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FF Sero

FF Sero®

von FontFont
Einzelschnitte ab $83.99 USD
Komplette Familie mit 16 Fonts: $902.99 USD
FF Sero Font Familie wurde entworfen von Jörg Hemker und herausgegeben von FontFont. FF Sero enthält 16 Stile und Optionen für Familienpakete.

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KOSTENLOSE 30 TAGE Testversion von Monotype Fonts, um FF Sero und mehr als 150.000 Fonts zu erhalten. Kostenlose Testversion starten
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Über die Schriftfamilie FF Sero


German type designer Jörg Hemker created this sans FontFont in 2011. The family has 16 weights, ranging from Extra Thin to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding, wayfinding and signage as well as web and screen design. FF Sero provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 2011, FF Sero received the CommArts award.

Designer: Jörg Hemker

Herausgeber: FontFont

Foundry: FontFont

Eigentümer des Designs: FontFont

MyFonts Debüt: May 6, 2013

FF Sero® 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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