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FF Kievit

FF Kievit®

par FontFont
Styles individuels à partir de $99.99 USD
Famille complète de 18 polices: $1,199.99 USD
FF Kievit Font la famille était conçu par Paul van der Laan, Michael Abbink et publié par FontFont. FF Kievit contient 18 styles et des offres familiales.

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À propos de la famille FF Kievit Police


American type designer Michael Abbink created this sans FontFont in 2001. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Kievit 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. FF Kievit received several awards: the Bukva:raz award in 2001 and the ISTD award in 2001.

Concepteurs: Paul van der Laan, Michael Abbink

Éditeur: FontFont

Fonderie: FontFont

Maître d'ouvrage: FontFont

MyFonts débout: Feb 2, 2004

FF Kievit® 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.

À propos 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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