News: Tagged as Łukasz Dziedzic
We can gleefully declare our long awaited release is finally here! And what an interesting one it has turned out to be.
New Design: FF Antithesis
Based on the design principle of three poles, FF Antithesis is designed around the tension and dialogue between each of these. There are three members of the display family: Regular, Italic and Bold of which all relate to each other in a very high visual contrast.
The Regular member is a rather slabby serif, the Italic a connected script and the Bold a fat sans serif. Each are designed to work with each of the other two, in order to create design with high visual tension. Designed with a less is more attitude in terms of family size, Yanone has also created a contemporary dance art and music based film to accompany the typeface. Set to be launched this spring at TYPO San Francisco and TYPO Berlin, the purpose of the ten minute film is to present the typeface as more than just a typeface but as an interdisciplinary work of art.
A typeface perfectly apt for creative purposes and as part of statement pieces it looks set to become the new cool font of choice.
New Extension: FF Good
The size of our next announcement is a first for us here at FontFont.
FF Good, the upright, straight-sided sans serif designed by Warsaw based designer Łukasz Dziedzic, originally entered the library as a typeface with nine styles. However following an overhaul in 2010 the typeface jumped to 30 styles with an additional 30 styles for the titling version FF Good Headline.
Now within the FF 66 release the family has received yet another revamp making FF Good and FF Good Headline our biggest typeface family ever with a total of 196 styles between them! The newly extended family now includes seven weights ranging from Light to Ultra, and seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with matching italics and small caps for both roman and italic styles.
Due to its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the individual to pick the style best suited to their layout.
And for a extra dose of good news we can also confirm that as of the latest release the new style FF Good News will be available at the incredible price of 5 EUR/GBP/AUS/USD.
Reorganisation: FF Ginger Flamboyant
FF Ginger Flamboyant consists of Light and Regular, which add a spark to individual letters and initial capitals, vamping up the plainest of texts.
FF Ginger is an alternative to the widely-used Crillee and Serpentine faces, which are especially popular for their bold italic variants. They express speed and dynamism and are popular choices for internet providers, couriers, service bureaus, etc. FF Ginger’s Light weight and matching icons extend its typographic scope.permalink
After three jam-packed months that included another release, a whole host of interviews and numerous in-use cases; the time has come again to announce our ÜberFontFonts (the rising stars of our library) for the previous quarter.
Our top three ÜberFontFonts are:
FF Strada by Albert Pinggera is a curvaceous and humane sans serif full of versatility. With three sub-families and a number of updates and developments, it is one of our bestsellers and an award winner.
FF Amman, by Yanone, is a bi-script family that supports both Arabic and Latin script. It is one of the largest Arabic–Latin typeface families designed to date, and one of the very few where both the Arabic and the Latin characters were drawn from scratch by the same designer at one time.
FF Pitu is one of our most swashy serifs, with pronounced stroke modulation and blade-shaped stroke endings. Its calligraphic loveliness makes it a beautiful display face. Part of our Collection tier, a selection of cost effective typographical treasures offered as full-families with OpenType feature support, FF Pitu Pro is only €59 for three weights.permalink
The HootSuite service offers users a quick overview of their social network feeds. Users of the free tier can track five profiles from networks like Twitter, Facebook, Google+, LinkedIn, foursquare, and WordPress. HootSuite also supports apps for YouTube, Tumblr, Flickr, Instagram and over a dozen other services. Profiles are grouped inside overview tabs in the interface, viewable in a browser or on a dedicated mobile or tablet app.
With an Android, iPhone or other smart phone, HootSuite is a great way to stay updated on Twitter and Facebook accounts. Without switching back and forth between separate apps, users can jump between various feeds inside the unified HootSuite option.
Owly, something of a mascot for the HootSuite service, is the logo’s second element. This illustration is customized playfully throughout various media channels, appearing and reappearing on HootSuite.com as well as on the company’s blog and Tumblr.
The HootSuite logotype is a two-color word mark set in FF Clan Narrow Bold. FF Clan is an extensive family from Warsaw-based type designer Łukasz Dziedzic. A fresh take on the contemporary sans model, FF Clan is equipped with seven weights across six widths. Its strong, readable letters feature a large x-height and short descenders; they have a distinct personality that engages the reader while also remaining legible. Dziedzic’s other FontFont families include FF Good, FF Mach, FF More and FF Pitu.permalink
1st Reason: Because I was tired of the ugliness and uselessness of constructivist fonts. In most cases they have no lowercase and reading them is a nightmare. I decided to make an easy to read font with no curves. Not one curve! But fancy.
2nd Reason: Because I like to design fonts.permalink
BERLIN, GERMANY, April 2011 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new designs
FF Spinoza — Max Phillips developed FF Spinoza over a period of eleven years. With the goal of readability in mind, Phillips named the typeface after 17th century rationalist and lens-grinder Baruch Spinoza, a man whose job it was to help people see clearly. The family is meant as an elegant workhorse, a classic text family with just enough individual character to hold its own in display sizes. It was inspired by mid-century German book faces like Trump Mediaeval and Aldus, and by the types of Nicolas Kis. The forms are narrow and economical, with open counters. The line is firm and distinct. It has strong thick strokes and serifs to help it grip the page. Its intended virtues are firmness, clarity and modesty.
Download the FF Spinoza specimen (PDF, 1.9 MB).
FF More — It’s easy to find sans serif typefaces with multiple widths and weights, but large serif families are much less common. The 30-font FF More fills this void. Five weights in each of Condensed, Regular, and Wide widths answer every need of publication design, from strong headlines to readable text and space-efficient information graphics. FF More’s sturdy serifs and gentle contrast withstand the rigors of magazine and newspaper design — retaining clarity despite size, background, or substrate.
Łukasz Dziedzic built FF More to work alongside FF Good, resulting in a powerhouse superfamily, versatile in both its function and aesthetic.
Download the FF More specimen (PDF, 5.4 MB).
Updated and extended FontFonts
FF Meta Hebrew — Erik Spiekermann’s FF Meta is the foundation of the FontFont library, released at the label’s inception and still a signature of the brand. Its ancestor – PT55 (1985) – was conceived for the West German Post Office as a economical typeface for use at small point sizes, but once FF Meta was released to the public it was used for nearly everything, quickly becoming one of the most popular typefaces of the computer era. It has been called the “Helvetica of the ’90s” – not because the two typefaces have anything aesthetically in common – but because FF Meta fulfills so well the needs of modern communication. Oded Ezer designed a Hebrew version for Book and Bold.
FontFont Release 55 marks a distinctive milestone — the entire FF library is now available in OpenType, while PostScript formats have been retired.
In addition, more FontFont families were converted to the Offc format (e.g. FF Sanuk and FF Isonorm). An important improvement is that Small Caps are now bundled for Offc fonts — if a font has a Small Caps version it is sold together with its companion, heavily discounting the Small Caps font.
On the OpenType Pro front, FF Sanuk was extended to Pro, and the lightest weights of FF Meta Pro, FF Meta Condensed Offc Pro, and FF Signa Correspondence Pro all received Cyrillic upgrades.
New Web FontFonts
Aside from the two new families, ten more popular FontFont families were converted to webfonts: FF Balance, FF Chambers Sans, FF Isonorm, FF Magda, FF Oxide, FF Pitu, FF QType Square, FF Sanuk, FF Signa Correspondence and FF Tartine Script. Web FontFonts are optimized for use on web pages using the @font-face rule. This means websites can now display HTML text in fonts other than the handful of “web safe” options of yesteryear. Because HTML text is far more flexible and easier to update than an image, using Web FontFonts gives the user customized, dynamic type. Furthermore, branded typography on web pages can be found and indexed by search engines. Text is also more accessible to users with disabilities. And because it can be resized, copied, and edited by website visitors, webfonts allow for stylized interfaces, forms, and applications without relying on Flash or other hacks.
Learn more about our different formats here.permalink
FontFont represents some of the most talented and interesting type designers in the world. And for most of the year, that’s where they are: scattered all over the globe. In celebration of FontShop’s 20th Anniversary, FSI’s Ivo Gabrowitsch took the opportunity of a rare gathering this spring to talk with seven FontFont designers and get their take on their personal history in type design and what’s coming next. These conversations, peppered with insight about the creative process, are a rare look at the faces behind the typefaces.
The first of three FontCasts – published as part of FontShop’s FontCast series – from the day features Michael Abbink from New York City (FF Kievit, FF Milo) and Erik van Blokland from The Hague (FF Trixie, FF Erikrighthand, FF Beowolf).read more
The ISTD International TypoGraphic Award is the only international design award that specifically recognize typographic excellence across a broad range of design disciplines. The quality of work entered, and the reputation of companies and individuals taking part, is an expression of the status of the Awards.read more
BERLIN, GERMANY, November 2009 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Mach™ The very first sketches of FF Mach were drawn in 2004 when a colleague who planned a new Polish magazine about culture and arts asked Łukasz Dziedzic for a logo – there was neither time nor money, so he did it quickly and for free. The logo was met with approval and Łukasz was asked for some sample covers and a few days later for the whole layout – again immediately and free of charge. Łukasz agreed with mixed feelings, thinking this might be a chance to use some of his fonts and even make a new one based on the logo and title graphics. The new font worked well but unfortunately, after the magazine failed three months later, it was never used again until Łukasz decided in 2008 to redraw all the glyphs in order to remove the traces of that speedy work, and in the end he designed a complete new type family with six weights and three widths.
FF Masala™ is as unctuous as a curry sauce with a hint of chili to add zest. Xavier Dupré’s initial idea for FF Masala was to offer a casual Sans matching FF Tartine Script. After rethinking and refining, FF Masala became a truly casual type system with three Sans weights and their Italics plus three powerful Script versions with swashes, right for logos and packaging as well as comics or children’s book covers.
Each FontFont release is newsworthy in its own right, but there is something especially momentous about this one: four brand new families, each one very different from the others; new styles for three of our most popular typefaces; and a dozen expertly crafted OpenType releases that breathe new life into FontFont classics.