News: Tagged as Mitja Miklavčič
The Letter Fountain is a site created to support students and teachers who use the book Letter Fountain. The Letter Fountain is a unique typeface handbook: in addition to examining the form and anatomy of every letter in the alphabet (as well as punctuation marks and special characters), the book cross-references type designs with important works of art and art movements from Gutenberg’s times until today.
Offset is a new, curated collection of extraordinary, engaging imagery from top artists and storytellers around the world. Offset has an exceptional mix of photography and illustration, both commercial and editorial imagery from best-in-class artists who shoot for major advertising clients and world-renowned brands.
The California Sunday Magazine comes from the lab of Pop-Up Magazine. Together they set out to produce unforgettable storytelling from the West Coast of America. The pronounced serifs make Mitja Miklavčič’s FF Tisa Web extremely legible. Its unique details—including slightly exaggerated ink traps and a fairly upright italic—are particularly visible in display sizes.permalink
The Serebro Nabora type conference took place this past week in Moscow. In the spirit of the event and as part of our recent Cyrillic updates for FF Mister K, FF Mister K Informal, FF Profile and FF Tisa Sans we asked the designers of these typefaces, Mitja Miklavčič, Julia Sysmäläinen and Martin Wenzel, about their experience with non-Latin extensions, as well as the difficulties they faced in these design processes.
Creativity and communication is always at the FontFont forefront along with the aim to build typeface collections with different styles and purposes. Cyrillic is one of the most used writing systems in the world and the alphabet has been adapted to write more than 50 languages. Of the many scripts in use around the world today, Cyrillic is probably the closest in appearance and structure to Latin, particularly in the case of upright typefaces. For Mitja Miklavčič, the design process was not significantly different compared with his Latin designs, as in the case of FF Tisa or FF Tisa Sans. “The italics were a bit more demanding to draw, and personally I always find kerning in Cyrillic a bit more challenging, too.”
Mitja Miklavčič began the Cyrillic portion of FF Tisa while studying on the MA Type Design course at the University of Reading. “We had some Cyrillic specialists visiting the Department. My initial sketches there were done for the serif part of the FF Tisa family. Although they were over six years old, they were a helpful start for the FF Tisa Sans Cyrillic.”
In contrast to Cyrillic type, Cyrillic handwriting is more abundant in its form variety. Julia Sysmäläinen’s primary challenge while designing FF Mister K Cyrillic and FF Mister K Informal Cyrillic, was how to interpret handwriting typographically. “Like all kinds of handwriting, Cyrillic handwriting can be very expressive. I had to find solutions that suited Franz Kafka’s manuscripts, which were always written in German. For this I studied both historical and contemporary samples of Cyrillic handwriting, asked Russian friends and colleagues to produce samples – and of course, I made many myself. Before 1907, Kafka wrote in a German Kurrent script, and analyzing this was interesting, because some of the letterforms resemble Cyrillic characters. I also found a prominent Russian contemporary with a handwriting style that fits surprisingly well to Kafka’s.”
Julia Sysmäläinen had always planned to make a Cyrillic companion to FF Mister K. “Kafka was strongly attracted to Russia, and he admired Russian writers like Dostoyevsky, Tolstoy and Kropotkin. Soon after the release by FontFont, I made a limited Cyrillic version of FF Mister K Regular to submit to the International Design competition “Modern Cyrillic”, where it received a Certificate of Typographic Excellence. Later, I went at the design more thoroughly, creating extended Cyrillic character sets for both FF Mister K Regular and FF Mister K Informal.”
FF Profile Cyrillic isn’t Martin Wenzel’s first endeavor into this writing system. “In 1992, FontFont asked me to draw a Cyrillic extension for my FF Marten typeface, which made me look closely at the script for the first time. The end result was no masterpiece, but still a good attempt to apply a simple modular concept to a different script. This was before I even studied Type and Communication Design at the Royal Academy in The Hague. With FF Profile’s Cyrillic, I talked with several designers about the script’s challenges in general, as well as specific letterforms. Over time I’ve consulted various books on the subject and completed my own calligraphic trials, which formed the basis for the structure of each glyph. If you can write it, you can draw it!”
Like Martin Wenzel, Mitja Miklavčič also had professional experience designing Cyrillic typefaces. He has previously worked with noted specialists, such as Maxim Zhukov. “I grew up in the former Yugoslavia, so I learned Cyrillic in primary school. Serbian and Macedonian both use Cyrillic. That might also explain why I’ve decided to draw language-specific forms for those two languages as well. I always consult with any other designers, no matter what type of type design project I work on. A few colleagues have become close friends in the process.”
FF Tisa Sans is unique in that it not only includes support for Balkan languages that use the Cyrillic script, but also many Central Asian languages, like Turkmen and Kazakh as well, which are not frequently a part of many Cyrillic typefaces.
While Martin Wenzel and Mitja Miklavčič are not native readers of the Cyrillic script, Russian is Julia Sysmäläinen’s mother-tongue. “I’m the child of a Russian mother and a Finnish father, so I learned both languages during childhood. As a native reader, you grew up with all kinds of Cyrillic texts accompanying your everyday life, everything from shopping lists to letters, notebooks and advertisements. You get a pretty clear feeling of how far and where you can move away from some kind of norm, without your result looking awkward. If the script is new to you, you run the risk of being overcautious, or making naive mistakes.”
In terms of OpenType features and character set size, the Cyrillics of FF Mister K are the most ambitious of FontFont’s new Cyrillic releases. “In Kafka’s manuscripts, readability was not a priority,” Julia Sysmäläinen mentions. “I carried this over into FF Mister K Regular as well. In its Cyrillic version, expressiveness and personality are paramount. Its style is easily readable for people who are at home in Russian and other languages with Cyrillic script, because context makes things clear, but it is not for learners of these languages. FF Mister K Informal Cyrillic is much easier to read, just like FF Mister K Informal’s Latin is. In Cyrillic handwriting some characters – especially д and т – can be written in various ways that do not really resemble one another; these forms can even be mixed within a single word.” This lively mixture is part of FF Mister K’s OpenType features, and it harmonizes well with Kafka’s turbulent manuscripts. FF Mister K Informal is more regularized, to stress readability.
As new communication methods continue to bring the world closer together, great typefaces have grown to speak for more languages and writing systems. FF Tisa Sans, FF Mister K and FF Profile join 30 other typeface families in the FontFont library with Cyrillic support, including FF Dax, FF DIN and FF Meta.permalink
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
More than half of the world's population live in major cities. Developed by Lend Lease, The Green Building Converter is a sustainability tool that takes users on an interactive journey allowing people to navigate and learn about green building development. Daniel Utz’s clean and rounded geometric FF Netto strikes the perfect typographic balance alongside the 3D diagrammatic pictorial renders and animations throughout the site and brand identity communications.
Last week, Berlin hosted Jüdische Kulturtage 2013 (“Jewish Culture Days”), Germany’s largest festival of Jewish art and culture. The diverse programme of culture, music and literature features the four basic weights of Mitja Miklavčič’s FF Tisa Sans for headlines through to body copy across the site as well as festival collateral.
Designed and curated by Ryan and Tina Essmaker of Designing Monsters, The Great Discontent is a journal of interviews focusing on creativity, risk and what connects people as artists. A simple, clean, responsive and impeccably editorially considered site, the choice to use Erik Spiekermann, Christian Schwartz and Kris Sowersby’s FF Meta Serif as body is a great complement to “The Great Discontent”.permalink
What a way to start 2013! Three of our new FontFonts have been acknowledged in the prestigious Communication Arts Typographic Annual 2013.
Recognizing the great and the good in the world of typography, the latest annual is the third edition and was judged by three typographic experts: Gail Anderson, Jessica Hische and Jesse Ragan. With over 1900 entries to the competition, we were absolutely thrilled to hear that FF Ernestine, FF Scuba and FF Tisa Sans have each been honored best of the year in typeface design. With an acceptance rate of less than 10%, the Communication Arts Typography Competition is a major competition and inclusion is one of the most-coveted awards in the typographic industry.
FF Ernestine is the first commercial typeface designed by Nina Stössinger. Born out of the search for a versatile monoline text typeface, it is warm with a serious overtone, feminine with an underlying rigid assurance but above all charmingly sturdy. Felix Braden’s first release through FontFont is FF Scuba. The design combines constructed letters, like an almost rectangular o, with dynamic strokes and other written elements, giving the typeface a lively touch, while still keeping it true to its technical roots. Last year, the highly anticipated sans counterpart to Mitja Miklavčič’s popular FF Tisa arrived. FF Tisa Sans has a softer and friendlier feel compared to its serif sister. Whether paired with FF Tisa or used alone, FF Tisa Sans is a perfect choice for branding and editorial projects.
Previous FontFont winners of the Communication Arts Typographic Annual include:
- Max Phillips’s elegant workhorse, FF Spinoza
- Jörg Hemker’s matured and balanced, FF Sero
- Łukasz Dziedzic’s sturdy serif superfamily, FF More
We are very excited to be sponsoring TYPO London and are delighted to be able to give you the chance to win one of three tickets to attend the two day conference.
Following in the footsteps of last year’s inaugural and highly successful TYPO London, this year’s conference will take place on 19th and 20th October at the Institute of Education.
The theme is Social and with the likes of Irma Boom, Paula Scher, Rian Hughes, Matthew Butterick, Tony Chambers to name a few, you will be spoilt for choice with the spectacular speakers and jam-packed programme on offer. Our very own Andreas Frohloff, Head of our Type Department, will also be running his much loved workshop on Calligraphy on the Saturday.
Three lucky people have the chance to win tickets to attend the two day conference*, all you have to do is answer the three following questions …
- What was the name of the artist whose music we used in the FF Scuba video?
- Can you name Mitja Miklavčič’s newest FontFont design?
- Name the below FontFont tattoo (little tip … the answer's on the arm, wink wink, nudge nudge)
How to enter
Just email firstname.lastname@example.org with your three answers and contact details.
Closing date: 11.00 (CET) Thursday October 11, 2012. We will announce the winners shortly after the closing date.
*Please note the prize is just the ticket for the conference and not travel to London, so you’ll have to make your own way there ;-)permalink
‘Whenever I design a typeface, I learn something new. This is one of the best things about typography.’
About FF Tisa
FF Tisa Sans is Slovenian designer Mitja Miklavčič’s follow-up typeface to one of the new-millennium favorites in the our library, FF Tisa. Whether used together or separately, both of his families are excellent choices for branding projects and complex editorial applications.
It is with much anticipation and excitement that we announce our 59th release. With three brand new designs, one extension and a whole array of new Offc, Web and Pro versions of some of our classic FontFonts; FF 59 is one of our biggest releases yet.
The new designs
FF Scuba is a legible contemporary sans with a distinctive character. Searching for an offline companion for Verdana and not finding the exact tone he was looking for, designer Felix Braden set off to develop a new series of types. The resulting family is a bit tighter and more condensed than Verdana. In small sizes FF Scuba blends well with Verdana, and in display sizes it reveals its particular originality. The design combines constructed letters, like an almost rectangular o, with dynamic strokes and other elements referring to writing. This mix gives the typeface a lively touch, while still keeping true to its technical roots.
For a limited time, FF Scuba Regular is available for free download in OT and Web formats. Download it on the Goodies page.
FF Tisa Sans
FF Tisa Sans is Slovenian designer Mitja Miklavčič’s follow-up typeface to FF Tisa. Whether used together or separately, both of his families are excellent choices for branding projects and complex editorial applications. The original FF Tisa is one of the new-millennium favorites in the FontFont library—known for its sturdy and friendly forms, hence its common use in newspapers and magazines.
In all important details, FF Tisa Sans matches FF Tisa perfectly. Aside from the lack of serifs, the Sans features slightly reduced ink traps. Necessary system elements have been fine-tuned to one another, including the color density of blocks of text, the proportions of the letterforms and their distinctive stroke endings, and even the eye-catching Italics. Of course, the FF Tisa Sans character set contains the same range of characters and typographic features as the original FF Tisa, too. Since FF Tisa Sans should prove quite suitable for signage and information design projects, Miklavčič included a range of specially designed arrows in each font as well.
Designed by Travis Kochel, FF Chartwell is a fantastic typeface for creating simple graphs. Driven by the frustration of creating graphs within design applications and inspired by typefaces such as FF Beowolf and FF PicLig, Travis saw an opportunity to take advantage of OpenType technology to simplify the process.
FF Chartwell (Pies, Lines, Bars) was originally released in 2011 under the TK Type foundry. In 2012, it was added to the FontFont library with the addition of four new chart styles, the Polar Series as well as Bars Vertical.
The Polar Series (Rose, Rings, and Radar) is a set of new designs, which take on the form of more experimental charts. In an effort to make the charts smarter and more dynamic, each design reacts not only to the data entered, but the number of values.
Updated and extended FontFonts
FF Meta Serif: Light and Extra Bold
Following the Greek/Cyrillic language update to FF Meta Serif in FF 58, we’ve now added two new weights to FF Meta Serif—Light and Extra Bold.
New Pro versions
Pro FontFonts enjoy the distinction of extended language support and ease of use, affording the typographer the ability to set text in a much broader range of languages. All Pro FontFonts include Extended Latin (Central European) characters, but may additionally support Cyrillic, Greek, or other/additional scripts. The following FontFonts now include Pro language support and thus speaking 36 Latin-based languages more.
New Office and Web FontFonts
We are continually updating our library to ensure that our FontFonts are in the most up to date and useable formats. With our latest release, we’ve updated a whole host of our portfolio for the use on the web, among them classics such as FF Strada, FF Legato, FF Transit, and FF Schulbuch.
All these faces additionally come in Offc versions, fonts tuned to work best in programs like Microsoft Word or PowerPoint.permalink
Instapaper — the original ‘Read Later’ tool — allows you to save interesting webpages so that you can read them later. Instapaper cleverly strips away everything except the text offering a very clean, simple and user-friendly reading experience. The new version has been updated and optimized for the new iPad Retina display and has a range of new typefaces including our very own FF Tisa and FF Meta.
FF Tisa Mobile is one of the rising stars of our Mobile FontFonts, its proportions make it well suited to all text sizes and the low stroke contrast and dynamic forms make it a really functional screen face. We launched our Mobile FontFonts last October and have recently expanded our range so that they are now compatible on Android App platforms.
FF Meta is one of the signature typefaces of our library, released shortly after we started FontFont. It remains one of the most popular typefaces of the digital age and has expanded over the years to become a very flexible superfamily that is just as fresh as when it was first released. We created a special editable embedding license specifically for Instapaper so that they could embed FF Meta in their app.
Check out MobileFontFonts.com for our full collection of Mobile FontFonts or get in touch with us if you would like to use one of our other typefaces in your app.permalink
BERLIN, GERMANY, June 2010 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Amman came into existence as Yanone’s graduation project at Bauhaus University in Weimar, Germany. In late 2008, Yanone set out to Amman, the capital of Jordan, following an invitation by Ahmad Humeid from the local design and branding office Syntax. They were to re-brand the capital’s municipality in preparation of Amman’s centennial celebrations.
First and main part of Yanone’s diptychon »Amman The FFilm« about the making of the FF Amman typeface for Jordan’s capital on occasion of its centennial celebrations in 2009.
Never officially commissioned as a custom typeface, it was rather a birthday present from Syntax and Yanone for Amman, and the perfect university graduation project for Yanone. In the end, the typeface with several typographic novelties has been widely used for all kinds of municipal services in Amman. The family consists of seven sans and four serif weights, each with their true Italics and both Latin and Arabic character sets. It is one of the largest bilingual families ever made, one of the few designed bilingually from scratch and the first containing true Arabic Italics.
FF DIN Round — This welcome addition to FontFont’s most popular family brings a softness to FF DIN’s simplicity and industrial sterility. FF DIN Round is more than a “search-and-replace” rounded version of its predecessor. Albert-Jan Pool and his team redrew each letterform to maintain the structure of the original. This ensures FF DIN and FF DIN Round will work well together in logos, slogans, price tags, etc. as compatible parts of advertising campaigns and corporate identities.
FF DIN Round is not only a good companion to FF DIN, its smooth and friendly curves make it work on its own for branding strategies for family cars, bikes, household appliances, sportswear, shoes, or medical products. It’s also very legible on screen.
FF Suhmo is inspired by classic Egyptian and typewriter fonts such as Courier and American Typewriter, which feature headline and text use. This impressive duality was Alex Rütten’s guideline for the concept of FF Suhmo. At the same time, many formal details were derived from the typical neon-lettering you can find on aged Italian restaurants in Germany. FF Suhmo has short ascenders and descenders and a generous x-height, making it a good choice for editorial design. It combines simplicity and functionality with playfulness, offering interesting details such as loops and swashes and a slight stroke contrast. Its varied details are unobtrusive in text sizes while developing character and sparkle in headlines.
FF Suhmo’s extensive character set includes numerous special characters and ligatures, several figure sets and small caps throughout all styles. The family consists of 4 weights: Light, Regular, Bold and Black, each with an Italic. The weights were staggered to complement each other within a layout, the Black corresponding to the Regular and the Light corresponding to the Bold weight, allowing words or phrases to be clearly stressed within a text. The Italics are lighter than the Roman and have a relatively slight angle of slope. The forms are derived from a manual writing process and often cross the base-line or the x-height.read more