News: Tagged as Releases
A creative and contemporary sans serif, Lukas Schneider’s FF Utility has acquired Thin & Extra Light weights to its now seven weight roster. Both new weights are perfect for anyone working with larger text such as headlines.
The original design grew out of Lukas Schneider’s graduate thesis project, a small family of typefaces named Gazoline, designed while he was studying at the Hochschule für Gestaltung Offenbach (HfG) in Germany.
With its Thin to Black weights there is no real need for italics, as it is customary to use weight to create emphasis in this type of design—Bold for text set in the light weight, or Black for text set in regular.
Each FF Utility font contains four figure sets, small caps, as well as an alternate ‘a’ and ‘g’ to increase its typographic flexibility.
With the additon of Thin and Extra Light, the family now contains seven weights. Thin and Extra Light were designed to be set in larger sizes and work great as headlines or for display use.
Each weight has a corresponding set of arrows.
The alternatives of the ‘a’ and ‘g’ give you the option of a more streamlined look.
FF Utility Thin
FF Utility Extra Light
FF Utility Light
FF Utility Regular
FF Utility Medium
FF Utility Bold
FF Utility Blackpermalink
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
Our latest release FF 63 not only contains a beautiful new Slab addition to the FF Marselis family but it also marks a new era in licensing for FontFont.
We want you to spend your time making sure the typeface is the perfect fit for your project. To make it as easy as pie to get the font you need, we’re launching a brand new license, App+.
Comprehensive, affordable and available online, it’s now really simple to license FontFonts for apps, games, editable PDFs and more.
Whether you want to use FF DIN in a mobile app, enhance a car interface with FF Meta or embed your PowerPoint presentation with FF Scala, with App+ you can. What’s more, you don’t need to buy a license for every app or device, the one App+ license will cover them all. So, using FontFonts just got even easier and frustration-free!
FF Marselis Slab is the newest addition to Jan Maack’s FF Marselis superfamily. With revised letterforms and rounded inner corners to make the serifs more subtle, the Slab version also has more closed counters, a slightly reduced horizontal thickness and uneven diagonals compared to the Sans. FF Marselis and FF Marselis Slab are highly practical typefaces apt for corporate identities and numerous other branding projects.
Bundle and save
Now, when you purchase any combination of OpenType, Office, or Web FontFont formats from the same typeface family. Make sure you have every format you need for all present and future projects and save money too!
How quickly the time has flown since FF 59, we can’t quite believe it is release time again. With two new designs, two extensions and a myriad of updates we are delighted to introduce our latest release, FF 60.
The new designs
From the designer of FF Cube and FF Speak comes FF Marselis. Jan Maack’s newest design crossbreeds geometric and humanistic forms, creating a freshly dynamic sans serif family. All of the counters in the typeface are open; certain superfluous strokes have been eliminated – there are no spurs on the b or q, for instance.
Many designers chance upon using the same graphic shape for the lowercase ‘a’ and ‘e’ – indeed, the idea seems simple enough: just rotate the form 180° and you should be done! However, almost all attempts at this sort of theoretical simplification fail in practice. With FF Marselis, Jan Maack has found a key to making it work. Rather than whole letterforms, a tear-drop form repeats throughout the alphabet, not only in the bowl of the lowercase ‘a’ or ‘e’, but also in the ‘k’ and the uppercase ‘Q’. Its distinct character makes FF Marselis a perfect choice for today’s corporate and branding projects.
Introductory offer: You can get 50 % off any FF Marselis product (until 31 October 2012).
FF ThreeSix is a huge experimental optical type system consisting of six typefaces in eight weights, including four additional monospaced weights. It is the result of London-based Paul McNeil’s and Hamish Muir’s attempts to work within the restrictive rules of geometry to generate simple typographic forms emulating traditional type design principles, where a wide range of almost imperceptible compensatory optical tricks are used to create the illusion of evenness in the basic fabric of text.
The award-winning system – ISTD Premier Award and Certificate of Excellence – is based on a grid of 36 unit squares subdivided into 9 units and are constructed using only vertical or horizontal straight lines and circular arcs. Cap-height, x-height, ascent and descent measurements are consistent across all fonts and weights. The grid also determines character and word spacing, with all side-bearings and kerning pair values conforming to 9 unit increments.
As Wim Crouwel notes: ‘It is a fascination for the use of geometric systems in design that has resulted in these remarkable typefaces.’
Updated and extended FontFonts
Introducing FF Chartwell Web. Simple to use and fun to play around with, you can try it for yourself online using our demo.
Free font: For a limited time, you can get your hands on FF Chartwell Web Radar for free.
Erik Spiekermann’s best-known face is without doubt FF Meta. While it has proven its usability in almost any design task one can think of, its creator realized that it could be improved even more for use in the business world. The main features of the first version of FF Meta Correspondence included tabular figures (instead of oldstyle ones) and increased tracking, yet Spiekermann wanted to go a few steps further and take the typeface to another level.
Now, Erik Spiekermann and the FontFont team changed both proportions and shapes to a more robust style, removed contrast from accents and simplified forms and details to a more screen-friendly appearance. The very well-known lowercase g has been changed to a single-storey one, which is more common within the office environment. Above all, a set of useful arrows, icons, and office dingbats has been added. The resulting design is still FF Meta, but one that breathes Correspondence air.
The simplified forms and the high-quality screen optimization make FF Meta Correspondence a perfect typeface for use as a webfont or within the mobile environment.
New Office and Web FontFonts plus language extensions
Did you know our library contains over 2500 FontFonts? After a FontFont is released, the work doesn’t stop, we continually tinker and update our beloved FontFonts to ensure that they are in tip-top condition and in the most up to date and useable formats. In FF 60, some of our earliest releases such as Just van Rossum’s FF Advert, Ole Schäfer’s FF Zine, and John Critchley’s FF Child’s Play have been brought up to date and now come in Office and Web formats.
FF Atma Serif (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Child’s Play (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Cube (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Eureka Mono (NEW: Offc | Offc Pro | Web | Web Pro)
FF Fago Mono (NEW: Pro | Offc | Offc Pro | Web | Web Pro)
FF Hydra/Text (NEW: Pro | Offc Pro | Web Pro)
FF Instant Types (NEW: Pro | Offc Pro | Web Pro)
FF Meta Correspondence (NEW: Offc Pro | Web Pro)
FF Typestar (NEW: Pro | Offc Pro | Web Pro)
FF Zine Sans/Serif/Slab Display (NEW: Pro | Offc | Offc Pro | Web | Web Pro)permalink
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
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.
BERLIN, GERMANY, October 2011 – FontShop International announced the latest additions to its award-winning FontFont® typeface library.
Redesign and new styles
FF Karbid: Revised & extended
FF Karbid Slab in use, Book design Janet Cardiff & George Bures Miller ‘The Murder of Crows’ (Hatje Cantz, 2011)
Originally published in only three text weights and one display version in 1999, the original FF Karbid is an interpretation of vintage German storefront lettering from the early 1900s. Verena Gerlach collected and documented a lot of these alphabets in the Berlin quarters Prenzlauer Berg and Mitte. Although they have now almost completely disappeared due to the renovation works in the unified German capital, the spirit of those characteristic letters lives on in the concept of FF Karbid.
FF Karbid now offers a balanced range of five weights—from Light to Black—each with matching obliques. All versions of FF Karbid offer numerous alternate characters that alter their appearance and mood. These are based on the rather eccentric forms of Art Deco lettering—low- and high-waisted capitals; round versions of A, C, E; single-storey a & g, and many more. The fonts include numerous figure sets, arrows and bullets, and offer Latin Extended language support.
The new FF Karbid is a harmonized redesign of the original typeface. Rounder and less narrow letters lend the shapes more space and balance. Although the contrast was reduced to obtain a harmonious monolinear typeface (without losing its liveliness) it was increased in the bolder weights to improve legibility and achieve a certain elegance. FF Karbid Display is the most obvious spin-off of the original FF Karbid. More than merely having been assimilated, the letter forms were revised according to the new concept. The FF Karbid family has been augmented with two entirely new sub-families. The first one, the Text version, is intended for body copy in small sizes. The eccentric, serif-like swashes in select letters have been abandoned, while the friendly, lively forms of l, y, z and Z show the close relationship to the FF Karbid family. The other new sub-family is a Slab version. It has a sober, journalistic character, inspired by the typography in magazines of the 1920s (see Memphis, etc.). The strong serifs lend the typeface footing and an air of reliability. To improve legibility and balance the contrast was increased in comparison to the sans serif version.
Updated and extended FontFonts
Language extensions continue as well: FF Unit Pro speaks Cyrillic and Greek now.
FF Nexus Mix, FF Nexus Serif, FF Nexus Sans, FF Nexus Typewriter
Ten years after his iconic FF Scala, Martin Majoor expanded his idea of “two typefaces; one form principle” into “three typefaces; one form principle.” The result: a new family of typefaces. FF Nexus borrows some of its structure from FF Scala, but adds the slab-like FF Nexus Mix and monospaced FF Nexus Typewriter to the set. The four coordinated families form a powerhouse type system, combining elegance with versatility. Web and office versions are now available.
FF Signa Serif
FF Signa is a typically Danish typeface by Ole Søndergaard, rooted in architectural lettering rather than book typography. Concise letterforms and a minimum of detail produce clear and harmonious word images. Designed for the Danish Design Center, it is used there for printed material and exhibitions as well as the internal signage system. There are Condensed, Extended and Correspondence versions, and in 2005 FF Signa Serif joined the family. Now the web and office versions are also available for FF Signa Serif.
FF Unit was designed by Erik Spiekermann and produced by Christian Schwartz. FF Unit is the grown-up, no-nonsense sister of Spiekermann’s famous FF Meta. With FF Unit, puppy fat is off, some curves are gone and the shapes are tighter. While FF Meta has always been a little out-of-line and not exactly an over-engineered typeface, FF Unit is less outspoken and more disciplined. It is—like FF Meta—very suitable for use quite small and large, but FF Unit lacks some of the diagonal strokes and curves that give FF Meta its slight informality. However, FF Unit is not cold or uptight, just cool: no redundant ornamentation, just a lot of character. The tighter shapes make it suitable for big headlines set tight. Smaller sizes benefit from the increased contrast between vertical and horizontal strokes and open spacing. Thin and Light perform well set large, displaying the characters to their advantage. There is a great difference in weight between the Thin and Ultra, providing a good range of weights for contrasting combinations. Alternative characters (a, g, i, j, l, U, M) make for interesting headlines. The Small Caps are a bit larger than normal, making them suitable for abbreviations and acronyms. The many weights include old style, regular, and tabular figures. FF Unit Pro is now available with Cyrillic and Greek character sets. The entire FF Unit super family consists of FF Unit, FF Unit Slab, and FF Unit Rounded.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