FontFont Release Magazine No.

3
Releases 52, 53 and 54 | 2010
FF Advert, FF Advert Rough
ff Alega, ff Alega Serif
ff Amman Sans, ff Amman Serif
ff Angie, ff Angie Open
FF Archian
ff Basic Gothic
FF Bau
FF Bradlo Sans, FF Bradlo Slab
ff Cellini, FF Cellini Titling
FF Childs Play
FF CST Berlin
ff Dax
FF DIN Round
ff Engine
FFFontesque, FF Fontesque Sans,
FF Fontesque Text, FFFontesqueDisplay
FF Ginger
ff Good, ff Good Headline
ff Erikrighthand, ff Juslefhand
FF Hydra, FF Hydra Text
ff Instant Types
ff Kava
ff Marten, ff Marten Grotesque
ff Massive
FF Meta Condensed
ff Milo Serif
f Olsen
ff Signa
ff Suhmo
ff Tisa
ff Unit Slab
Fifty2|3|4

Fify234

c o l o p h o n

Idea and concept by Ivo Gabrowitsch,

designed by Alexander Roth for the FontFont Typeface Library.
February 2011 fsi FontShop International GmbH
All rights reserved.
FontFonts are available through fsi
and its disitributors. FontFonts and FontFont typeface names
are trademarks of fsi FontShop International GmbH.
The specimens have been designed by:
Alexander Roth (ff Advert, ff Alega, ff Amman, ff Angie, ff Archian, ff Basic Gothic, ff Bau,
ff Bradlo, ff CST Berlin, ff Dax, ff DIN Round, ff Engine, ff Ginger, ff Hands, ff Hydra, ff Kava,
ff Marten, ff Massive, ff Meta Condensed, ff Milo Serif, ff Olsen, ff Signa, ff Suhmo,
ff Unit Slab), Lars Krger (ff Cellini, ff Childs Play, ff CST Berlin, ff Fontesque, ff Good,
ff Instant Types, ff Meta Condensed), Jonas Kaminski (ff Good, ff Tisa)

Fify234

p r e f a c e

Thanks to web fonts, 2010 became a groundbreaking year in the type industry. The news about the
new typographic freedom on the web spread across the world in no time, and the FontFont Library
contributed to it. Together with FontFont co-founder Erik Spiekermann, we made a clear commit-
ment to the new format. When Mozilla announced the implementation of the new Web Open Font
Format (.wof) in the Firefox browser FontFont designed the frst website using a woff font. And the
day Firefox 3.6 was released, we ofered ff Nuvo Medium Web the worlds frst professional woff
font for free! Now all major FontFont text fonts are available in the web font formats .wof and .eot,
a total of 2000 fonts.
Web FontFonts are already supported by the major browsers: Internet Explorer, Firefox and
Chrome. Safari and Opera are about to follow the woff standard. The revolutionary FontFonter, a
toolbar app from FontShop that lets you try web FontFonts on any website, has already convinced
countless web designers of the suitability of FontFonts. It is no surprise infuential sites like Mozilla
or I Love Typography rely on FontFonts. Just like two of the frst Webfont Awards winners owe their
victories to fonts with ff in the name.
Besides the technical updates, some remarkable new designs were added to the FontFont Library
as well: the highly anticipated ff DIN Round, the Arabic-Latin type system ff Amman (recently
awarded at the TDC 2011 competition), the playful yet very functional ff Suhmo, the new extended
family ff Basic Gothic, and the artful layered display face ff Massive. Furthermore we have also
reworked some of our most popular families, augmenting some of them with new weights or lan-
guages, e.g. ff Bau, ff Hands, ff Fontesque, ff Tisa, ff Angie, ff Kava, ff Good, ff Meta Condensed,
ff Signa, ff Dax and ff Unit Slab.
It is no wonder this release magazine is as fat as an annual report. It includes more font samples
and information than the previous two releases. There is actually even more to announce, e.g. that
the Museum of Modern Art in New York chose to admit four FontFonts in its architecture and design
collection, or the redesign in progress of our web site www.FontFont.com. Unfortunately there is not
enough space for all of this, so please do look forward to the 2011 magazine.
Ivo Gabrowitsch
Marketing Director fsi FontShop International

Fify234

c o n t e n t

Page FontFont ............................................................................................................ Whats new?

08. ff Advert .......................................................................................... OpenType, Ofce, Web
10. ff Alega ............................................................................................ OpenType, Ofce, Web
12. ff Amman ................................................................. New FontFont, OpenType, Ofce, Web
14. ff Angie ................................................................... Style Extension, OpenType, Ofce, Web
16. ff Archian ................................................................................ Style Extension, Ofce, Web
18. ff Basic Gothic .......................................................... New FontFont, OpenType, Ofce, Web
20. ff Bau ............................................................................................... OpenType, Ofce, Web
22. ff Bradlo .............................................................................................................. OpenType
24. ff Cellini .............................................................................................................. OpenType
26. ff Childs Play ...................................................................................................... OpenType
28. ff CST Berlin ....................................................................................................... OpenType
30. ff Dax ............................................................... Language Extension, OpenType, Ofce, Web
32. ff DIN Round ............................................................ New FontFont, OpenType, Ofce, Web
34. ff Engine ............................................................................................................. OpenType
36. ff Fontesque ............................................................ Style Extension, OpenType, Ofce, Web
38. ff Ginger ........................................................................................... OpenType, Ofce, Web
40. ff Good ..................................................................... Style Extension, OpenType, Ofce, Web
42. ff Hands ........................................................................................... OpenType, Ofce, Web
44. ff Hydra ........................................................................................... OpenType, Ofce, Web
46. ff Instant Types .............................................................................. OpenType, Ofce, Web
52. ff Kava .................................................................... Style Extension, OpenType, Ofce, Web
54. ff Marten ............................................................................................................ OpenType
56. ff Massive .................................................................................... New FontFont, OpenType
58. ff Meta Condensed .......................................... Language Extension, OpenType, Ofce, Web
60. ff Milo Serif ..................................................... Language Extension, OpenType, Ofce, Web
62. ff Olsen ............................................................................................ OpenType, Ofce, Web
64. ff Signa ............................................................ Language Extension, OpenType, Ofce, Web
66. ff Suhmo ................................................................... New FontFont, OpenType, Ofce, Web
68. ff Tisa ...................................................................... Style Extension, OpenType, Ofce, Web
70. ff Unit Slab ...................................................... Language Extension, OpenType, Ofce, Web
Although the following typeface families are not mentioned any further in the magazine, they are,
however, now also available as Ofce and Web FontFonts: ff Avance, ff Balance, ff Clan, ff Cliford,
ff Daxline, ff Disturbance, ff Fago, ff Kievit, ff Milo, ff Nuvo, ff Scala, ff Scala Sans, ff Soul
(ff Hardsoul, ff Sofsoul), ff TradeMarker, ff Unit, and ff Unit Rounded. Please see page 7 for a full
list of Web FontFonts that are currently available.

i n t r o d u c i n g w e b f o n t f o n t s (1/3)

How does it work?

Web FontFonts are based on TrueType-favored OpenType fonts and come in two formats woff
and eot lite as the most common web browsers Microsof Internet Explorer, Mozilla Firefox,
and Google Chrome are currently supporting them. woff is very likely to be supported by Apple
Safari and Opera. If you license Web FontFonts on FontFont.com or FontShop.com, you can also
host the fles on Typekit. The service delivers fonts from a global network of servers to every browser
that supports @font-face. This means the compatibility extends to browsers not yet supported by
woff and eot. Afer purchasing your fonts youll fnd a link on your checkout confrmation page.
Simply click it to send your license and fonts to Typekit, then follow their instructions to add a single
line of code to your site and your fonts will be served immediately. The Typekit option under their
free Trial account implies certain limitations. For details see their website. Hosting your fonts this
way is purely optional.
The Web FontFonts are available as single fonts, as Basic Sets consisting of Regular, Bold, Italic,
and Bold Italic (if available in the family), and as family packages. Just like the Ofce FontFonts, fsis
webfonts have Tabular Lining Figures as their default fgure set. Small Caps with proportional Old-
style Figures are also available, but as separate fonts. Every Web FontFont comes with an html test
page and a User Guide.
More important than ever is language support. While Web fonts contain the characters necessary
for writing 58 Western languages such as English, French, Spanish and German, Web Pro fonts sup-
port at least 36 more Latin-based languages (especially Central European languages like Czech, Turkish,
Latvian, Polish and Romanian). Many Pro fonts also speak Greek and/or Cyrillic.
The appearance of webfonts is optimized for on-screen viewing. Complying with the most cur-
rent standards, Web FontFonts are extensively optimized for use with ClearType, available from
Windows xp and the standard way of type smoothing since Windows Vista. Many families can be
tested on your own website using the FontFonter.
Web FontFonts are licensed not by domain or bandwidth, but by the average monthly pageviews
for all websites managed by the person or organization licensing the webfonts. We chose pageviews
because we feel metrics like number of domains and bandwidth arent accurate representations of an
organizations popularity on the web, and would ofen be unfair to the licensee. Our goal is to be sure
the fonts are licensed properly and fairly, not to monitor every pageview on every domain. In fact, we
dont even require a domain name when you license. Theres no drm involved.
Choosing a web license is the same as it has always been for desktop fonts: pick the license that best
fts you. Extend when you need to. We trust you. There are three simple licence levels: up to 500,000;
up to 5 million; and up to 50 million pageviews per month. Enterprise licensing beyond that level is
negotiable on a case-by-case basis. With the three tiers were dividing Web FontFont use into broad
categories so that a large international corporation isnt paying the same rate as a personal blog.
The best thing: You wont have the recurring fees that webfont services charge.
For more details about licensing and technical issues please see the Web FontFont eula and the
Web FontFont User Guide.
Add the two @font-face
rules to your CSS.
Upload the woff and eot
fles to your web server.
2
1
Apply your web font
to any html elements. 3
web fontfont
quick user guide
Its that easy to use.
Web FontFont Pro
Advert Rough
Advert
Alega
Alega Serif
Amman Sans
Amman Serif
Angie
Archian
Archian Stencil
Avance
Basic Gothic
Bau
Brokenscript
Celeste
Celeste Sans
Celeste Small Text
Clan
Clan Compressed
Clan Condensed
Clan Extended
Clan Narrow
Clan Wide
Cliford
Cocon
Cocon Extra Condensed
Cocon Condensed
Dagny
Dax
Dax Compact
Dax Condensed
Dax Wide
Daxline
DIN
DIN Condensed
DIN Round
Disturbance
Duper
Enzo
Fago
Fago Extended
Web FontFont Pro
Fago Condensed
Folk
Fontesque
Fontesque Display
Fontesque Sans
Fontesque Text
Ginger
Good
Good Condensed
Good Wide
Good Headline
Good Headline Condensed
Good Headline Wide
Hands
Hardsoul
Hydra
Hydra Extended
Hydra Text
Instant Types
Kava
Kievit
Mach
Mach Condensed
Mach Wide
Market
Masala
Masala Script
Meta
Meta Condensed
Meta Serif
Milo
Milo Serif
Netto
Nuvo
Olsen
Prater Block
Prater Sans
Prater Script
Prater Serif
Providence
Web FontFont Pro
Providence Sans
Quadraat
Quadraat Display
Quadraat Headliner
Quadraat Sans
Quadraat Sans Display
Scala
Scala Sans
Signa
Signa Condensed
Signa Extended
Sofsoul
Speak
Suhmo
Super Grotesk
Tisa
TradeMarker
Trixie
Typestar
Unit
Unit Rounded
Unit Slab
Yoga
Yoga Sans
More Web FontFonts will be
available soon.

i n t r o d u c i n g w e b f o n t f o n t s (3/3)

Available Web FontFonts.

Smooth
vs.
Rough
@
*

.15121409
5 Layers

Smrrebrd
Bratpfel
Kirsebrsauce
La Befana
AAAAA
8_ FontFont Release Magazine Fifty2|3|4
FF Advert a humanist take on W.A. Dwiggins Metro is a good-natured
text face drawn by Just van Rossum and is much appreciated by graphic
designers for its unique lowercase a; there are single and two-story
versions included in each font. FF Advert is the smooth alternative to
FF Advert Rough which includes fve roughened variations of FF Advert
Bold, in progressive degrees of thickness. All the variations have the same
widths so they can be layered on top of each other as though they formed
a colorful, mind-expanding cake. Yet most interesting things happen when
you slightly shift and/or rotate the stacked weights.
Now available as:
OpenType (OT),
Offce FontFont (Offc) and
Web FontFont (Web)
Light
Regular
Bold
Black
One
Two
Three
Four
Five
FF Advert | FF Advert Rough by Just van Rossum | 1991
*

SALE SALE SALE

5, 4, 3, 2, 1 Rough
Buy or cry Buy or cry
Nothing but the best ...
30% OFF
off
entire shop
Saturday 18.12.2010
The Big Deal!
FF Advert
2010 FSI FontShop International
(Model
making
with stain-
less_
steel pipes.)
2-dimensional architecture
pipes with feet
67.45
Precision
A { A
true italics, not obliques

^

B

f f f f f f f f f f f f

10_ FontFont Release Magazine Fifty2|3|4

Siegfried Rckel: My intention was to create
a face with a technical look that was still very
readable and suitable for headlines as well as
body text. While working on several fun faces I
suddenly discovered a form which seemed to be
a good basis for a new font. This form appears
in all ff Alega fonts, especially in the letters b,
d, p, q and h, m, n and u as well as in most of
the stroke endings and character curves. It was
a challenge to fnd new forms for several char-
acters, for example the capital X looks like a pre-
historic cave painting or primitive African art. I
also transferred the Antiqua lower case g into
a technoid form. I tested legibility using texts
from pharmaceutical products which you really
must read character by character because you
wouldnt recognize the words with just a cur-
sory glance at the text.
The family contains true italics with emphasis
on the handwritten character as you can see in
the long descender of the italic f. The widths of
the upper case letters correspond to the lower
case letters which gives the face a homogenous
look and emphasizes its technical character.
This means that the small caps have the same
optical width as the upper case letters. In the
ot cff versions with layout features you will fnd
alternative commercial ats (@, @), an old form
of the German double s (, ), 15 f and t ligatures
and several diferent arrows. I think you can use
ff Alega for headlines, as a corporate typeface or
text face, as well as for pop magazines, business
journals and anthroposophic typography.
When I originally designed ff Alega I did
not consider a serif version. But following
the release of ff Alega, I experimented with
serifs and decided the efort was worthwhile.
ff Alega Serif has a technical look, but is very
readable. It combines well with the original
sans serif face.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Light
Light Italic
Regular
Italic
Bold
Bold Italic
Light
Light Italic
Regular
Italic
Bold
Bold Italic
ff Alega | ff Alega Serif by Siegfried Rckel | 2002
.221110
Einzelfahrschein

8 1
rr n|cga | Alega Serif

_
Hier entwerten
1L:L31N Track-ID
Name des Passagiers
Abfahrt
ct|:n [u}
[Li}
iuckct, S|csrr|co [|}
Destination
Platz Klasse
Express
Wagennummer
Gltigkeit siehe Tarif
Befrderungsbedingungen
sind einzuhalten!
Small Caps
Numeral Sets
Arrows
Small Caps
Numeral Sets
Arrows
Greek Language Support
|:glt
Light Italic
Regular
Italic
Bold
Bold Italic

Light
Light Italic
Regular
Italic
Bold
Bold Italic
2010 FontShop International
Dont
believe
the hype!
.8

,
=
/

Forget about New York,

visit Amman.
lets call them irabics
... like all those rockstars have!
sans vs. serif
I wish I had a magenta scarf
true arabic italics

12_ FontFont Release Magazine Fifty2|3|4
ff Amman came into existence as Yanones 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 ofce syntax. They were to re-brand
the capitals municipality in preparation of Ammans cen-
tennial celebrations. Never ofcially commissioned as a
custom typeface, it was rather a birthday present from
syntax and Yanone for Amman, and the perfect universi-
ty 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 frst
containing true Arabic Italics. Good reasons for the tdc
judges to select ff Amman for a Certifcate of Excellence
in Type Design in 2011.
New FontFont
Available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc) and
Web FontFont (Web)
Thin
Thin Italic
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
ff Amman Sans | ff Amman Serif by Yanone | 2010
h
e
k
g
x
p
4

a
b
8
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y

v
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a
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k
2
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Serif Italic
Serif Medium Italic
Serif Bold Italic
Serif Extra Bold Italic
Serif Regular
Serif Medium
Serif Bold
Serif Extra Bold
Serif Arabic Italic
Serif Arabic Medium Italic
Serif Arabic Bold Italic
Serif Arabic Extra Bold Italic
Serif Arabic Regular
Serif Arabic Medium
Serif Arabic Bold
Serif Arabic Extra Bold
Sans Thin
Sans Thin Italic
Sans Light Italic
Sans Italic
Sans Medium Italic
Sans Bold Italic
Sans Extra Bold Italic
Sans Black Italic
Sans Light
Sans Regular
Sans Medium
Sans Bold
Sans Extra Bold
Sans Black
Sans Arabic Thin
Sans Arabic Thin Italic
Sans Arabic Light Italic
Sans Arabic Italic
Sans Arabic Medium Italic
Sans Arabic Bold Italic
Sans Arabic Extra Bold Italic
Sans Arabic Black Italic
Sans Arabic Light
Sans Arabic Regular
Sans Arabic Medium
Sans Arabic Bold
Sans Arabic Extra Bold
Sans Arabic Black
2010 FontShop International
Amman
The frst digital typeface containing true Arabic Italics.
n
e
w
Angie a t le premier caractre typographique cr
par Jean Franois Porchez, dbut pendant ses annes
dcole de design en 1989. Le design lpoque avait
t cr la main sur papier calque et carte gratter.
Quelques mois plus tard, lunique graisse du Angie
a t soumise au Prix Morisawa et remporta le prix
Brattinga en 1990.

BLOOMING
FloweRS

T f f f f f f f f f f f f f f f
typofonderie.com
Hederahedera felx
A | A | A | A | A | A | A | A | A | A | A

* * * * * *
*with small caps caps

{ }
14_ FontFont Release Magazine Fifty2|3|4
ff Angie has a humanistic touch. Its roots are in cuneiform writing; the asymmetrical serifs
remind us of triangular-shaped fgures engraved onto tablets. Legibility is improved by keep-
ing letter shapes open and quite distinct from one another. The Italics are lighter, narrower and
more fowing than the Romans. Ornaments together with Black Open Caps for headlines
complete the ff Angie family. Angie won the Brattinga prize at the 1990 Morisawa Awards
in Japan. With the release of the OpenType versions, Demi Bold and Extra Bold weights have
been added.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
With the recent update completely new
Demi Bold and Extra Bold weights have been
added.
Regular
Italic
Demi Bold
Demi Bold Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
open Black
ff Angie by Jean Franois Porchez | 1993, 2010
A | A | A | A | A | A | A | A | A | A | A
}

Midnight
.57

Aprgarde
Traditions

+
Labyrinth
ERROR
/

I hope my eyes
fnd a way out!
LAYERS
OBEY
Addicted to plastic
Ligatures^

16_ FontFont Release Magazine Fifty2|3|4

The FF Archian family resulted from the
desire to create a geometric font using
vertical and horizontal elements without
any curves. FF Archian Normal was the
frst of the family, the product of playful
manipulation of form and function. The
other weights followed as variations on
a theme, each with a different inspira-
tion: architecture, painting or fne arts.
The family was extended in 2010 by two
more weights, Amphora and Labirintus,
and a Stencil version, inspired by Russian
constructivist avantgarde traditions.
Now available as:
OpenType (OT),
Offce FontFont (Offc) and
Web FontFont (Web)
New styles available such as Amphora,
Labirintus and Stencil. The latter is addi-
tionally available as Pro and supports
Cyrillic.
Amphora
Amphora Sans
Boogie Woogie
Initial
Labirintus
Labirintus Sans
Night
Normal
Plastic
Stencil
Wilmos
FF Archian by Gyrgy Sznyei | 19992000, 2010
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Alternates
Wikipedia
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(7 7)
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est. since 2010

18_ FontFont Release Magazine Fifty2|3|4
Due to its popularity online, Verdana has effectively become the basic
sans serif. Yet in print it tends to looks too heavy and a little unwieldy.
As a response to this FontFont releases ff Basic Gothic. Inuenced by
the early sans serif typefaces of the 19th century and developed for
todays highest standards, it is a sans serif optimized for maximum
legibility. With its functional, basic look, it is willful but pleasant
at the same time. Inspired by the unique letter forms of Gill Sans
and Antique Olive, designers Hannes von Dhren and Livius F. Dietzel
searched for exceptional yet legible proportions. At the same time,
the letters are stripped down to their basic forms, with precise curves
and straight lines, making ff Basic Gothic extremely versatile for
a multitude of applications. Corporate designers like the extended
weight range; TYPO Berlin 2011 already uses ff Basic Gothic. The type
family performs especially well in small sizes, both in print and on the
screen thanks to the hinting experts of the FontFont Type Depart-
ment.
New FontFont
Available as:
OpenType (OT/Pro),
Ofce FontFont (Offc/Offc Pro) and
Web FontFont (Web/Web Pro)
Extra Light
Extra Light Italic
Light
Light Italic
Regular
Italic
Book
Book Italic
Medium
Medium Italic
Demi Bold
Demi Bold Italic
Bold
Bold Italic
Black
Black Italic
ff Basic Gothic by Hannes von Dhren & Livius Dietzel | 2010
Extra Light
Extra Light Italic
Light
Light Italic
Regular
Italic
Book
Book Italic
MedIun
Medium Italic
Demi Bold
Demi Bold Italic
Bold
Bold Italic
Black
Black Italic
2010
_I _I _I _I _I
_I _I _I
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Basic Gothic
Hannes von Dhren & Livius Dietzel
2010 FontShop International

Nothing less than a new classic.

n
e
w
Old-
school,
neue
schule / .,
R R
_
ALTERNATES
Hot Metal Type
E.S.
Swans are bitches!
Spatien
*For further information, please consult the showing
Without impact on
climate change.
2
2
f f

FAQ*
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20_ FontFont Release Magazine Fifty2|3|4

In spite of or perhaps because of Helveticas reputation for cold, cal-
culated perfection, it has been the worlds most popular Latin typeface for
over four decades. Drawn by Max Miedinger and introduced under the name
Neue Haas Grotesk in 1957, its roots lie in much quirkier and personable
material. Its earliest direct ancestor, known simply as Grotesk, was first
introduced by the Schelter & Giesecke foundry in Leipzig around 1880. The
Bauhaus, in nearby Dessau, chose this face as the main workhorse for their
printing shop and used it for the vast majority of their classic experiments
in asymmetrical typography. In 1999 Erik Spiekermann asked type designer
Christian Schwartz to consider drawing a revival of S&Gs Grotesk, updating
the family for contemporary typographic needs without rationalizing away
the spirit and warmth of the original. The Regular, Medium, and Bold are
drawn directly from S&G sources, and the Super was added for situa-
tions where subtlety would be inappropriate. The family is released in 2002
under the name FF Bau, in homage to the most noted users of the original.
Now available as:
OpenType (OT/Pro),
Ofice FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Super
Super Italic
FF Bau by Christian Schwartz | 20022004
I Love Inktraps!
And what about slab serifs?
esk
Isnt it cool?

+
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22_ FontFont Release Magazine Fifty2|3|4

FF Bradlo is Andrej Krtkys frst typeface to be published. It
was designed originally for a bank and even after its digitizing
remains quite formal, retaining its original chiseled appear-
ance. Krtky characterizes the typeface as being dynamic,
yet also quite medieval. Its asymmetrical serifs and formal
details set it apart from other similar faces specifcally the
pronounced ink traps in its angular corners, a relic from the
early days of printing which Krtky implements to enhance
the faces aesthetic quality.
Now available as:
OpenType (OT/Pro)
Regular
Bold
Regular
Bold
FF Bradlo Sans | FF Bradlo Slab by Andrej Krtky | 1995
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FSI FontShop International
FF Bradlo Sans & Slab
So beautiful ...
and yet so useful
HAUTE COUTURE
45$,

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ff Cellini
pure poetry
FF Cellini Titling
Smoking in medium size
by Francesco Bello
24_ FontFont Release Magazine Fifty2|3|4
Designed in 1974 for the Hollenstein collection, these particular
Bodoni typefaces had existed only for photosetting. Albert Boton
designed the Regular in the 90s, adding the Italic in 2002. For the
release of ff Cellini, Boton completed the family with small caps for
the Regular weight, Titling versions, and a Medium and Bold. The
structure of ff Cellini is similar to other Bodonis (in fact all Bodonis
are similar to each other, but difer in details like the curves in O, G, Q,
the forms of the serifs, the arm of the t, etc.). Noteworthy in ff Cellini
are the ball terminals which were lengthened into drop-like shapes
in a, f, j etc.
Now available as:
OpenType (OT/Pro)
Regular
Italic
Medium
Bold
Titling Regular
Titling Italic
ff Cellini | FF Cellini Titling by Albert Boton | 2003
Acherontia
y
x
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Deaths-head Hawkmoth
Parnassius apollo
Mountain Apollo
m
Papilio machaon
Old World Swallowtail
Catocala nupta
French Red Underwing
Limenitis populi
Poplar Admiral
Catocala fraxini
Blue Underwing
o
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f
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Cellini & FF Cellini Titling
Albert Boton
2010 FSI FontShop International
Image: 1895, Dr. F. Nemos
This
is
fun!
9
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6
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kathrin + markus = Sex
Hank stinks!
YEAH!
no, me!
04.09.
Teenage
Mutant
Ninja
Turtles!
18.2.
YOU!
Brian was here.
18.12.2010
I B Stacey.
Mr. Anderson
26_ FontFont Release Magazine Fifty2|3|4
FF Childs Play is a collection of unique typefaces
frozen in time! They are based on the handwriting
of children between 5 and 10 years old, and include
a special dingbat font composed entirely of chil-
drens drawings and featuring a series of paint
effects. It enables the user to rediscover their
frst tentative scribbles and progress to more delib-
erate letterforms.
Now available as:
OpenType (OT)
Age Five
Age Six
Age Seven
Age Eight
Age Nine
Age Ten
Dingbats NouhC
FF Childs Play by John Critchley | 1993
ij
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2010 FSI FontShop International
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secteur Franais!

&

11.09.1989
STOP
Which one is more aggressive?
In alphabetical order:
EAST vs. WEST

A A A A A
A A A A
vs.
28_ FontFont Release Magazine Fifty2|3|4
For decades two different signage systems divided East and West Berlin. The West used a sans
serif dating back to the 1930s, while the East preferred a technically-tinted sans face from the
1950s. Ole Schfer and Verena Gerlach based their designs on the street signs themselves rather
than the sketches from which the signs were made. This resulted in there being two versions for
the East and a single version for the West. The FontFont character set includes many characters
that would never be found on a street sign so Schfer and Gerlach designed the missing letters,
punctuation and symbols. They also designed special headline fonts for both East and West
available in three weights: Regular, Medium and Bold. In addition, they created lining gures
and a series of arrows and other useful symbols.
Now available as:
OpenType (OT)
CST Berlin East Original Round
CST Berlin East Original
CST Berlin East Regular
CST Berlin East Medium
CST Berlin East Bold
CST Berlin West Original
CST Berlin West Regular
CST Berlin West Medium
CST Berlin West Bold
FF City Street Type (CST) by Verena Gerlach & Ole Schfer | 2000
F
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Mnzstrae
Alexanderplatz
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Universitt
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Berlin-Tegel

1933
1945
West Original
West Regular
Berliner Mauer befestigte Staatsgrenze
East Original
West Medium
East Original Round
TAXI
West Bold
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WC
East Regular
East Medium
East Bold
5

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Z E I C H E NE R KL R U NG
City Street Type | FF CST Berlin | Verena Gerlach, Ole Schfer
FSI FontShop International
Ost
West
A stream-
liner
provides
less
resistance
to air.
+
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!

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Return The Bad Bank to Sender

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unambiguous:
nice rhyme
DAX Index
HGN + 0.56 | = BCF 0.00 | ADC 4.56
d g m n p q r u
Bilateral Economic Interest
30_ FontFont Release Magazine Fifty2|3|4
Hans Reichels rst design to be published by fsi FontShop International
was FF Dax Condensed (1995) which developed from the idea of combin-
ing the clarity of a narrow Futura with a slightly roman touch to make
a space-saving but very legible typeface of timeless design.
Very characteristic for the typeface are the missing spurs in the d, g,
m, n, p, q, r and u. The family quickly grew to include the wider, but
still narrow, ff Dax, followed by ff Dax Wide, less space-saving than
its predecessors but still on the slender side. And, in keeping with tradi-
tion, available in six weights: Light, Regular, Medium, Bold, Extra Bold
and Black.
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 appear larger and more compact when set at the same point
size. The width is somewhere between FF Dax Condensed and FF Schmalhans.
FF Dax Compact is especially suitable for headlines in magazines, news-
papers, for posters, yers ... whenever a little more noise is needed.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Offc/Offc Pro) and
Web FontFont (Web/Web Pro)
The Pro versions even speak Greek now.
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
ff Dax by Hans Reichel | 19952000
_

Sender: Surname, Name / Company (max. 23 chars)
(Name of the bank) (Bank code)
Dax /

Oldstyle Figures Lining Figures
Published by (Type Foundry):
Weight (light / light italic):
Weight (regular / italic):
Weight (medium / medium italic):
Weight (bold / bold italic):
Weight (extra bold / extra bold italic):
Weight (black / black italic):
Range:
Location:
Date Signature
WEIGHTS
kecheI, hans
1312101749
IontIont

o8)z6!qoz
3647589102
6,
A A A A A A A A A A A A
2010 FontShop International
Hans Reichels first design to be published by was
Dax Condensed, which developed from the idea
of combnng the cIarty of a narrow Futura wth
a slightly Roman touch to make a space-saving
but very legible typeface of timeless design.
Very characteristic are the missing spurs.

.
DIN
101215
968473
[Regular]
[Medium]
[Black]
[Light]
[Bold]

_
_
&
+
aaaaa
32_ FontFont Release Magazine Fifty2|3|4
FF DINs simplicity and industrial straightforwardness have been softened and
rendered more emotional thanks to FF DIN Round. Especially comprehensive de-
sign projects with disparate elements need to be clearly distinguishable yet still
recognizable as players on the same team will benet from combining of FF DIN
and FF DIN Round.
Think of logos, slogans, price tags, etc. as part of advertising campaigns and shop
designs, calling attention and communicating their uniqueness. FF DIN Round is
not only a good companion to FF DIN, as a standalone typeface its smooth and
friendly curves make it a perfect candidate for branding strategies for products
and services as varied as family cars, bikes, household applian ces, sportswear,
shoes or medical products. The typeface is also very suitable for screen-based
applications: in web design or mobile devices.
New FontFont
Available as:
OpenType (OT/Pro),
Ofce FontFont (Offc/Offc Pro) and
Web FontFont (Web/Web Pro)
Light
Regular
Medium
Bold
Black
FF DIN Round by Albert-Jan Pool | 2010
DIN
[Black]
n
e
w
|017.
|943.
|205.
|846.
Garabr
Black
Medium
Bold
Regular
Light
Norfolk
amrun

Mnchen
FF DIN Round Albert-Jan Pool

|253.
B

B
M
R
L
2010 FSI FontShop International
Ladies and gentlemen,
start your FF Engines!
Choose your bodywork:
Light, Regular or Bold...
Oh, no! Collisions:
Feels like warp speed!
parking
6.2-liter V8
e
g g
Alternates
Ee_
_
_
111111
136km
Gasoline
Power

34_ FontFont Release Magazine Fifty2|3|4

According to Alex Scholing ff Engine was an
attempt at making a good, solid, general-purpose
typeface with as little effort as possible. The rst
thing I did to reduce complications was do away
with the contrast in the letters, which means
ff Engine is a so-called monolinear typeface (well,
almost; try to nd how I cheated ). To enhance
legibility I added small serif-like bulges at the
ends of the stems. Scholing later decided that
his rst typeface was rather immature which
is not necessarily a bad thing. However, for years
he worked on a more sophisticated typeface based
on the same idea. This became ff Roice (2003).
Now available as:
OpenType (OT)
Light
Light Italic
Regular
Italic
Bold
Bold Italic
ff Engine by Alex Scholing | 19951996
0.1
0.2
0.4
0.5
1.0
1.2
8.0
.3
-GEAR
At1rxNA1rs
+ 5uAtt CArs
2010 FontShop International
0.083756
rr Enne
e J g
Light Italic a
Regular
a
Italic
a
Bold
a
Bold Italic
a
Light a

FAIRY TALES

1674 Sheep
LittleRedRiding Hood
Mom & Dad
a | a
Grimms Fairy Tale:
Display
Combine styles as layers
really this way
fury frames included
+ =
Text
small brains, big muscles
What
dreams
are
made
of.

36_ FontFont Release Magazine Fifty2|3|4

Whatstheidea behindFF Fontesque,Nick Shinn?
I wanted to do something that was very loose, with really extreme proportions,
but atthesame timeit neededto bebeautifullydrawn. And althoughit would be
a novelty face, itwouldsetlike realtype,with a boldandaproper italic. And be
original. Thatwasthechallenge. FFFontesqueis based onseveralconcurrent design
principles. Likeanimation; thisis the ideathat the charactersarealive, moving, and
cant stand still. Its expressed globally in the irregularity of size, varying angles
of the uprights, and non-adherence to the baseline. Individually, each character is
stretching, withsinuouscurves and proportions thatdontdivide evenly: eachletter
has a small partandabigpart.
Doesnt thatharm legibility?
Quite the opposite. InFF Fontesque I maximized the irregularityof the texture of
white space toimprovelegibility.If you lookat the wordseain Helvetica,with its
six similar spaces, you can see whatIve tried toavoid.
FF Fontesque Text:
The original FF Fontesque is a graceful, delicate face a display face, really.
So for a wider variety of body-copy use, the addition of a more robust text
version is a good idea. The weight is slightly heavier, the hairlines are thicker
and the serifs bigger. Also, the sidebearings are wider. However, Ive kept
some details fne to preserve the cut of the face. But theres another reason
for a text version. I get the impression, from the way Ive seen FF Fontesque
used over the past few years, that in many instances people would prefer a
little more heft. You know the kind of thing that can go wrong: someone uses
FF Fontesque to surprint a busy photo, and its not quite strong enough, so
they add a drop shadow, but it still doesnt look right, because the hairlines
are so fne. A text version would help here too, at display size.
FF Fontesque Sans:
Introducing the typeface that belongs in every food cupboard, uh, fonts folder, Nick
Shinn has taken his popular FF Fontesque, peeled of the serifs, thrown it in a pot
with some Helvetica, added a dash of Swiss, and cooked to perfection. Mmm, enjoy!
FFFontesqueDisplay:
With the publication oftheOpenType Pro version,besidesmore languagesupport,
additional alternate glpyhsandornaments, a few morenewDisplayweightscomplete
thefamily toperfection.
Now available as:
OpenType(OT/Pro),
OfceFontFont (Ofc/OfcPro) and
Web FontFont(Web/Web Pro)

The new Display style havebeen added and

FFFontesqueeven speaksCyrillic now.
Regular
Italic
Bold
Bold Italic
Extra Bold
Display Light
Display Light Italic
DisplayRegular
Display Italic
Display Bold
Display BoldItalic
Display Extra Bold
Sans Ultra Light
Sans Light
Sans Light Italic
Sans Regular
Sans Italic
Sans Bold
Sans Bold Italic
Sans Extra Bold
Text Regular
Text Italic
Text Bold
Text Bold Italic
FF Fontesque|Display |Sans | Text by NickShinn|19942010

Flamboyant
ITALICS &
sober ROMANS
17:4523
_

|
q

take over the

its about time
=
v
s
O
38_ FontFont Release Magazine Fifty2|3|4
FF Ginger is an alternative to the widely-used Crillee and
Serpentine faces, which are especially popular in bold italic.
They express speed and dynamism and are popular choi-
ces for internet providers, couriers, service bureaus, etc.
FF Gingers Light weight and matching Icons extend its
typographic scope. The Flamboyant versions, accessible
via the Stylistic Alternates OpenType feature, add a spark
to individual letters and initial caps.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Light
Light Italic
Regular
Italic
Icons 7bCm3
FF Ginger by Jrgen Huber | 2002
O
Gigabytes
of styles

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too much Data!
I cant show em all
REGISTRY
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a | a | a
Condensed | Regular | Wide
ff Good ff Good Headline
a a
4
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40_ FontFont Release Magazine Fifty2|3|4
What was boosted from 9 styles to 60 styles? FF Good.
ukasz Dziedzics versatile straight-sided sans serif has
been radically overhauled. The original incarnation of this
contemporary alternative for News/Trade Gothic was a
rather small family of three weights in three widths, with
no italics. The new version however comes in fve weights
ranging from Light to Black, in Condensed, Regular, and
Wide widths, all with matching italics, and small caps
for both Roman and italic styles.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web Font (Web/Web Pro)
21 new weights and italics, as well as 30 additional
new Headline styles have been added.
Condensed Light
Condensed Light Italic
Condensed Book
Condensed Book Italic
Condensed Medium
Condensed Medium Italic
Condensen Bold
Condensed Bold Italic
Condensed Black
Condensed Black Italic
Light
Light Italic
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
Wide Light
Wide Light Italic
Wide Book
Wide Book Italic
Wide Medium
Wide Medium Italic
Wide Bold
Wide Bold Italic
Wide Black
Wide Black Italic
Condensed Light
Condensed Light Italic
Condensed Book
Condensed Book Italic
Condensed Medium
Condensed Medium Italic
Condensen Bold
Condensed Bold Italic
Condensed Black
Condensed Black Italic
Light
Light Italic
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
Wide Light
Wide Light Italic
Wide Book
Wide Book Italic
Wide Medium
Wide Medium Italic
Wide Bold
Wide Bold Italic
Wide Black
Wide Black Italic
ff Good | ff Good Headline by ukasz Dziedzic | 2007, 2010
Good | Good Headline
by ukasz Dziedzic
30 styles each
design: jonas kaminski
2010 FontShop International
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ROCKN & ROLL
is a handscript
fot with
small caps
and fracios!
Thats Right!
right?!
4(+) []
a b b c e e e e f f f
Excptioal Leteors
Although digital it sems like handwrite!
realy?
84
0:57

= 3,14159265
I HATE MATHS ... NOT
a T c c e e e e e e e e e e
f f f f f f f f l o o o o r
t t t t t t
I dot think
it make sese!
Try this: 2+54
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42_ FontFont Release Magazine Fifty2|3|4
Te archetype of digital handwriting, thee fots wee the
reult of expeimets with (at the time) new sofware,
and years of indocrinatio of how to writ. Erik van
Blokland and Jus van Rossum of LetEror wee educatd
in an eviromet whee handwrite leteforms wee
cosideed to be the origin of al typography (boh sudid
at the Royal Academy of Fine Arts in Te Hague unde
Geit Noordzi). It was a natural sep for them to deive
a typographicaly sound fot from their own hands. Tey
wroe out the alphabet (Jus is lef-handed and used a thin
fneline; Erik is right-handed and used a fat marke.),
the scanned and digitized the letes o a computr.
Thee fots became the frs o many that alowed
people to indulge in the iroy o typing a lete in a
handwrite script. In the mean time a lo o ohe
rough handwriting fots have be deigned by
ohes. Yet ff Erikrighthand and ff Juslefhand
remain quit difeet from the ret. LetErors
pioeing work in this area has opeed up whole
new areas in type deign. For typo-bufs, ff Hands
also include a set o smal caps and oldsyle fgure,
and eve ligature. In 2010 the worlds frs digital
handwriting fots have be optimized again and
fnaly covetd to OpeType.
Now available as:
OpeType (OT/Pro),
Ofc FotFot (Ofc/Ofc Pro) and
Web FotFot (Web/Web Pro)
Erikrighthand
Juslefhand
ff Hands by Erik van Blokland & Jus van Rossum | 1990, 2010
4(+) []
Playlis
by Erik & Jus*
09-11-10
2010 FSI FotShop Intrnatioal
1.DooDoo(Lo-f)
2.Gasbuis
3.Get Away From
3.Get Away From My Tune
4.Its Showing
5.Koptr(Helicoptr)
6.Kortbrok
7.Leteor Hoompah
Ancient
nameless
serpent-
like
chthonic
water-
beast
Greek Island
Satellite of Pluto
Cluster of Galaxies
Hydrogen Ship
Chess Computer
Record Label
Royal Navy Vessel
Rock Band
What is FF Hydra?
Some texts about
All gods have tattooed

(*_
@
1253 BC

TYPHON
+ ECHID-
NA

Hercules vs. FF Hydra

44_ FontFont Release Magazine Fifty2|3|4
The inspiration behind the FF Hydra font family came mostly
from the unique lettering of French poster art of the 19th
and early 20th centuries. Silvio Napoleone found that the
lettering of this period combined elements of whimsical,
economical and impactful qualities and thought a typeface
design incorporating these characteristics would be quite
relevant for todays modern design aesthetic.
Stroke connections: After the initial inspiration he began
sketching an extremely condensed sans serif typeface
without variation in the stroke thickness. He then experi-
mented specifcally on the stroke connections and discovered
organic forms which were both interesting and functional.
The name: The name Hydra is inspired by the snakelike
shapes created when the various strokes in the letterforms
join. Hydra was a ferce mythical multiheaded water serpent
in Greek mythology that ravaged both cattle and countryside.
When one of its heads was cut off two new heads appeared.
It was eventually slain by Hercules as his second labor.
Hydra in practice: FF Hydra was designed to be extremely
versatile for both the print and new media industries. The
regular font provides impact with economy of width and
creates a unique overall impression. The expanded
version makes FF Hydra suitable for
longer blocks of text. Other unique
elements of the FF Hydra family are
its characteristic soft ink trap-like
connections. For the past decade old
style numbers and true italics have
been pretty common in sans serifs.
Now available as:
OpenType (OT),
Offce FontFont (Offc) and
Web FontFont (Web)
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Extended Book
Extended Book Italic
Extended Medium
Extended Medium Italic
Extended Bold
Extended Bold Italic
Text Light
Text Light Italic
Text Regular
Text Italic
Text Bold
Text Bold Italic
Text Black
Text Black Italic
FF Hydra | FF Hydra Text by Silvio Napoleone | 2004
(*_
Silvio Napoleone

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2010 FSI FontShop International
A A A A A

Im glad stamps
have lowercase
letters, too!

vintag
ID: 25046
Sorry, but this is FF condential
top secret

on a FF Karton?
46_ FontFont Release Magazine Fifty2|3|4
Just as popular as FF Trixie are
the FF Instant Types. Named after
the places they come from, the fonts
are character sets from the world
around us. We see them every day,
but do not really see the letters as
typefaces. FF Instant Types makes
those alphabets available to the
digital typographer.
Now available as:
OpenType (OT),
Ofce FontFont (Offc) and
Web FontFont (Web)
Condential
Dynamoe
Flightcase
Karton
Stamp Gothic
ff Instant Types by Just van Rossum | 1992
vintag
Just van Rossum
FF Confidential
2010 FSI FontShop International

F
F

D
Y
N
A
M
O
E
2010 FSI FontShop International

F
F

D
Y
N
A
M
O
E
2010 FSI FontShop International
FF
Flight
case
199

2
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2010 FSI FontShop International
F
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2010 FSI FontShop International
0934

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2010 FSI FontShop International
I dont like
the taste
of cofee ...

{
;)
*

./

125.6 F
... and I hate
yogurt, too!
I prefer some small cups of tea...
... best served at:
52 C
Yummy,
pepper plants!
o
52_ FontFont Release Magazine Fifty2|3|4
ff Kava started out as a free typeface called Kafeesatz, published by
Yanone in 2004 during the early stages of his type designing career.
The bold weight was reminiscent of cofeehouse 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 Kafeesatz fonts.
A black weight has been added as well as small caps and more fgure
sets to form now an attractive modern and soft sans serif type family.
In 2010, Italics were designed to enhance the familys usefulness.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Accompanying italics complete the family now.
Thin
Thin Italic
Light
Light Italic
Regular
Italic
Bold
Bold Italic
Black
Black Italic
ff Kava by Yanone | 20092010
2010 FSI FontShop International
The FontFeed
FF Kava

The cofee part of the name comes from the cafs that infuenced its design. For the new
typeface Yanone was looking for a short and striking name with an indirect connection to
cofee or at least food. Kava is a coinage that has many connotations. The Arabic Qahwah
sounds similar and etymologically is the origin of the word cofee. Cava is the Catalan
equivalent of the French Champagne of course superior according to the Catalans which
is another sound-alike that Yanone really doesnt mind for his typeface. The connection
with the pepper plant of the same name, however not intentional, is not disliked.
2010 FSI FontShop International
The FontFeed
FF Kava

The cofee part of the name comes from the cafs that infuenced its design. For the new
typeface Yanone was looking for a short and striking name with an indirect connection to
cofee or at least food. Kava is a coinage that has many connotations. The Arabic Qahwah
sounds similar and etymologically is the origin of the word cofee. Cava is the Catalan
equivalent of the French Champagne of course superior according to the Catalans which
is another sound-alike that Yanone really doesnt mind for his typeface. The connection
with the pepper plant of the same name, however not intentional, is not disliked.
How Grotesque!
This font has small caps,
several numeral sets,
fractions
-!
You crazy FF Marten...
No worries, FF Marten has lowercase letters, too

Siamese twins:
one hard,
one soft.

Sorry, but this one looks Grotesque

Serial Number: 0192856892

Find the difference!

m
m

54_ FontFont Release Magazine Fifty2|3|4

A simple design principle produces
simple shapes. FF Marten is a headline
face. The frst design by Martin Wenzel
was geometrically constructed yet
manages to maintain a character of its
own. It was one of the frst FontFont
display typefaces for which a Cyrillic
character set was designed. In the
early 90s it was immediately picked up
by young Russian lifestyle and music
magazines and still has its fans around
the globe.
Now available as:
OpenType (OT/Pro)
Regular
Regular
ff Marten | ff Marten Grotesque by Martin Wenzel | 1991
T
O
T
R
A
3
R
{
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2 }
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A
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3
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1
T
Martin Wenzel
2010 FSI FontShop International

Designed by

1$ 1$
Base 1+Line 1
ITs only a
If youre loosing

CA$H
?
100% win
Bucks!
Gimme some more
{/}
****

Ante UP
gambling
problem
Base 1+solid 1
5$ 5$
solid 1+Top 1
20$ 20$
Base 2+Line 2
3$ 3$
Base 2+solid 2
8$ 8$
solid 2+Top 2
47$ 47$
56_ FontFont Release Magazine Fifty2|3|4
FF Massive is a typeface system designed by Amsterdam based
designer Donald Beekman. With original sketches dating back as
far as 2001, FF Massive already has a long history and has since
been used in many DBXL designs. The typeface is suitable for
logos, fyers, posters and magazine headlines. Be it drumnbass,
techno or trance, FF Massive has a distinct musical background.
With its 2010 release the FF Massive OT family was expanded
with an extra outline version into eight different OpenType fonts,
divided in four variations which together form a versatile typo-
graphic system. The eight different FF Massive variations enable
the user to compose a number of combinations, which can lead to
surprising results, especially when using contrasting colors. The
fonts come with a manual explaining how the FF Massive type
system is best employed. Enjoy!
new fontfont
Avalable as:
OpenType (OT)
1 Base
1 Line
1 Solid
1 Top
2 Base
2 Line
2 Solid
2 Top
ff Massive by Donald Beekman | 2010
If youre loosing
n
e
w
size zero
a
!
/Polyglot*

+
_f}
! !

g g
12% more condensed
less readable!

Not 24%
alternates
no introduction needed
starring in Wagners The Ride of the Valkyries
|
|
|
|

58_ FontFont Release Magazine Fifty2|3|4

FF Meta was originally (1985) conceived as a typeface for use in small
point sizes. Contrary to 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. It is especially
there that a condensed version has been missing. Some years ago a pub-
lishing house commissioned a Black Condensed for the headlines of a
new magazine. It unfortunately ceased publication after a few issues,
but FF Meta Black Condensed survived. This version was the basis for
the complete Condensed family, digitized by Ole Schfer. Since headlines
need to be bold before anything else, FF Meta Condensed has one addi-
tional weight compared with FF Meta Extra Bold Condensed, which sits
between Bold and Black. FF Meta Condensed contains all weights with
old style as well as lining fgures, there are fractions, ligatures, kerned
lining fgures, as well as the popular FF Meta arrows. The normal FF Meta
already saves more than 12 % of space compared to a regular sans serif.
FF Meta Condensed is another 12 % more condensed without being 24 %
less readable.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
FF Meta Condensed even speaks Cyrillic now.
Normal
Italic
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
FF Meta Condensed by Erik Spiekermann | 19912003
|
E r i k S p i e k e r m a n nF F M e t a C o n d e n s e d
D e s i g n : L a r s K r g e r & A l e x a n d e r R o t h
C o n d e n s e d N o r m a l C o n d e n s e d N o r m a l I t a l i c C o n d e n s e d B o o k
C o n d e n s e d B o o k I t a l i c C o n d e n s e d M e d i u m C o n d e n s e d M e d i u m I t a l i c
C o n d e n s e d B o l d C o n d e n s e d B o l d I t a l i c C o n d e n s e d E x t r a b o l d
C o n d e n s e d E x t r a b o l d I t a l i c C o n d e n s e d B l a c k C o n d e n s e d B l a c k I t a l i c
















A A A B B C C D D E
E E E E F G G H H I I I I
I J K L L L M N N N N
O O P P Q R R R S S S
S T T T U V W X Y Y Z Z
! " # $ % & ' ) ( : ; < = > ?

{ | }


- * +
[ \ ] ^








A A A B B C C D D E E E
E E E E F F G G G H H I I I I
I J K L L L M M N N N
O O P P Q R R R S S S
S T T T U U V W X Y Z
A A A A B B C D D E E E
E E F F G G G H H I I I I I J
K L L L M N N
O O O P P Q R R R S S S
T T U U V W X Y Y Z Z
A A A B B C C D D E E
E E E F F G H I I I I I
J K L L L M M N N N
O O O P P Q R R R S S S
S T T X Y Y Z Z
A A A B B C C D E E
E E E F G H H I I I I I
J K M M N N N N O
O O P P Q R R R S S S S
T T T U U V Y Y Z Z
A A B B C C D D E E E E
E E E F F H I I I I I
J K L L L M M N N N N O
O O Q R R R S S S S
T T T U U V W X Y Y Z
A A A B B C C D D E E
E F G G G I I I I I J K
L L L M M N N N N O O
O P P Q R R S S T
U U V W X Y Y Z Z
B C C D D E E E
E E F F G G G H H I I I I I J
K L L M M N N
O O P P R S S S S
T T T U U V W X Y Y Z Z
A A A B B C C D D E
E E F F G G G H H I I I I I J
K L L O
O P P Q R R R S S S S T
T T U U V Y Y Z Z
A B B C C D D E
E E F F G G G H H I I I I I J
K L M N N N N O
O P P Q R R R S S S S T
T U V W Z Z
A A A B D D E E E
E E F F G G G H I I J
K L L L M M N N N O O
O R R R S T T
T U U V W X Y Y Z Z
A A A B B C E E E
E E G G G H H I I I I I J
K L L L M M N
O P P Q R R R S S S T
T T X Y Y Z Z
A A A A B C C D D E : ;
E E E E F F G G G H H I ;
I I J K L L L L M M N
N N O O O O P P Q R ; ;
R S S S T T T T U U V ;
W X Y Y Z Z / .
{ ( ) ] }

Erik Spiekermann
R 012.4698-7
FF Meta Condensed
Erik Spiekermann
R 012.4698-9
R 012.4698-7 R 012.4698-5
R 012.4698-9 R 012.4698-5
FF Meta Condensed
Erik Spiekermann
R 012.4698-5
FF Meta Condensed
Erik Spiekermann
R 012.4698-3
FF Meta Condensed
Condensed Normal Condensed Normal Italic Condensed Book
Condensed Book Italic Condensed Medium Condensed Medium Italic
Condensed Bold Condensed Bold Italic Condensed Extra Bold
Condensed Extra Bold Italic Condensed Black Condensed Black Italic
2010 FSI FontShop International

AA ABBCCDDE
EEEEF GGHHII I I
I J KLLL MNNNN
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STTTU VWXYYZZ
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Yummy,
chocolate
and malt
powder.
T f f f f f f f f f f f f f
c c c g i i i i i s s s s
I love pretzels
*
Moms secret recipe
Sounds very nice
&

%
2 l Cacao

220 C for 20 mi
Psss ...
60_ FontFont Release Magazine Fifty2|3|4
ff Milo was started in 2000 with the goal of creating a com-
pact typeface with very low ascenders and descenders. Because
of its compact design ff Milo is a workhorse typeface suit-
able for magazine and newspaper typography. It has modern
bones with a touch of detail to make it distinctive (especially
in the italics). The name Milo comes from a resilient grain and
thats why the designer chose this name for the typeface. He
wanted it to be a basic usable font like corn or grain is to any
culture.
With the help of Paul van der Laan for kerning, spacing
and production, Mike Abbink developed ff Milo Serif as a
companion to the Sans, but it is also perfectly suitable as a
stand alone typeface or used together with any other sans serif
typeface. Like ff Milo, it is a text face with the utmost legibility,
perfect for setting newspapers and magazine copy. Although
rooted with historical attributes it is truly a contemporary
face. ff Milo Serif comes with small caps, tabular fgures,
oldstyle fgures, lining fgures as well as a wealth of ligatures.
Just like the Sans, ff Milo Serif is also a resilient grain!
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
ff Milo Serif supports now Baltic, CE,
Turkish, Latin 3 and Latin Extended.
Regular
Italic
Text
Text Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
ff Milo Serif by Michael Abbink & Paul van der Laan | 20092010
m
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W
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Regular Italic
Text Italic
Medium Italic
Bold Italic
Extra Bold Italic
Black Italic
Regular
Text
Medium
Bold
Extra Bold
Black
zooq Mx ADx s Pti vtD Dx IttD
Milo Serif
C s IortSlop Irterratioral
rock-hard.
Sklskr
Kbenhavn, Center
55 41 N, 12 35 O
Regular job in_

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45.2

Looks like a nature-boy to me ...

62_ FontFont Release Magazine Fifty2|3|4
f Olsen is a sturdy text face specifcally designed for maximum
readability at small sizes. The typeface combines details from
sans and serif faces, incorporating the best of two worlds in
one type design. The Roman is almost a slab-serif, with frm,
tapered serifs, not unlike those of Gerard Ungers Swift, and
is virtually indestructible. The Italics have the structure of a
semi-serif. In its original version even before FontFont pub-
lished it , the Danish Ministry of Education adopted f Olsen
as its corporate typeface. The family comes in Light, Regular,
Bold weights, all with matching Italics and small caps.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Light
Light Italic
Regular
Italic
Bold
Bold Italic
f Olsen by Morten Rostgaard Olsen | 2001
45 42 74
12 35 93
f Olsen

The creative is the

place where no one
else has ever been.
You have to leave
the city of your
comfort and go into
the wilderness of
your intuition.
Alan Alda
e
n
arcminutes arcseconds
arcminutes arcseconds
0 20 20 40 50
2010 fsi FontShop International
Scattered
to the
four winds.

(g)
,
_85m/h
condensed
regular
South
North
East
West
extended
vehicolo longo
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64_ FontFont Release Magazine Fifty2|3|4
ff Signa is radically different from most sans-serif text typefaces
introduced during the 1990s. It does not belong to the category
of humanist sans-serif; nor can it be blessed with grotesques
based on 19th-century models. Its forms are basic and simple,
showing minimal details. Yet its proportions are classical, and the
underlying geometry has been subtly adjusted in order to create
letterforms that are at once interesting, harmonious and con-
temporary, making for pleasant reading even at very small sizes.
Concise letterforms and a minimum of detail produce clear and
harmonious word images. ff Signa is a typically Danish typeface,
rooted in architectural lettering rather than book typography.
Originally designed for signage hence the name ff Signa is now
a family with three widths, including italics and small caps for all
weights and several types of fgures. The typeface has devel-
oped into a versatile family (there are Condensed, Extended and
Correspondence versions, and in 2005 even ff Signa Serif was
added) which can be used for corporate identities, brochures,
magazines, communication, books and on-screen publications.
Now available as:
OpenType (OT/Pro),
Offce FontFont (Offc/Offc Pro) and
Web FontFont (Web/Web Pro)
ff Signa now even speaks Cyrillic.
Condensed Light
Condensed Light Italic
Condensed Book
Condensed Book Italic
Condensed Bold
Condensed Bold Italic
Condensed Black
Condensed Black Italic
Light
Light Italic
Book
Book Italic
Bold
Bold Italic
Black
Black Italic
Extended Light
Extended Light Italic
Extended Book
Extended Book Italic
Extended Bold
Extended Bold Italic
Extended Black
Extended Black Italic
ff Signa by Ole Sndergaard | 20002004
2OE
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_Smartphone
_Laptop
_Typewriter
.53.
{You Cant Kill A Machine}

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Screenplay
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(8)
66_ FontFont Release Magazine Fifty2|3|4
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 a guideline
for the concept. At the same time, many formal
details were derived from the typical neon-let-
tering you can fnd 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,
ofering interesting details such as loops and
swashes and a slight stroke contrast. Its varied
details are unobtrusive in text sizes while de-
veloping character and sparkle in headlines.
ff Suhmos extensive character set includes
numerous special characters and ligatures,
several fgure sets and small caps through-
out all styles. The ff Suhmo 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, allow-
ing 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 of-
ten cross the baseline or the x-height.
New FontFont
Available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
Light
Light Italic
Regular
Italic
Bold
Bold Italic
Black
Black Italic
ff Suhmo by Alex Rtten | 2010
2010 FontShop International
Designer
Light Light Italic Regular
.101201 .84
Lining
.1916
Italic Bold
Oldstyle Small Caps
Styles
Bo|d Ita|ic Black Black Italic
Suhmo
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Light | Light Italic
Regular | Italic
Bold | Bo|d Ita|ic
Black | Black Italic
IIIIIIII
A|ex Rutten
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Goal: soft
slab serif
wood type,
{ink traps}
T T T f f f f f f f f f f f f f

[14 2] = 7

excellent design*
(*tdc certificate)
weights
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68_ FontFont Release Magazine Fifty2|3|4
Slovenian designer Mitja Miklavi drew ff Tisa
to meet the technological and aesthetic requirements
of modern magazine use. His primary goal was to de-
velop 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, are
becoming evident in display applications ff Tisa
Web even became one of the most popular web fonts
so far. The typeface was selected by the tdc judges
for a Certifcate of Excellence in Type Design in 2007.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)

New heavy weights (Extra Bold and Black)
join the ff Tisa family.
Latest news: ff Tisa Sans is coming soon.
Thin
Thin Italic
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic
ff Tisa by Mitja Miklavi | 20082010
@

*
2010 FontShop International
One small step
for {a} man,
one giant leap
for mankind ...

Mission Control: T 10

[f1 f2 f3 f4 f5 f6 f7 f8 f9 f10 f11 f12 f13 f14 f15]

Neil Armstrong
* 1934, 1968
* 1930,
_
engine

70_ FontFont Release Magazine Fifty2|3|4

When Erik Spiekermann and Christian Schwartz frst
star ted work on ff Meta Serif, they were also plan-
ning to do ff Unit Slab, either at the same time or
right afer ff Meta Serif was released. They fgured
that since ff Meta and ff Unit have so much in
common, it would be smart to make two serif fami-
lies 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, espe-
cially 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 half-
fnished while ff Meta Serif was completed.
Now available as:
OpenType (OT/Pro),
Ofce FontFont (Ofc/Ofc Pro) and
Web FontFont (Web/Web Pro)
ff Unit Slab now even speaks Cyrillic and Greek.
Thin
Thin Italic
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
Ultra
Ultra Italic
ff Unit Slab by Erik Spiekermann, Christian Schwartz & Kris Sowersby | 2009
Erik Spiekermann
Christian Schwartz
Kris Sowersby
2010 FontShop International

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0.98476

FontFont Release Magazine No. 3

Releases 52, 53 and 54 | 2010
Just van Rossum
Siegfried Rckel
Yanone
Jean Franois Porchez
Gyrgy Sznyei
Hannes von Dhren & Livius Dietzel
Christian Schwartz
Andrej Krtky
Albert Boton
John Critchley
Verena Gerlach & Ole Schfer
Hans Reichel
Albert-Jan Pool
Alex Scholing
NickShinn
Nick Shinn
Jrgen Huber
ukasz Dziedzic
Erik van Blokland & Jus van Rossum
Silvio Napoleone
Just van Rossum
Yanone
Martin Wenzel
Donald Beekman
Erik Spiekermann
Michael Abbink & Paul van der Laan
Morten Rostgaard Olsen
Ole Sndergaard
Alex Rtten
Mitja Miklavi
Erik Spiekermann, Christian Schwartz & Kris Sowersby
Fifty2|3|4