News: Tagged as In-use

FF ThreeSix featured in Outcast Editions’ iPad architecture monographs

Bilgola House set in FF ThreeSix

One of our newest FontFonts is featured in a brand new interactive iPad book by Outcast Editions. Founded by photographer Richard Glover, architect Virginia McLeod and graphic designer Hamish Muir, Outcast Editions is an independent publishing company, who specialize in creating interactive digital books on contemporary architecture and design. Their latest book is the third in their series Detail in Contemporary Australian Architecture and gives a comprehensive overview of Bilgola House by Tzannes Associates and includes photographs, video, floor plans, sections and construction drawings. 

The house, located near Bilgola Beach on Sydney’s Northern Peninsula, has three bedrooms, a play room, office and swimming pool in addition to shared living, dining and kitchen areas. The house is constructed from concrete, glass, steel and timber. The architects, Tzannes Associates, received the Australian Institute of Architects’ highest award for outstanding residential architecture for Bilgola House in 2010. Bilgola House Book set in FF ThreeSix

The book is set in FF ThreeSix, a typeface designed by Paul McNeil and Hamish Muir and released as part of FF 60. FF ThreeSix is an experimental optical type system consisting of six typefaces in eight weights, including four additional monospaced weights. Working within the strict rules of geometry, MuirMcNeil Design Systems set out to generate simple typographic forms which emulate traditional type design principles, where a wide range of almost invisible compensatory optical tricks are used to create the illusion of evenness in the basic fabric of text. 

Used throughout the books and on the Outcast Editions website, FF ThreeSix really complements the beautiful photography and design. Bilgola House Book set in FF ThreeSix

To hear more about the story behind FF ThreeSix have a listen to our first ever Talking Types podcast, with Erik Spiekermann interviewing McNeil and Muir about FF ThreeSix.

Win an Outcast Editions book for iPad

You can get your hands on one of Outcast Editions architecture books for iPad. All you have to do is follow them on Twitter and RT their tweet about the competition – the giveaway ends Friday the 14th of December.

FF ThreeSix

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In-use: FF Kievit helps you get where you need to go

FF Kievit in use by Hofstede Design

The Endeavour Hills Shopping Centre – located outside Melbourne, Australia – implements Mike Abbink’s FF Kievit typeface family into its wayfinding and environmental graphics. Hofstede Design began work on the project in late 2006. A symbol incorporating two interlocking ‘E’s forms the central element in their flexible and wide-ranging brand identity program. We caught up with the studio to ask them a couple of questions about the project.

FF Kievit

How did you find working with the typefaces?

The brief was to develop an identity and signage system for a shopping centre on the outskirts of Melbourne. We were commissioned by the design manager who oversaw all aspects of the centre’s redevelopment. We chose FF Kievit because we needed a versatile typeface which could work both in printed material, and also on the signage component. FF Kievit has an ‘approachable’ feel, and we felt it provided just the right mix of legibility and individuality. I think there are some default choices for signage (e.g., Frutiger, Helvetica, etc), and we wanted to do something a little different as well.

On your website, you mention that you are first and foremost graphic designers. Indeed, your portfolio reflects a very considered and real approach to design. What drives your head and hand to keep your originality and inspiration flowing?

I have been working for over twenty years now. Finding inspiration and originality gets harder and harder. As a studio, we strive for individual solutions for our clients, but the reality is that nothing is truly original. We do our best.

FF Kievit and FF Info

FF Kievit is a warm, open sans serif typeface, designed by Mike Abbink and extended by Paul van der Laan. The initial work on the typeface began in 1995. After years of development, the family was first released in 2001. The letters’ proportions make the typeface ideal for use in signage systems. Like many classic faces in this category, designers have found over the years that these forms let in enough light to allow the typeface to work in small print sizes, too.

Some aspects of the Endeavour Hills Shopping Centre design system are set in another FontFont typeface with a signage pedigree of its own: FF Info. In the image above, the pictograms and the arrows come from the family’s symbol fonts FF Info Pict. These were originally designed for use in the airport at Düsseldorf, Germany.

FF Kievit and FF Info in use by Hofstede Design

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Best Collection FontFonts for advertising and packaging

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. 

FF Motel Gothic and FF Care Pack

FF Care Pack and FF Motel Gothic

Image: Paul Hudson/fStop (793034)

FF Maverick

FF Maverick

Image: Angelo Stitz

FF Clair

FF Clair

Image: Halfdark/fStop (450017)

FF Sale

FF Sale

FF Matinee Gothic, FF Golden Gate Gothic and FF Catch Words

FF Catch Words, FF Matinee Gothic and FF Golden Gate Gothic

Image: Larry Washburn/fStop (1129036)

FF Dolores

FF Dolores

FF Jambono

FF Jambono

FF District

FF District

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.

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Best Collection FontFonts for logo, branding and corporate identity

We are confronted by logos and branding on a daily basis and yet some of the most memorable logos are composed of just a typeface. But how do you choose the right typeface to fit the face of your brand? Making sure the face is recognizable, useable and at the same time interchangeable, is by no means an easy task. In the fourth installment of our Collection Tier Blog series, we bring together our top three tips and a selection of FontFonts from our Collection Tier that are suitable for logo, branding and corporate identity projects.

FF Typeface Six

 FF Typeface Six

FF Marten

FF Marten

FF Moonbase Alpha

FF Moonbase Alpha

FF Govan

FF Govan 

FF Zapata

FF Zapata

Frank Sinatra School of Art, design by Pentagram


 

Memorability: Your logotype and your corporate typefaces don’t have to be the same – but they should harmonize, visually. Make your logo unique. Many logos use no type at all, but every logo will be paired with text. Your branding and CI faces can be individual, too, but their primary function is to be recognizable and readable. Choose selections that differentiate your brand from competitors, while still appearing clear and ‘corporate’. Although many companies rely on modern or humanist sans serif typefaces for their identities, your brand’s face could be a serif.

 

Usability: Does your typeface family have enough weights and widths to support a strong typographic hierarchy? Consider how much differentiation is necessary between the elements in your documents, both for internal corporate communications and external advertising. A superfamily, with sans and serif variants, may be an apt choice. Families with optical sizes for text and display help, too – a logo and the text around it should function well in virtually every size and resolution.

 

Interchangeability: Corporate fonts are rarely used in isolation. Depending on a company’s communication strategy, your faces are likely to be seen together with other types, too. How well does your selection play with others? If your corporate fonts have to degrade to standard fonts in certain settings – like online or in office memos – can your design cope with this substitution? Which typographic extras typically appear in your corporate documents (e.g., small caps, tabular figures and fractions)? Consider the fonts’ default glyphs, as your fonts may also be used in office applications that don’t easily support OpenType features.

 

Did you miss out on our previous Collection Tier posts? Have a look at our tips and picks for Music and Nightlife, Sports and Book Text. Next up in our series, our Collection Tier selection suitable for Advertising and Packaging. 

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.

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In-use: FF Netto is truly out of this world

FF Netto in-use

Have you ever wanted to own something that was truly ‘out of this world’? Thanks to a new venture, Treasures from Space, you can now purchase your very own piece of heaven, brought down to earth. Their website sells authenticated elements that have fallen to our planet from outer space. The company relies on our very own FF Netto typeface for its visual identity. 

FF Netto in-use

Treasures from Space uses FF Netto both in print and online. Something of a reduced, space-aged design in its own right, FF Netto really shines in this multi-media branding application. We caught up with Adrian Friis, who explained his thinking behind choosing FF Netto:

‘Treasures From Space was launched late 2011 by meteorite collector Morten Bilet and graphic designer Adrian Friis. We wanted to put real space artefacts in the hands of people of all ages – young and old. We decided early on that high-quality and engaging packaging and marketing materials would be a key factor in giving our quirky product wide spread market appeal. To market the product, a strong brand identity would also be needed, and FF Netto was chosen for its utilitarian and contemporary look that works well for copy-text, the logo and in charts, diagrams and infographics. In addition, we were looking for a typeface that could also be specified via Typekit for our website and FF Netto has served our purposes very well both online and in print.’

FF Netto in-use

FF Netto’s letters are monolinear, but also look simple and honest. They almost appear as if they could have been constructed out of wire; in a way, this makes it reminiscent of the old NASA logo. Perhaps this association subtly played a role in its selection for this identity. FF Netto in-use

About FF Netto

The award-winning FF Netto is 21st century sans serif family designed by Daniel Utz. Starting from the idea to develop a no-frills typeface with as little historical ballast as possible, Utz reduced letterforms to their characteristic basic shapes, removing all dispensable details. FF Netto uses its own geometric construction principle, giving balance to the design as whole. The FF Netto family also includes a series of icons and arrows. These symbols are useful when typesetting text for information and orientation systems. Their weights and size are adjusted to match their respective alphabets.

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In-use: FF Unit in action at the Aviva Stadium

FF Unit

Aviva Stadium’s signage system is set in FontFont’s FF Unit typeface, designed by Erik Spiekermann and Christian Schwartz. Aviva Stadium hosts football and rugby matches, and is also a venue for concerts and other activities. Located in Dublin, Ireland, the stadium opened in 2010 and was designed by Populous in association with Scott Tallon Walker. The signage was designed by Populous Activate. We spoke with Alex Dale, a Senior Graphic Designer in their London office, to get more details about the project.

‘Before anything else, I wanted to use something that was inherently well-crafted’, Dale told us. ‘I wanted to avoid the safe signage choices, and select something a little more unusual and characterful. A unique building deserved a unique typeface. Overall, FF Unit lends itself to alphanumeric information systems – where numerals and letters are seen in isolation – for several reasons:

FF Unit in-use

‘The medium weight is the ideal boldness to reverse out of a dark background, while having all the other weights is useful for things like maps, where you need to communicate lots of different levels of information .

 

‘The default overall fit (or letterspacing) works ‘right out of the box’, in that it's relatively loose compared to some other fonts. A pet peeve of mine is typography on signage set too tight, or not attended to at all.

FF Unit Map 

‘The capitals are recognisable in isolation, which was really useful when it came to labelling the entrances. For instance, the ‘I’ has serifs top and bottom that disambiguate it from a ‘1’ or an ‘l’. Maybe not critical to the success of the system as a whole – people will find their door, eventually – but looking after these things communicates a broader concern for clarity and unambiguity. People pick up on these things and feel looked after.

 

‘The typeface includes gorgeous numerals, with tabular versions, which are ideal for setting number-heavy information. 

FF Unit

‘The alternate glyphs, which we used on the prohibited items signage, let us set nice big, heavy, imposing titles quite tightly, like a proper newspaper headline.

 

‘FF Unit has arrows for all the weights, built right in! A godsend for directional information.

 

‘The characters are fairly tall and narrow, which suited the tall, narrow proportions of the signs. We wanted to minimise the footprint of the signs themselves, because pedestrian space is always at a premium in these kind of environments, while still being readable from a good distance.’

FF Unit

FF Unit

FF Unit is the grown-up, no-nonsense sister of Spiekermann’s FF Meta typeface. FF Unit has been extended with two companion families: FF Unit Slab and FF Unit Rounded. Spiekermann himself is no stranger to signage systems. During the early-1990s, he designed the reunified Berlin’s transit system signage, which uses the FF Transit typeface. FF Info was created for a redesign at the airport in Düsseldorf.

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Best FontFonts for Book Text from our Collection Tier

They say that you can’t judge a book by its cover. Yet the choice of a typeface in a book can have a fundamental impact on the reader’s experience of the book. If a book’s text is too tight it can be tricky to read, if parts of the letters are too thin they can disappear off the page. In the third installment of our Collection Tier blog series, we tackle the typographic heights of book text and offer some handy hints and tips as well as a roundup of our chosen picks from our Collection Tier suitable for book text.

FF ParableFF Parable

FF RemingaFF Reminga

FF ParangoFF Parango

FF Oneleigh

FF Oneleigh

FF TibereFF Tibere

FF Page

FF Page

In long passages of running text – either in a book or magazine – make sure to select a typeface whose letters are not too tight. Maintaining an even rhythm is one of the most important factors in a good text face. The white spaces between the letters of a word or line should be about the same size, visually, as the white space inside the letters (like the letter ‘n’). In display faces, letters can be spaced much more tightly together.

Make sure that the thin strokes are just right! When you are printing small, the thickness of the thin parts of the letters must still be thick enough on the page so that it does not break away. Book faces tend to have some degree of contrast between thick and thin strokes. Just remember that the thick strokes should not be too thick, and that the thin strokes should not be too thin. Display types can pump up the contrast a lot more than text faces should.

Check the fonts’ OpenType feature availability. In immersive reading environments like books, oldstyle figures are both elegant and helpful. Lining figures can form a dark block, disturbing the even flow of a text. Small caps can be useful for acronyms, etc. – they help maintain a text’s consistent rhythm, too. Aside from making sure that the ‘f’ doesn’t collide with letters that come after it, ligatures aren’t really necessary in book text sizes. In display applications, though, ligatures can add a great note to a design. Larger-sized text allows plenty of room for ligatures to call attention to themselves.

Did you miss out on our previous Collection Tier posts? Have a look at our tips and picks for Music and Nightlife and Sports. Next up in our series, our Collection Tier selection suitable for Corporate Identity, Branding and Logos. 

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.

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In-use: ElektroBIKE, powered by FF Milo and FF Milo Serif

ElektroBIKE

Fans of e-bikes are a growing and devoted group. A publication aimed at these readers presents an opportunity to implement a typeface with a unique voice. When ElektroBIKE – a new German magazine – launched in 2011, it choose FF Milo and FF Milo Serif for its audience.

FF Milo and FF Milo Serif

FF Milo Sans

The magazine’s art directors haven’t fallen back on stock trends with their typography (like ‘sans for headlines, serif for text’). While most of the body text of the magazine’s articles are set in FF Milo Serif, the sans serif FF Milo family is used for much of the additional editorial information. Many of the magazine’s headlines – including most of the very large ones – are also seriffed. Both of the FF Milo families are really more like cousins than separate designs. They are both text faces, too, especially the FF Milo Regular and FF Milo Serif Regular fonts. 

Since ElektroBIKE keeps its headlines ‘in the family’, their pages rely on the full range of FF Milo and FF Milo Serif fonts. Including 30 weights in all, these two families make use of true italics, instead of obliques. FF Milo Serif Extra Bold Italic and Black Italic are both used in particular to set many of the magazine’s more dynamic headlines. When these heavier fonts are used, the high contrast between the letters’ thick and thin strokes creates a great effect. FF Milo in ElektroBIKE

ElektroBIKE FF Milo in close up

Just like most text faces in the FontFont library, FF Milo and FF Milo Serif include numerous figure styles. In the article pictured above, FF Milo’s oldstyle figures are used not just to add structure a list, but to give it visual power, too.

Almost all of ElektroBIKE magazine relies on FF Milo and FF Milo Serif. Flipping through the magazine, you only consciously notice other typefaces when stumbling across advertisement pages. The magazine’s nameplate is in a different typeface: Monotype's Neo Tech. This choice sets it apart from the text and headlines, and perhaps was made because of the technical – or electronic – nature of the subject matter.

Ligatures in action FF Milo

FF Milo Serif ligatures

We were pleased to see how ElektroBIKE implemented FF Milo Serif’s typographic features, too. The typefaces include several discretionary ligatures that may be accessed through OpenType. In the images above, you can see c-k and s-t ligatures in the ‘Packliste’ headline (packing list, in German), as well as a t-i ligature in ‘Südtirol’ (South Tyrol). None of these ligatures are linguistic or typographic requirements, but art directors know what sort of accent they can lend to large text.

 FF Milo and FF Milo Serif

The award-winning FF Milo and FF Milo Serif typefaces were designed by Mike Abbink and Paul van der Laan. The FF Milo family includes nine weights, ranging from Thin to Black, while FF Milo Serif is available in six weights, from Regular to Black.

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In-use: FF Scuba at Norway’s largest Food Festival

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.

 FF Scuba in-use: Gladmat

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.

 

 Gladmat logo using FF Scuba

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.

 FF Scuba in-use Gladmat flyer

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.

FF Scuba in-use Gladmat advert

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 lucy@fontfont.de  and she will be in touch. 

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In-use: FF Tundra featured in Peek & Cloppenburg

FF Tundra is now a trendsetter!

FF Tundra for Peek & Cloppenburg

Peek & Cloppenburg KG, the international fashion and lifestyle retailer have recently relaunched their online presence. Part of the new design includes one of our newer typefaces, FF Tundra.

The Hamburg-based brand and e-commerce agency Medienwerft was responsible for the Peek & Cloppenburg project. At the heart of the redesign is the positioning and presentation of Trendmagazin, an online and print publication that features seasonal trends, the absolute must-haves and exclusive deals and offers. FF Tundra Web Extra Light Italic is featured through the publication and on the Trendmagazin section of the website.

FF Tundra for Peek & Cloppenburg

What is particularly noteworthy about the use of Ludwig Übele’s FF Tundra in this project is the contemporary elegance of the italic that manages to master the high demands of the fashion industry. It is present when it is the central point of focus, yet it also steps discreetly into the background when needed. A perfect model that is certainly en vogue for more than just one season.

Have a look at all in-use examples of FF Tundra.

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