News: Tagged as Nina Stössinger
A couple of weeks ago, we were invited to attend the International Typographic Awards ceremony in Bexhill hosted by the International Society of Typographic Designers (ISTD). It was a record win for FontFont. Four of our newer typefaces, FF Ernestine by Nina Stössinger, FF Mark by Hannes von Döhren and Christoph Koeberlin, FF Quixo by Frank Grießhammer and FF Antithesis by Yanone, were all awarded a Certificate of Excellence.
The ISTD is an international society whose mission is to raise awareness and interest in all forms of typographic communication. Promoting typographic standards and excellence, their awards are one of the most highly sought after accolades in the industry. Huge congratulations to all our FontFont Designers!
FF Antithesis by Yanone – The smallest super family ever.
FF Ernestine by Nina Stössinger – feminine, but not too girly – charming and sturdy at the same time.
FF Mark by Hannes von Döhren and Christoph Koeberlin: Ze new Germanetric sans.
FF Quixo by Frank Grießhammer: an onomatopoeic typographic exaggeration.permalink
The bi-annual, international award aims to show the potential of creative professionals across all areas of visual communication, offering them the opportunity to present themselves to a wider audience and an independent jury.
The competition is aimed at young creatives to already established graphic, web and fashion designers, architects, film producers, artists and also large agencies.
Created by type designer Nina Stössinger, FF Ernestine was born from the search for a versatile monolinear text typeface whose design could encompass seemingly opposite feelings. Stössinger wanted to develop a solution that would feel warm, but also serious; slightly feminine, but not too swirly-girly – charming and sturdy at the same time.
FF Quixo is the brainchild of Frank Grießhammer’s graduation project during his time at the Royal Academy of Art, in Den Haag. Exploring pointed-pen calligraphy, he decided to take on the style in a more casual manner, interpreting the model with different-sized brushes.permalink
FF Ernestine has come over all sweet in its latest ‘In-Use’ case as the chosen font for Venco liquorice packaging. Available in several different flavours and styles including sweet, salty, salmiak, soft or tough, these Dutch liquorice treats are perfect for anyone with a sweet tooth!
FF Ernestine was born from the search for a versatile monolinear text typeface whose design could encompass seemingly opposite feelings. Its designer Nina Stössinger wanted to develop a solution that would feel warm, but also serious; slightly feminine, but not too swirly-girly – charming and sturdy at the same time.
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
In her highly humorous and regaling tale, she talks about her ‘tricky trip into the depths of detail’ as she set out on her journey to become a type designer.
Thanks to TYPO for sharing this video with us.permalink
The stories and faces behind some of our FontFont Designers
Have you got a tremendous typeface design up your sleeve? At FontFont, we are driven by our love for type and typography and are always on the lookout for new typographical talent. When we started back in 1990, our mission was to create ‘fonts for designers by designers’. Since then, designers from across the world have contributed to our library. Twice a year, the TypeBoard, a committee of internal and external experts come together to review submissions.
Our submission policy continues to be as open as ever; we look for original designs and judge all submissions based on their aesthetic, technical and practical merits. If accepted your design will join the ranks of typographical triumphs such as FF Meta, FF Scala, FF DIN, FF Ernestine, and FF Tisa.
From the well-known to the newly discovered, our designers come from all walks of life. Here are the stories and experiences of three different FontFont designers, who have recently released their typefaces through us.
A lengthy love affair | FF Spinoza
Max Phillips, a New York–based art director, illustrator, toy designer, and novelist (of the award winning ‘Fade to Blonde’), released his first ever typeface as a FontFont. His first beautiful typeface FF Spinoza was developed over a period (on and off) of eleven years. An elegant workhorse, FF Spinoza is a classic text family with individual character to hold its own in display sizes.
We asked Max what it was like to become a FontFont Designer:
‘Basically, I was asked to join a club whose members include Kris Sowersby, Tobias Frere-Jones, Akira Kobayashi, Jean-François Porchez, LeTeRror, Hannes von Döhren, Martin Majoor, Nick Shinn, Jeremy Tankard… the list goes on. And, of course, Neville Brody and Erik Spiekermann. It was the greatest honor of my professional life.’
When describing what it was like to work with FontFont, he said,
‘FontFont took tremendous pains with the work. When Andreas Frohloff returned his first edits on Spinoza, I was a bit dazed. He’d altered almost every glyph in every font. In some cases he'd clearly improved things. In some cases I felt that he was correcting real problems, but that I wanted to correct them in my own way. Andreas was there to help. And that's the way things went. FontFont put a lot of work into Spinoza, but they left the final design decisions to me, even though I was a first-timer and they're the world's foremost independent foundry.’
Joining forces | FF Basic Gothic
In contrast to Max, Hannes von Döhren has been designing typefaces for a number of years and set up his own foundry HVD Fonts in 2008. He became well known for his highly successful releases such as Brandon Grotesque, Brevia, Livory, ITC Chino, and Reklame Script.
In 2010, working with Livius Dietzel, he joined forces with FontFont to release FF Basic Gothic.
‘On the one hand type design is all about creativity, optical decisions – the visual, but on the other hand there is a lot of engineering behind a font. Therein, I believe, lies the strength of FontFont. There are many type designers who would prefer to concentrate on the visual. FontFont takes over the visual and technical quality testing of font production and with that guarantees an high level of quality for their fonts.’
Fulfilling a FontFont dream | FF Ernestine
Nina Stössinger was also one of our designers who released her first ever commercial typeface design, FF Ernestine, through us. Having studied Multimedia Design and later Type Design, Nina set up her studio in Basel in 2008. Ernestine was born from the search for a versatile monoline text typeface; it's warm with a serious overtone, feminine with an underlying rigid assurance, above all it is charmingly sturdy. She first drew the Roman as a study project at the postgraduate Type Design programme in Zurich, and the Italic in dialogue with Hrant Papazian’s Armenian design.
When asked about what it was like working with FontFont she said:
‘To be honest, I have for a long time dreamed of one day not only designing a typeface, but releasing it through FontFont! Ambitious dreams – and I’m still amazed that they have actually come true. I am both proud and humbled to be part of this great library which in my perception sits right at the crossroads of relevance and innovation, utmost professionalism and agile freshness, trustworthiness and openness to experiment.’
Now it’s your turn …
With the next TypeBoard happening on May 21, you still have time to submit your designs.permalink
For over sixteen years, the TYPO Conferences have attracted experts and pioneers from around the world to discuss the latest developments in communication and design. The next TYPO Berlin will take place from 17–19 May, and we are delighted to announce that we will be sponsoring this year’s conference. We are very excited as we have three tickets to give away. Keep reading to find out how you can win.
The theme for 2012 is Sustain and over the course of three days high profile speakers including Ruedi Baur, Elliot Jay Stocks, Kirsten Dietz, Jan Teuen, Matthew Butterick, Jessica Hische, Andreas Uebele, and many more, will take to the stage to discuss sustainability, design, typography, education and designing for the future.
The fabulous Nina Stössinger, designer of FF Ernestine will be speaking on The Importance of being Ernestine, an account of her journey into the jungle of typeface design and the story of the first public release of her font family FF Ernestine. Also representing FontFont, our very own Head of our Type Department, Andreas Frohloff. He will be running his much appreciated workshop on Calligraphy.
As a sponsor, we're delighted to offer three people the chance to win a ticket to attend the three day conference. To enter the competition all you have to do is answer the three following questions…
- In what country was Nina Stössinger born?
- Name one of Andreas Frohloff's favourite bands.
- Which font did we choose for this week’s FF Collection Typelover Tuesday?
Little tip, have a read of our website, our Twitter and Facebook pages (wink wink nudge nudge). To enter just leave a comment below with your answers, don't worry your answers will be hidden until we announce the winner. Closing date: Thursday 3 May 2012. We will announce the winners on Friday 4 May. Good Luck!permalink
BERLIN, GERMANY, December 2011 – FontShop International announced the latest additions to its award-winning FontFont® typeface library.
FF Ernestine was born from the search for a versatile monoline text typeface that would feel warm yet serious, feminine yet firm, charming yet sturdy. This resulted in a strong slab serif with playful ball terminals. Its rather large x-height and wide, open shapes enable it to work well down to small sizes; ligatures, stylistic and contextual alternates, a selection of arrows, and two sizes of small caps enrich its typographic palette.
Nina Stössinger first drew the Roman as a study project at the postgraduate Type Design programme in Zurich, and the Italic in dialogue with Hrant Papazian’s Armenian design. Both the Roman and the Italic (which doubles as a harmonious companion to the Armenian component) are available in four individually drawn weights. The four corresponding Armenian weights, nicknamed “Vem” —integrated in the Roman and Italic fonts in the Pro version— share the personable character of the family with proportions optimized for the Armenian script.
Updated and Extended FontFonts
After fonts are released, work continues behind the scenes to improve and extend the usefulness of the faces with the addition of new weights and greater language support. FontFont is pleased to announce extensions to the following typefaces, available immediately.
FF Quadraat and FF Quadraat Sans: Revised and Extended (New Weights, Pro Language Support Including Cyrillic)
Fred Smeijers has completely overhauled his most popular superfamily. Both FF Quadraat and FF Quadraat Sans get a noticeable update to their designs. FF Quadraat also adds a new weight, Demi Bold, to the family, FF Quadraat Sans and Sans Condensed now come in the additional weights Thin, Extra Light, Light and Demi Bold. They are now available as Pro versions, including support for both the Latin Extended and Cyrillic character sets.
Learn more about the revised FF Quadraat superfamily in this special specimen PDF (2.8 MB).
Download specimen PDF (2.8 MB).
FF Meta Serif: Extended Language Support (Cyrillic & Greek)
FF Meta Serif by Erik Spiekermann, Christian Schwartz and Kris Sowersby now speaks more languages with glyph support extended to cover Cyrillic and Greek alphabets. FF Meta Serif joins its popular sans companion, FF Meta, in offering this broad range of linguistic ability.
FF Signa: Extended (New Weights)
New Office and Web FontFonts
FF QType by Achaz Reuss offers its additional weights, Compressed, Condensed, Extended, and Semi Extended in new formats, Office and Web. Just a refresher: Offc FontFonts are the best choice for all who work with the widely-used Office apps like Word®, Excel® and PowerPoint®. Pro means that it also supports additional languages (Latin Extended).
FF Skill Sets: The Right Fonts for All Purposes
With thousands of FontFonts to choose from, the options can be as daunting as they are exciting. So let the experts do the work for you. Typography masters Erik Spiekermann and Jürgen Siebert handpicked the best FontFonts, and compiled them in three Skill Sets — for advertising, editorial, and corporate design. Simply select which Skill Set best suits your practice, and you can start designing without fuss. Not only will you have all the right fonts licensed in one collection, you’ll save a bundle of cash too.
Learn more about FontFont Skill Sets here.
FontFont Library Tiers
Introducing FontFont Library Tiers: Premium, Collection and Free
In an effort to minimize the amount of time customers spend choosing fonts, we have split our library into three distinct tiers, dubbed the FontFont Library Tier system. Watch out for further information that will come in another post next week.