News: Tagged as Mike Abbink
Explore and sample FF Kievit and FF Kievit Slab in full flight at www.ffkievit.com.
To see more, go to our Behance page.
FF63 saw a FontFont milestone with the App+ license and this latest release is just as much an occasion as the last. With two brand new designs and Cyrillic language updates to three of our Pro packages, we have been counting down the days in high anticipation – we are simply super thrilled to bring you FF64.
New meets old meets technic, FF Mark is more than just an average geometric sans. A special type project, Ze new Germanetric sans is a collaboration by Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department with creative support from Erik Spiekermann.
True to geometric tradition yet contemporary for today’s needs, the family of 10 weights ranging from Hairline to Black is designed with versatility in mind. Extreme weights have been engineered to shine bright in large sizes and middle weights optimized for body copy.
And to mark the launch of FF Mark, we are launching a new microsite to showcase and celebrate the thinking and creative process behind the typeface. Discover, interact with and download the exclusive Free Fönt at www.ffmark.com.
Four years in the making and designed with utmost precision Mike Abbink and Paul van der Laan’s latest expansion of the FF Kievit superfamily has arrived.
The long-anticipated FF Kievit Slab has been carefully adjusted and fine-tuned in width and contrast to help make it an extremely robust and elegant typeface.
Typographical finesse has been delivered in the form of small caps, old style, lining, and tabular figures, and a mountain of OpenType glory.
The entire superfamily is well suited for editorial and book design, packaging and superfit for corporate branding and creative industries.
Language Extensions & Updates
Talk in even more type tongues with welcomed Cyrillic updates for FF Mister K Regular, FF Mister K Informal, FF Profile and FF Tisa Sans. Our extensive library also offer fonts for several scripts aside from Latin, including Greek, Arabic, Hebrew and even Armenian.permalink
Our July round up of Web FontFonts in use features the likes of FF Typestar by eBoy’s Steffen Sauerteig, Mitja Miklavčič’s subtle yet graceful FF Tisa and Michael Abbink’s ever so popular FF Kievit. Silvio Napoleone’s FF Hydra Text and Ludwig Übele’s FF Tundra also make an appearance.
Rob Meek is an information architect, interface designer and developer with a fair few typography-related projects under his belt. His portfolio site features the geometric but typographically refined FF Typestar Web as headers teamed with the softer serifs of FF Tisa Web as body copy.
Portland Oregon will be playing host to this year’s Lean Day:West – a series of events focusing on implementing and practicing lean startup in the enterprise. Both thicks and thins from the FF Kievit family are used extensively throughout the site including FF Kievit Black Web as headlines through to FF Kievit Regular Web for copy.
Is wood your type? Wood Type Research is a blog dedicated to current research in wood type design, manufacture and use circa nineteenth and twentieth centuries. The sans of Silvio Napoleone’s FF Hydra Text Web along with the serifs of Ludwig Übele’s FF Tundra Web is fitting to set the tone for this homage and documentation to all things wood type.permalink
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.
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 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.
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.
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.
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.
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.
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.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
BERLIN, GERMANY, April 2009 — FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Dingbats 2.0 OT — The original FF Dingbats font package was designed in 1993 when there was no other symbol font available except Zapf Dingbats. The FF Dingbats package was the first with some 800 symbols and icons from the world of modern communication: faxes, ISDN, disks, keyboards … all absolutely usable. But over the following years times have been changing and quite a lot of pictograms for office communication are no longer needed – no-one uses floppy disks nowadays – or simply changed their appearance, so Johannes Erler and Henning Skibbe started a complete redesign two years ago.
All pictograms have now been revised and adjusted according to the current stylistic vocabulary. Arrow and number fonts have been reworked and extended as well. All symbols have been sorted into clear categories, and the font “Strong Forms” includes the most needed symbols in a bolder version. Besides this, many symbols can be layered and coloured via an easy-to-use layering feature (see FF Dingbats 2.0 info guide PDF). All this makes FF Dingbats 2.0 a state-of-the-art font package again and probably the largest collection of contemporary symbols and icons for office communication.
FF Milo® was started in 2000 with the goal of a compact typeface with very low ascenders and descenders. Because of its compact design FF Milo is a workhorse typeface suitable for magazine and newspaper typography. It has modern bones with a touch of detail for distinction (especially in the italics). The name Milo is from a resilient grain and that's why the designer chose this name for the typeface. He wanted it to be a basic usable font like corn or grain is to any culture.
With the help of Paul van der Laan for kerning, spacing and production, Michael Abbink developed FF Milo Serif as a companion to the Sans, but it is also perfectly suitable as a stand alone typeface or used together with any other sans serif typeface. Like FF Milo, FF Milo Serif is a text face with the utmost legibility, perfect for setting newspapers and magazine copy. Although rooted with historical attributes it is truly a contemporary face. FF Milo Serif comes with SC, TF, OSF, LF as well as a wealth of ligatures. Like the Sans, FF Milo Serif is also a resilient grain!
FF Seria® Arabic, originally called Sada, by designer Pascal Zoghbi, is an Arabic type companion to FF Seria, designed in the nineties by Martin Majoor. The Arabic type family was part of the Typographic Matchmaking 01 project organised by the Khatt Foundation. Echo, which means “Sada” in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada/Seria Arabic is the echo of FF Seria. FF Seria Arabic is a young crispy type based on the Arabic Nasekh style. The Regular and Bold are text typefaces, the Light is both display and text type, while the Black is purely a display typeface.read more
The International Society of Typographic Designers, with jurors Derek Birdsall, Anita Boyd, David Carson, Fred Flade, Chris Foges, Vince Frost, Lucienne Roberts and Erik Torstensson, have chosen two of our FontFont families for ISTD International TypoGraphic Awards 2001. The awards ceremony took place in London on November 27th, 2001.read more
ATypI (Association Typographique Internationale) sponsored the international competition of type design bukva:raz! as a special contribution to the United Nations Year of Dialogue among Civilizations 2001. The name of the competition translates as “letter:one!”; bukva is the Russian word for “letter” (as in letterform) and raz for “one” (as in two thousand one). Bukva:raz! is aimed at promoting cultural pluralism and encouraging diversity, interaction and co-operation in typographic communications. Type designers from many regions and nations, of various ethnic, linguistic and cultural backgrounds had been invited to contribute to the contest. We had asked our FontFont designers to submit their FontFonts and here are the winners:read more