News: Tagged as Verena Gerlach
Time is up to enter our competition to win one of 15 copies of the new Karbid: Berlin - From Lettering to Type Design!
Andrea Curtis – Michigan, USA
Eero Antturi – Helsinki, Finland
Étienne Pouvreau – Ocqueville, France
Felix Arnold – Walkringen, Switzerland
Florian Hardwig – Berlin, Germany
Paul O’Rely – São Paulo, Brazil
Nicolas Krizan – Skövde, Sweden
Georg Andreas Suhr – Westbengal, India
Martina Flor – Berlin, Germany
Ralf Zeigermann – Brussels, Belgium
Scott Maurer – Madison Wisconsin, USA
Peter Presseg – Vienna, Austria
Stephan Wilke – Berlin, Germany
Slávka Pauliková – Amsterdam, The Netherlands
Shtiliana Andonova – Krumovo, Bulgaria
All of our lucky winners will be notified and can look forward to receiving this beautiful book by post.
Published by Ypsilon Éditeur in trilingual (French, English and German) format, the Karbid book is a text and pictorial archive telling the complete story behind Verena Gerlach’s typeface FF Karbid that also pays homage to the history of German lettering and the letter paintings of Berlin.
Once again thanks to all those who took part, it was fantastic to see what lettering in and around your city inspires you!permalink
To celebrate the recent release of the book Karbid: Berlin—From Lettering to Type Design, we have 15 copies to giveaway.
To win: send us a picture of a piece of lettering in your city that inspires you.
Entries close 31st January 2014: 15 winners will receive a copy of the book and submissions will also be featured on our FontFont Flickr page. Winners will be announced on the fontfont.com news page.
Read more about the FF Karbid and the making of the book here.permalink
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
These are the latest additions (release 46) to the FontFont library:
New FontFonts and extensions
FF Chambers Sans OT by Verena Gerlach – Verena Gerlach’s experiment with oppositional styles resulted in this combination of static grotesque forms and the dynamic forms of a traditional antique typeface. The weights and italics are finely balanced so that it is especially suitable for setting books, but its frugal originality is also appropriate for use in large sizes like in poster design. The type family contains a range of alternate characters, small caps, ligatures, and (in the Regular weight) swashed initials, making it a versatile typographic tool.
FF Enzo OT 1 by Tobias Kvant – Inspired by a variety of styles, both past and present, FF Enzo is a lively multi-weight sans serif. Its extremely large x-height, and short ascenders and descenders make it a powerful headline face, ideal for magazines, posters and such, but it will work fine for body text as well. The family includes italics, tabular figures and four sets of small figures. FF Enzo is the first major typeface from Sweden’s Tobias Kvant, yet it demonstrates a great deal of understanding and skill. We expect to see more in the future from this fine young talent.
FF Max Pro 3 by Morten Olsen – It’s always been popular, but Morten Olsen’s FF Max is due for a major resurgence in today’s design landscape of square forms and rounded edges. The typeface is as fresh now as it was when it was released five years ago, and now it’s even more flexible thanks to two new weights at either end of the family: Extra Light and Fat.
FF Netto OT by Daniel Utz – With FF Netto, Daniel Utz has stripped letters of any historical detail, leaving them with the barest, clearest forms possible. This makes FF Netto ideal for wayfinding, where quick recognition is essential. A series of simple and useful icons and arrows add to its utility for information design, and intelligent borders let you group the pictograms using just a few keystrokes.
FF Trixie HD Pro Light by Erik van Blokland – Since its release in 1991, from “The X-Files” to “Atonement”, FF Trixie has served as the defacto typeface of mystery and intrigue. For years, it was the most convincing typewriter font available, but FontFont veteran Erik van Blokland was not satisfied. Early printing and operating systems could only handle so many points per font, so FF Trixie’s outlines weren’t as realistic as he wanted. Enter OpenType. Now that technology has caught up with his vision, Van Blokland has thrown everything he can at it. The new FF Trixie offers Rough variations that have more detail for use at larger sizes, yet keep the same overall shape as the originals. But the real advancement is found in FF Trixie HD, which contains seven alternates for each character, each with its own weight and texture. Just like typewritten forms, the letters dance on the baseline and reveal the effect of ink on the ribbon. Van Blokland didn’t stop there. Playing with OpenType’s ability to automatically substitute glyphs, he added a variety of clever effects such as more erratic baseline shifting, faux Greek and Cyrillic, and censor simulation. FF Trixie HD sets a new standard for detail and artificial intelligence. We can safely say no digital font comes closer to emulating a mechanical typewriter. The OT package contains all the features above. Go Pro for CE, Greek, and Cyrillic support.read more