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FF Info Correspondence

FF Info™ Correspondence

por FontFont
Estilos individuales desde $69.99 USD
Familia completa de 6 fuentes: $314.99 USD
FF Info Correspondence Fuente La familia era diseñada por Ole Schäfer, Erik Spiekermann y publicado por FontFont. FF Info Correspondence contiene 6 estilos y opciones de paquetes familiares.

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30 DÍAS DE PRUEBA GRATUITOS de Monotype Fonts para obtener FF Info Correspondence y más de 150.000 fuentes. Iniciar prueba gratuita
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Sobre la familia FF Info Correspondence Fuente


German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont in 1998. The family has 6 weights, ranging from Regular to Bold (including italics) and is ideally suited for advertising and packaging and logo, branding and creative industries. FF Info Correspondence 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 proportional lining and tabular lining figures. In 1998, FF Info Correspondence received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Display and FF Info Text.

Diseñadores: Ole Schäfer, Erik Spiekermann

Editorial: FontFont

Fundición: FontFont

Propietario del diseño: FontFont

MyFonts debut: Nov 29, 2011

FF Info™ Correspondence is a trademark of Monotype GmbH and may be registered in certain 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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