, FF Scala® by Martin Majoor, FF Dax® from Hans Reichel, and Spiekermann’s FF Meta® and FF Unit®.
Premium Tier FontFonts anchor the library in three formats to address every need — OpenType, Offc, and Web.* By next summer, all fonts in the Premium Tier will feature Pro language support, including Cyrillic, Greek, Hebrew, and Arabic in some designs. Customers are not restricted to licensing full packages in this tier, but may choose single weights from these bestselling type families.
(*Offc and Web versions of some Premium Tier FontFonts are still in development and will be available soon.)
FontFont Collection Tier: Extraordinary Pricing and Hidden Gems
The FontFont Collection Tier is a selection of economically priced typographic treasures, including Xavier Dupré’s FF Reminga™, FF Mambo® by Val Fullard, and experimental designs like the FF FUSE Classics™. Visitors to the website will enjoy simple, easy-to-use navigation when browsing typefaces in the Collection Tier.
The Collection Tier is offered in full-family packages only—fonts are available in OpenType with Standard language support (with a few key exceptions). All packages in this tier are affordably priced at less than 100€/$, making it easier than ever for customers to build a quality type collection.
FontFont Free Tier: Giving Something Back
As a bonus to loyal customers, FontFont now offers a variety of free typefaces, including Paul Sych’s FF Dig, Dog, Hip™, FF Peecol™ from Steffen Sauerteig and Kai Vermehr (Eboy), and Timothy Donaldson’s FF FancyWriting™. Free Tier titles contain the complete family in a single package, and are available in OpenType with Standard language support.
Font Surfing Made Simple
FSI is continually working to improve the font shopping experience. In conjunction with the introduction of the FontFont Library Tiers, FontFont.com has been enhanced with new font search and selection functions.permalink
The first Dingbats collection all writers and social media typists waited for is finally introduced, with contemporary symbols that follow a common graphical language: Erler Dingbats. The best of all, it’s free.
Erler Dingbats is a complete, contemporary quality font that covers the full encoding range for dingbats (U+2700—U+27BF) for the first time in the entire history of standard Unicode.
To help support and encourage the use of the unicode standard, publisher FontShop International is giving away the Erler Dingbats completely free of charge. Erler Dingbats were created for everyday communication purposes, including a wide range of popular symbols and pictograms such as arrows, pens, phones, stars, crosses and checkmarks, plus 3 sets of cameo figures on round backgrounds. Unlike other dingbats fonts which often contain a ragtag bunch of symbols in mismatched styles, the Erler Dingbats harmonize elegantly because the drawings all adhere to a common visual language which makes them the perfect choice as the new standard for communication symbols.
Erler Dingbats is a spin-off of the distinguished FF Dingbats 2.0 family, and was designed as a special collaboration between designers Johannes Erler and Henning Skibbe. “For years I’ve been bored by the ubiquitous OS-Dingbats fonts and so I decided to design my own, based on my FF Dingbats. I’ve been using a beta version for several months and all my friends want them, too. So, I had the idea to give them away for free”, says Johannes Erler.
As more and more social media (Twitter, Facebook, etc.) and mobile devices (smartphones, tablets) are rapidly surging towards the use of Unicode, now is exactly the right time to provide this elegant, versatile set of modern communication symbols for use in tweets and status messages. FontShop International invites not only private users, but also OS developers, to include the Erler Dingbats in their font collection.
Erler Dingbats can be viewed and downloaded on http://www.ffdingbatsfont.com/permalink
FontShop International is once again leading the way in typographic technology and releasing Mobile FontFonts tailored specifically for use in iOS apps. Available at MobileFontFonts.com, the files are optimized to make the design process for making beautiful iOS applications as seamless as possible. Mobile FontFonts are optimized for screen and licensed for use on mobile devices. When designing a native app for a mobile device, like iPhone, Mobile FontFonts allow the designer to specify fonts outside the options that come preinstalled. Mobile FontFonts are presently supported in iOS only.
Introducing Mobile FontFonts
Just like webfonts, mobile fonts protect brands and help set apps apart from the crowd. Optimized by hand for the device screen, Mobile FontFonts enhance the user experience. Mobile FontFonts let designers and developers break from the mold of system fonts and give their products some personality. With language support included, Mobile FontFonts allow for consistent, subtle branding to a global audience. 56 mobile fonts from 15 popular families are available in 14 packs with 4 fonts each.
Licensing for Mobile FontFonts serves the needs of the iOS developer. A team of up to five developers can share one license for their app portfolio. There's no time limit on the license, nor royalty requirements.read more