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FF Zwo

FF Zwo®

por FontFont
Estilos individuales desde $68.99 USD
Familia completa de 16 fuentes: $723.99 USD
FF Zwo Fuente La familia era diseñada por Henning Krause, Jörg Hemker y publicado por FontFont. FF Zwo contiene 16 estilos y opciones de paquetes familiares.

Más información sobre esta familia
30 DÍAS DE PRUEBA GRATUITOS de Monotype Fonts para obtener FF Zwo y más de 150.000 fuentes. Iniciar prueba gratuita
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Sobre la familia FF Zwo Fuente


German type designer Jörg Hemker created this sans FontFont in 2002. The family has 16 weights, ranging from Extra Light to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as sports. FF Zwo 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. This FontFont is a member of the FF Zwo super family, which also includes FF Zwo Correspondence.

Diseñadores: Henning Krause, Jörg Hemker

Editorial: FontFont

Fundición: FontFont

Propietario del diseño: FontFont

MyFonts debut: Feb 2, 2004

FF Zwo® 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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