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FF Fontesque Sans

FF Fontesque® Sans

por FontFont
Estilos individuales desde $59.99 USD
Familia completa de 8 fuentes: $345.99 USD
FF Fontesque Sans Fuente La familia era diseñada por Nick Shinn y publicado por FontFont. FF Fontesque Sans contiene 8 estilos y opciones de paquetes familiares.

Más información sobre esta familia
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Sobre la familia FF Fontesque Sans Fuente


Canadian type designer Nick Shinn created this display, script, and sans FontFont in 2001. The family has 8 weights, ranging from Ultra Light to Extra Bold (including italics) and is ideally suited for advertising and packaging, festive occasions, film and tv, music and nightlife as well as software and gaming. FF Fontesque Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Fontesque super family, which also includes FF Fontesque.

Diseñadores: Nick Shinn

Editorial: FontFont

Fundición: FontFont

Propietario del diseño: FontFont

MyFonts debut: Nov 29, 2011

FF Fontesque® Sans 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.

Acerca de 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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