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For about 20 years, Pool has been involved in the development of FF DIN, which today is one of our most popular font families. In 2011 the Museum of Modern Art in New York added FF DIN to its permanent collection further establishing the family as one of the most worldly recognised and respected. He is also responsible for adding FF DIN Round to the family and also created another technically orientated typeface: FF OCR-F.
Pictured here in his country house where he resides with his wife and daughter, we see evidence of Pool’s unabiding love of typography throughout the tasteful rooms. From the rows upon rows of typographic books to quirky and inspirational type design pieces hung about the walls this really is the home of a type fanatic.
FontFonts by Albert-Jan Pool:
Just in time for the FIFA World Cup™ Brazil 2014 we are pleased to offer FF Copa, a free multi-colour font consisting of the flags for each of the companies in the tournament.
Until recently users could only colour font characters from the outside, via CSS, OpenType features (rasterized alternate characters), multi-layer fonts like many of the FontFonts (see What Can Layer FontFonts Do?). However, the likes of Google, Microsoft, Typopixo, Symbolset and the FontFont Type Department have been developing ways to make working with coloured fonts a whole lot easier.
It was over a decade ago at the “Information” themed TYPO 2002, that Jan Chipchase gave us a first insight into the colourful future of digital written messages when he presented several mobile phones with blinking displays. One of these phones, designed by the biggest Japanese mobile phone provider DoCoMo, used the mobile service i-Mode became increasingly popular among millions of Japanese people for its use of graphics. As a result of this rise to fame, i-Mode engineer Shigetaka Kurita who had developed the (partly animated) pictograms at the end of the 90s, received the title of the father of Emoji.
Coming back to today the FontFont Type Department developed the new flag font FF Copa as a technical demo for a crossplatform compatible solution. However as the much desired standard for multi-coloured fonts has not yet been established it is not currently viable to create a Twitter or Facebook message using the new typeface.
BUT emails and much more is possible!
FF Copa currently works on the Mac with all applications that use the system text engine, e. g. Word, TextEdit and Mail but does require email recipients to also have installed the free font in order to correctly receive the flag message.
With applications in which FF Copa works you can also create PDFs and images, perfect for creating tournament sweepstakes, game plans (on and offline) or merely printing the flags!
Programmes with their own text engine (e. g. Adobe CS) are currently unable to use FF Copa, the same also goes for many browsers, except Firefox (which can display the SVG glyphs of the webfont on all platforms) and Internet Explorer 11 on Windows 8.1.
The download archive of FF Copa consists of a webfont (.woff) and two TrueType fonts (.ttf standard and .ttf Mac-optimized), EULAs and a html file.permalink
In our latest “In-Use” case we caught up with the team over at Berlin based communications agency Blumberry to chat to them about their latest project in which FF Chartwell and FF Tundra were a saving grace.
Who was your client and what was the topic of this project?
Our client was Huawei Technologies Germany GmbH, one of the leading suppliers of telecommunication solutions employing more than 150,000 people across 140 countries.
The project, named “Germany and China - Perception and Reality” was carried out in cooperation with the renowned German Institute of Global and Area Studies in Hamburg (GIGA) and the market research institute TNS Emnid in Bielefeld. Its aim was to examine the perceptions that Germans and Chinese have of one another in order to identify stereotypes before assessing them in a scientific context. In other words, what perceptions do the different nationalities have of each other and can they be refuted by facts?
Huawei had initially ran the study two years previous and so were keen to compare these results with those from the new study. However to use both lots of data to create a large, graphically and scientifically complex document that could be made accessible to a wider audience without hindering the scientific element of the content presented us with quite a challenge.
- How many people were involved?
As a team we were required to handle all aspects of presenting the survey results, and so during peak periods we had up to 15 people on the team.
Our responsibilities included the programming of the study’s microsite, implementation of a lavishly staged exhibition of the study results (in the form of an Experience Walk) and the production of collateral such as posters and bags.
- How did you decide on the layout?
The layout of the previous study was a great help. From this we were able to quickly see what worked with the data and what could be improved. We initially tried several versions of the layout, from the multi-column to single-column pages, as we wanted to avoid the graphics and text appearing to have no visible connection to each other. Instead, they should relate to one another and not inhibit the flow when reading the text. Against this background the one-sided layout proved to be the most effective.
- How did you choose the typefaces that featured in the final project? And in what way did the chosen typefaces help with production of the document?
We made the selection of typefaces very early on in the design process. We tried and tested multiple typefaces, including a sans serif typeface that is defined in the design manual. However, in continuous text weaknesses were obvious instantly – after all this particular sans serif typeface was originally designed for “way finding” and not for ease of reading when used for lengthy texts. For this reason, it was clear that we needed a serif for such an extensive study. Moving from the expressive FF Yoga and FF Tisa, we finally decided on the very reader-friendly FF Tundra by Ludwig Übele. FF Tundra’s quality in single-column layout with above-average long lines, made it the perfect choice for the study’s text.
With its focus around numerical data we hoped that FF Chartwell would save us an enormous amount of time. We had only a few weeks to build a variety of graphics from a data bundle of more than 1,000 pages, of which many of them contained graphical information and statistics.
Once we had all of the necessary data identified, extracted and excess material removed, the clear simplicity of FF Chartwell was very welcome. We would even go as far to say that had we been without this “chart tool” it would have been an even greater challenge to deliver on time.
Within a study of this size it is easy for mistakes to be missed. A graphical tool, such as FF Chartwell, helped to keep these errors to a minimum, because it works “only” by entering numbers, which as a result made the entire process less error prone.
We were also very grateful for FontFont’s detailed documentation on FF Chartwell as well as the useful tips and tricks from FontFont’s Jens Kutilek’s video tutorial. As a result even our consultants could proofread the entire study and make corrections via InDesign’s simplified mode without having to be taught about OpenType features first.
- What was the theme for the illustrations?
The style of the illustrations was closely coordinated with that of FF Chartwell – simple, clear and concise. This resulted in simple icons that clearly illustrated the content without lacking details.
left to right: Lars (concept and design), Christin (illustrations), Denise (concept) and Maurits (microsite and app).
For more information on these FontFont typefaces and further buying options head to fontfont.com.
Interview hosted by Alexander Roth, FontFont Marketing department.permalink
Last week we were priviledged to receive a visit from the one and only, Martin Majoor!
Before he left he gave us a little present in the form of an original type specimen from the launch of FF Scala, way back when! And we are really rather chuffed with it!
To find out more about this beautiful FF Scala specimen and the history of Martin’s first official typeface head over to our Behance page.
The RBMA is a world-traveling series of music workshops and festivals, founded in 1998. The main five-week event is held in a different city each year. The public portion of its program is a festival of concerts, art installations, club nights and lectures by influential figures in contemporary music. The other part of the program is by invitation only, held in a building which has been custom-fitted with a large recording studio, a lecture hall, a radio booth and between eight to twelve bedroom-sized studios. There, 60 up and coming producers, singers, sound artists, DJs and musicians from around the world learn from and collaborate with top industry professionals.
FF Clan is the extensive family from Warsaw’s Łukasz Dziedzic, who imbued the typeface with a distinct personality that engages the reader whilst remaining truly legible.
The thin weight is delicate but substantial and ideal for fashion and cosmetic campaigns. Whereas the ultra weight as used here by RBMA, makes powerful and impactful statements when across posters and as headlines. For more images head over to the FontFont Behance page.
Following the latest announcement on the incredible extension of FF Good and FF Good Headline we are pleased to say that it is not the last of the “good news”.
As of now, all FF Good News and FF Good Headline News weights in all widths (formerly known as Book weights and specially drawn for setting newspaper copy) are available for just five of whichever currency you shop in! This makes for a nice incentive to test several widths before deciding on particular widths or even the whole family.
For the next in our ÜberFontFont series we celebrate the great all rounder that is FF Bau! A family described as a workhorse, this sans serif by Christian Schwartz is inspired by the Grotesk families from the Schelter & Giesecke foundry in Leipzig, Germany.
Designed by Schwartz as a revival of S&G’s Grotesks, the Regular, Medium, and Bold are drawn directly from S&G sources, whereas the Super weight was created for situations where subtlety would not be required. Recognised by the 2004 International Society of Typographic Designers awards the family first entered into the FontFont library back in 2002.
A reliable and versatile family FF Bau works brilliantly across a huge variety of mediums. From university projects, posters and magazines to websites and book covers the Grotesk inspired typeface really is a great go-to no matter the occasion, making it a perfect candidate for our ÜberFontFonts!
It’s Time for Action (There’s No Option). About Feminism by Mercedes Bunz, Maria E Buszek, Katy Deepwell and Amelia Jones. JRP|Ringier, 2007.permalink
As part of the release of Yanone’s FF Antithesis and its movie premiere at this year’s TYPO Berlin 2014, we created a limited edition Antithesis tote bag. Using Pantone 811 the 100% cotton bag features a design based on the design principles by Yanone himself.
The bag will only be available at TYPO Berlin 2014 so be sure to keep an eye out for one.
In celebration of the incredible extension of FF Good we created a A1 sized colour scale poster using four Pantone colours (Pantone Violet, Pantone Green, Pantone Orange 021 and Pantone 806) displaying all 96 styles.
Copies of the fantastic poster will be available at TYPO Berlin this coming May.
About FF Good
FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language tech magazine ‘Komputer Swiat’, the German and Russian edition of British celebrity tabloid OK!, and AP’s (Associated Press) new corporate design.
FF Ginger family
FF Ginger Flamboyant
About Jürgen Huber
Jürgen Huber, born in 1967, is a professor for typography at the FHTW in Berlin. He studied at the Folkwang Academy in Essen and came to Berlin in 1997 where he designed corporate faces for enterprises as well as fonts for the public as type director at MetaDesign.