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FF Fago Correspondence Serif

FF Fago® Correspondence Serif

von FontFont
Einzelschnitte ab $68.99 USD
Komplette Familie mit 4 Fonts: $209.99 USD
FF Fago Correspondence Serif Font Familie wurde entworfen von Ole Schäfer, Andreas Eigendorf und herausgegeben von FontFont. FF Fago Correspondence Serif enthält 4 Stile und Optionen für Familienpakete.

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    Über die Schriftfamilie FF Fago Correspondence Serif


    German type designer Ole Schäfer created this sans FontFont in 2000. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, small text as well as wayfinding and signage. FF Fago Correspondence Serif provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with tabular lining figures. This FontFont is a member of the FF Fago super family, which also includes FF Fago, FF Fago Correspondence Sans, and FF Fago Monospaced.

    Designer: Ole Schäfer, Andreas Eigendorf

    Herausgeber: FontFont

    Foundry: FontFont

    Eigentümer des Designs: FontFont

    MyFonts Debüt: Nov 29, 2011

    FF Fago® Correspondence Serif is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. FF is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.

    Über FontFont

    Based in the trendy district of Kreuzberg in Berlin, Germany, FontFont was established in 1990 when FontShop founder Erik Spiekermann and fellow type designer Neville Brody wanted to build a foundry where type was made for designers, by designers; a place where type designers were given a fair and friendly offer and where true type magic was made. “From the very beginning,” representatives of the foundry say, “we wanted to bend the rules and test typographic boundaries, to build a library with a collection like no other; a range of typefaces that had different styles, different purposes, that was contemporary, experimental, unorthodox, and radical.”

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