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forty9Release 49 | Summer/Autumn 2009:
ff Avance Pro, ff Dagny Pro, ff Dax Compact Pro, ff Duper Pro, ff Gateway OT, ff Jackie Pro, ff Kava Pro, ff Luggagetag OT, ff Meta 3 Pro, ff Tisa Pro, ff Typestar OT, ff Typestar OCR OT, ff Unit Slab Pro
aaaa
aaaa
aaaa
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ff Unit Slabff Typestar OCRff Typestarff Tisa
ff Meta 3ff Luggagetag Twoff Kavaff Jackie
ff Gateway B Twoff Gateway B Oneff Gateway a Twoff Gateway A One
ff Duperff Dax Compactff Dagnyff Avance
Designed by Alexander Roth for the FontFont Typeface Library.© October 2009 fsi FontShop International GmbH All rights reserved.
Forty9Yves Peters
I sometimes get the impression (pardon the pun) that printed specimens are on the decline. With the ease and accessibility of broadband internet it seems a waste of resources to cut down trees and pump carbon dioxide into the atmosphere to produce type specimens on paper. On top of that the cost for physically sending off brochures can be prohibitive for companies that operate globally. The advantages of digital type specimens are manifold. There is no restriction on size nor page count, nor on colours or images – although detailing is limited to the resolution of the computer monitor at the end user side. pdfs can be made interactive and include direct links to additional information on the web. And file size is no real issue anymore, as current fast internet connections allow for pretty hefty files to be downloaded from websites. Yet despite all this many type lovers keeps clamouring for oldskool specimens, printed with real ink on tangible paper. Personally I also belong to that category. We've mentioned it before and we'll say it again – despite the ubiquity of text on the Web, most type was meant to be seen on paper. Ivo Gabrowitsch, Marketing Director of FontFont, was struggling with this dilemma, and decided to meet the world of the digital and the analogue halfway. He enlisted the design skills of Alexander Roth who had produced some great work while interning at fsi FontShop International last spring and summer, and asked him to showcase the FontFont 49 release. Forty9 can perfectly be navigated and viewed on screen, but is specifically designed to be printed, with a page size that accommodates the paper size of common printers. As it is only printed by the user, no resources are wasted. It truly is the best of both worlds.
The most striking characteristic of ff Avance is the use of asymmetrical serifs in the Roman weights, something we are only used to seeing in an italic. Upper as well as lower case letters have serifs in the upper left and lower right corners, remnants as it were of the connection between hand-written letters. In Evert Bloemsma’s earlier family FF Cocon these relics of handwriting were left away enti-rely. With Avance he had rediscovered the expressive qua-lities of such details which emphasize the movement and direction of reading. Bloemsma’s interest in contemporary design had made it difficult for him initially to consider drawing a face with serifs. He had this to say about them: “The serif has many purposes and possible origins, and it took some time before I felt ready to handle this item. The serif may carry a burden of outdated conventions, so apply-ing serifs is risky when trying to avoid the swamp of tradi-tions. Some aspects related to the use of serifs: Ornament/Decoration: Symmetry is found in all kinds of shapes. Often it seems to express balance, security, and cer-tainty. This static monumentality does not really belong in our present world. Calligraphy: A serif could be seen as a remainder of the movement of the hand in writing. But is writing – and espe-cially broad-nib calligraphy – still a valid inspiration? Think about how much we really write in daily life. Much text is produced using the computer’s keyboard. Soon, when
speech recognition is actually feasible, the amount of hand-written text will be even less. The self-evidence with which many type designers use writing as their main inspiration is not that self-evident anymore. On the other hand it will be difficult to invent another convincing foundation. No other design discipline relies so heavily on habit and there-fore on convention as type design. In the case of ff Avance a solution can be found in the design itself. A finishing touch: We sometimes seem to be afraid of an open end, just like that, plain. There is some psychological desire for a clearly delineated border between something and nothing. In the case of letterforms this would be the end of a curve or a stem. On the other hand some interes-ting properties of serifs which could improve the typogra-phic appearance: A more regular word image. The eye gui-ded along the line. The overall image of text could be more pleasant because serifs can bring more differentiation of forms, a wider spectrum of forms. An expression of dyna-mic movement, a stream of thoughts. Reading is moving. Serious contemporary typography should strive for trans-parent expression and prevent itself from building facades that disguise. Revivals of ancient masterpieces have a limi-ted value. Their superb qualities should find new means of expression, no matter how hard it will be to capture a simi-lar refinement.”
evolutionary versatility
łåŗġê-şćãļè ŧřëŋđścomplexity for life on Earth
Random Mutation Genesfurther investigation is required
ff Avance | 2000Evert Bloemsma
Now available in OpenType and OT Pro
aa
A
x
y
g
a
z
m
Q
n
a
s
U
b
i
g
t
e
K
Regular
Regular
Regular
Regular
Regular
Italic
Italic
Italic
Italic
Italic
Bold
Bold
Bold
Bold
Bold
Bold Italic
Bold Italic
Bold Italic
Bold Italic
Bold Italic
ff Avance
ff Dagny | 2009Örjan Nordling, Göran Söderström
New FontFont
In 2002, the Swedish newspaper Dagens Nyheter (dn) changed from broadsheet to tabloid – a change that came along with a major impact on dn’s journalism, editing and design. Pangea design’s Creative Director, Örjan Nordling, had already worked with dn as a design consultant in 1996. In 2000, dn had been redesigned under the leadership of Mario Garcia. For the new design Nordling had created dn Bodoni exclusively for Dagens Nyheter. The change to tabloid called for a more compact setting and Pangea design was commissioned to produce a matching sans
serif for Sweden’s largest daily newspaper. This became dn Grotesk which now has evolved into ff Dagny. For the FontFont Library several adjustments were made, the contrast in stroke thickness was reduced for better legibility in small sizes and characters were redesigned together with the FontFont TypeDepartment. The family now includes a range of consistent weights from Thin to Black making it perfect for use in body text and all kind of other applications. The name Dagny is an abbreviation of Dagens Nyheter as well as an old nordic female name meaning “new day”.
Change in the Genetic Material
process of genetic recombination, sexual organisms can also exchange dna
The Encoded Genetic Information
reshuffling of genes through sexual reproduction
A gene pool is the complete set of alleles for a gene in a single population
all known species are descended from a common ancestorrandom changes
Mõđèŗń Ëvǿłūŧïôŋăŕŷ ŞyňťħëšíşCharles Darwin and Alfred Wallace
Origin of Species
small changes in genotype can lead to dramatic changes in phenotypeNatural Selection
a
a a a a
a a a
a a a a
M e h g
c w G s
ff Dagny
Light
Thin
Light Italic
Thin Italic
Regular
Extralight
Italic
Extralight Italic
Bold Bold Italic Black Black Italic
Thin Thin Italic Extralight Extralight Italic
Light Light Italic Regular Italic
ff Dax Compact | 2006Hans Reichel
Now available in OpenType and OT Pro
FF Dax Compact is a useful extension of the FF Dax family. The main difference in comparison to the regular version is that ascenders and descenders are relatively small and the upper case letters have the same height as the lower case letters with ascenders. That makes the typeface appearing larger and more compact,
although set in the same point size. The width is somewhere bet-ween FF Dax Condensed and FF Schmalhans. The FF Dax Compact is especially suitable for headlines in magazines, newspapers, for posters, flyers ... whenever a little more noise is needed.
EuropEan BadgEr
0.87"96'23:15.432
dISH oF gouLaSH
Meles, Arctonyx, Taxidea and Mellivora
carnivores that stalk their prey in open country
capable of fighting off much larger animals
Blood Sport of Badger-Baiting↑↓→↔←⇧⇩⇨⇔⇦⓪①②③…⑳
Ŝübfåmïłŷ Męĺļîvõříŋąē
ff Dax Compact
a
a a g A
a a a
Z e w i
r G t c
x h m S
Extrabold
Light
Black
Regular
Light
Medium
Regular
Bold
Medium Bold Extrabold Black
Light Regular Medium Bold
Extrabold Black weight Regular
ff Duper | 2009Martin Wenzel
New FontFont
Martin Wenzel’s original idea from 1998 evolved into a kind of informal ff Profile in the end. The new FF Duper has a home-made touch, but provides of course all typographic qualities of a contemporary OpenType font. FF Duper consists of Regular, Bold, Regular Italic and Bold Italic weights, supports more than 60 langu ages, has several figure sets and fractions and includes alter-native forms for a, g and y as well as a set of arrows, bullets and ornaments. And there is a special extra: All weights contain three
versions of each glyph and via an OpenType feature the three alternatives are used in succession, treating vowels and conso-nents separately and recognizing even spaces between words for a lively and hand-made appearance of the typed text. Preliminary versions of the typeface have already been successful in educa-tion and school projects, but there are surely more areas where FF Duper perfectly fits in.
MOLECULES
ALPHA TAXONOMY
Ğęńëţïċåļľŷ Ãbłē ŧǿ Ïŋţėřbŗéëđ
•�������•�����▪▫○●
an organism is any living system
any living structure capable of growth and reproduction
macromolecule are nucleic acids, proteins, carbohydrates and lipids
{[(0123456789 | 0123456789 | 0123456789 | 0123456789)]}
��������←↑→↓↖↗↘↙←↑→↓↖↗↘↙
↑→↓↖↗↘↙
ff Duper
a
g W s e
a a a
w o K n
H j b g
w r i O
Regular
Regular
Italic
Italic
Bold
Bold
Bold Italic
Bold Italic
Regular Italic Bold Bold Italic
Regular Italic Bold Bold Italic
Regular Italic Bold Bold Italic
ff Gateway | 1997Stephan Müller, Cornel Windlin
Now available in OpenType
LINETO, the Swiss studio specialized in technoide
minimum typography, has published FF Airport, after
FF Dot Matrix and FF Screen Matrix in 1994/95. This time, Pronto and Cornel succumbed the typographical charm
of LCD displays, freight waybills and boarding passes.
The mixture of mobility and speed have produced primitive
raster systems and brutal typographic measures: with
FF Airport till the low-end of aesthetic design where
Jan Tschichold and Jacques Tati say good night.
FF Gateway A and B are based on the display systems at
the Berlin airports Tegel and Schönefeld. Both fonts are
available in two versions: one for the use in up to 24 pt
and one for large sizes.FF Luggage Tag-One is derived from
luggage stickers. The font includes the underlying grid,
thus offering additional possibilities for the user.
FF Luggage Tag-Two refers to the touching retro-
modern boarding pass system of an airline based in the
most beautiful airport of the world: Paris Charles de
Gaulle.
AVIATION ADMINISTRATION
Integer:0123456789
AERODROMEäir.tråffïç.côñtrół
fixed base operator service
FAR Landing And Takeoff Field Lengths
PNEUMATIC_GEAR
ff Gateway
a
g s G c
a a a
W e n k
r A w d
x h t O
A One
A One
A Two
A Two
B One
B One
B Two
B Two
A One A Two B One B Two
A One A Two B One B Two
A One A Two B One B Two
ff Jackie | 2009Dario Muhafara
This underused roman/script is now much easier to use with all its swashes, ligatures, and alts intel-ligently combined into a single OpenType font for each style.
Inspired by the lettering on Jack Daniel’s whiskey labels, Dario Muhafara proceeded to design a font with a contem-porary look between a retro design and a serious script face. The idea was to create a font that it is very well suitable for
text in large sizes (above 16-point), but also useful in logo-types and short texts. FF Jackie comes with swash caps, alter-natives glyphs, ligatures, and also a block version with an old-fashioned slip shadow effect .
John Sailor’sJohn Sailor’s
BOURBONBOURBON
Original Mississippi Whiskey
Irish Annals of ClonmacnoiseČØĊÕŅŪŤ ÅŔŐMÂ
Fusel oils are higher alcohols than ethanol
Alcoholic Beverage
COGNAC FLAVOURclassified as grain neutral spirits or vodkaclassified as grain neutral spirits or vodka
ff Jackie
a
G e x g
a a a
t k h W
r A s f
m y B c
Regular
Regular
Bold
Bold
Fill
Fill
Block
Block
Regular Bold Fill Block
Regular Bold Fill Block
Regular Bold Fill Block
Now available in OpenTypeff Luggagetag | 1997Cornel Windlin
LINETO, the Swiss studio specialized in technoide
minimum typography, has published FF Airport, after
FF Dot Matrix and FF Screen Matrix in 1994/95. This time, Pronto and Cornel succumbed the typo-
graphical charm of LCD displays, freight way-
bills and boarding passes. The mixture of mobi-
lity and speed have produced primitive raster
systems and brutal typographic measures: with
FF Airport till the low-end of aesthetic design
where Jan Tschichold and Jacques Tati say good
night.
FF Gateway A and B are based on the display sys-
tems at the Berlin airports Tegel and Schöne-
feld. Both fonts are available in two versions:
one for the use in up to 24 pt and one for large
sizes.FF Luggage Tag-One is derived from luggage sti-
ckers. The font includes the underlying grid,
thus offering additional possibilities for the
user. FF Luggage Tag-Two refers to the touching
retro-modern boarding pass system of an air-
line based in the most beautiful airport of the
world: Paris Charles de Gaulle.
SOLID ROCKET BOOSTERSSOLID_ROCKET_BOOSTERS
SpÄcÊ TrÅnspÔrtãtïÒn SystËm (STS)
NASA Vehicle Assembly Building
Next Station: High Moon OrbitNext Station: High Moon Orbit
Astronauts and Payload
réüŠåbłë làüñçh šystëm
LOW EARTH ORBIT
ERROR/MAILFUNCTION/ERRORERROR/MAILFUNCTION/ERROR
ff Luggagetag
a
h
a a
t o
w
A
G a k
a
a W
a K a
c a e
One
Grid
Two
One
Grid
Two
One
Grid
Two Grid One Two
Grid One Two Grid
One Two Grid One
>>>>>>>>>>>>>>>>>>>>>>
**************************** ** ** * * ****************************
>>>>>>>>>>>>>>>>>>>>>>
**************************** ** ** * * ****************************
ff Kava | 2009Yanone
New FontFont
ff Kava started out as a free typeface called Kaffeesatz, published by yanone in 2004 during the early stages of his type designing career. The bold weight was reminiscent of coffee house grotesk typefaces of the 1920s, while the lighter versions were supposed to bridge the gap to contemporary
type design. The current ff Kava family is a carefully revised, more rounded version of the old Kaffeesatz fonts. A black weight has been added as well as small caps and more figure sets to form now an attractive modern and soft sans serif type family.
Several species of small evergreen bush of the genus Coffea
A beverage as black as ink, useful against numerous illnesses
associated with rebellious political activities in Europe
coffee arabica
star o dust coffee
7.32-480:59Emperor Menelik II of Ethiopia
Illustration of Coffea arabica
usually 100–150 millimeters long
Ķåffá ŗęğíõŋ ïņ ŵēŞŧęřʼn Ėťħĭőpĩå
ff Kava
a
a h c n
a a a
f g w N
A i e v
k Q x s
Black
Thin
Thin
Light
Light
Regular
Regular
Bold
Bold Black Thin Light
Regular Bold Black Thin
Light Regular Bold Black
ff Meta 3 | 2008Erik Spiekermann
The lightest weights of the FF Meta family are now available in OpenType. The new Pro version supports Greek, Turkish, Central European, and other Extended Latin languages.
FF Meta was originally (1985) conceived as a typeface for use in small point sizes. Against its intended purpose, FF Meta very quickly became one of the most popular typefaces of the computer era, and has been referred to as the Helvetica
of the 90s – not necessarily a compliment. It is used a lot in magazines, from the Normal weight in small point sizes for captions up to the Black version for large headlines.
System is a set of interacting or interdependent entities
Μυ Έψιλον Ταυ Αλφαstructure, defined by parts and their composition
the school of sports clockwise direction street-check
processing and outputs of material, energy or information
interconnectivity
Çőŋvëňŧïōʼn ŏf Přǿpęrţŷ
Soft Systems Methodology
μετά σύστημά
••←↑→↓↖↗↘↙••
ThThecbchckclctfbffffiffjfftfhfifjfkftfufvfwfyheqtsbschshskslspsttfthetitjttttfttittjtutvtwty
ff Meta 3
a
a a g t
a a a
N c b a
e k G g
s R h r
Light
Hairline
Light Italic
Hairline Italic
Hairline Hairline Italic
Thin Italic
Thin Thin Italic Light Light Italic
Hairline Hairline Italic Thin Thin Italic
Light Light Italic Hairline Hairline Italic
Thin
ff Tisa | 2008Mitja Miklavčič
Mitja Miklavčič has added a Thin and Light weight to his award-winning ff Tisa.
Slovenian designer Mitja Miklavčič drew ff Tisa to meet the technological and aesthetic requirements of modern magazine use. His primary goal was to develop a softer, more dynamic version of a nineteenth-century slab serif wood type. A large x-height and pronounced serifs make ff Tisa extremely legible in text sizes, its
unique design details, including slightly exaggerated ink traps and a fairly upright italic, becoming evident in display applications. The typeface was selected by the tdc judges for a Certificate of Excellence in Type Design in 2007.
taxus baccata
Especially the Longbow
sumatraPǿĩşőŋŏųš Āłķăľõíðŝ
▸ Botanic ● Gardens ◂the seed is dangerously poisonous
trunk diameters of up to 4 m
arils are mature in 6–9 months
0° 23' 0" South, 101° 46' 0" East
Bright Red Berry-Like Structure Called an Aril
ff Tisa
a
a a a a
a a a
a a g O
e W s r
t g B c
Regular
Thin
Italic
Thin Italic
Medium
Light
Medium Italic
Light Italic
Bold Bold Italic Thin Thin Italic
Light Light Italic Regular Italic
Medium Medium Italic Bold Bold Italic
ff Typestar | 1998Steffen Sauerteig
Now available in OpenType
FF Typestar from eBoy is a collection of five unaf-
fected fonts for the working world – the classic
typewriter meeting the demands of modern com-
munication. The four basic weights offer everything
necessary for office communication and the OCR
variation is a monospaced alternative for more me-
chanical moments.
TECHNOLIGIA
SEMICONDUCTORS
HARDWAREPARTICLE GENERATOR
Space Exploration
Code*0194783*
optical character recognitionTëçhñó-Prøgrêssìvïšm
Quantum Mechanics Theory 101
ff Typestar
a
a c M g
a a a
y O r e
s i o Q
B n t k
OCR
Regular
Regular
Italic
Italic
Black
Black
Black Italic
Black Italic OCR Regular Italic
Black Black Italic OCR Regular
Italic Black Black Italic OCR
ff Unit Slab | 2009Erik Spiekermann, Christian Schwartz,Kris Sowersby
New FontFont
When Erik Spiekermann and Christian Schwartz first started work on ff Meta Serif, they were also planning to do ff Unit Slab, either at the same time or right after ff Meta Serif was released. They figured that since ff Meta and ff Unit have so much in common, it would be smart to make two serif families that could be used together, along with either of the sans serifs. ff Meta, which has more organic details, was going to be the more
traditional serif text face. ff Unit seemed like it would adapt well to being a clean and contemporary slab serif, especially since the i and I in the sans already showed them what the serifs would look like. Kris Sowersby and Christian Schwartz actually worked together to rough out complete ranges of testwords for both families at the same time, and ff Unit Slab sat halffinished while ff Meta Serif was completed.
System of Measurementkilograms per second squared0123456789 • 0123456789 • 0123456789 • 0123456789
Marcus Vitruvius Pollio
Ƶėŗǿ Męăŝůŗėmēŋŧ←↑→↓↖↗↘↙
Bureau international des poids et mesures
Express Occurring Quantities
metrology
ff Unit Slab
a
a a a a
a a a
a a a a
a a g s
e g c h
Regular
Thin
Italic
Thin Italic
Medium
Light
Medium Italic
Light Italic
Bold Bold Italic Black Black Italic
Ultra Ultra Italic Thin Thin Italic
Light Light Italic Regular Italic
FontFonts are available through fsi and its distributors. FontFont and FontFont typeface names are trademarks of fsi FontShop International GmbH.