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The branding agency's client wanted an "ultra modern" typeface that was "futuristic without being gimmicky or ephemeral," according to... Read More

A popular choice within the FontFont library, FF Clan is an extensive family from Polish designer Łukasz Dziedzic. A contemporary sans... Read More

Tim Ahrens on the design of his typeface, Linotype Aroma: "I started designing Linotype Aroma about six months after discovering that Frutiger is not a brand of candy and Garamond not the name of a perfume. I didn't want it to be one of these bland, faceless fonts that sacrifice the natural, independent character of their figures to neutrality. I believe that beauty is often created... Read More

“Legato” is a musical term, meaning that the notes are played in a “connected” manner. This idea of connecting discrete units to enhance overall expression can be applied to the letters setting a text in precisely the same way. In designing FF Legato, Evert Bloemsma studied the extent to which the characters of the alphabet visually connect and build proper word and line images, then setting... Read More

FF Celeste Sans is something of a hybrid, like its serif companion FF Celeste. Its designer Chris Burke describes it like this: “The serif version is a deliberate attempt to temper the modern face (Didone) type model with old face (Garalde) elements; to mix what Swiss letterform theorists have called the static and the dynamic principles of letter construction. Allowing for historical fancy,... Read More

FF Kievit explores the synthesis of the sans serif form to the structure and proportions of a traditional Renaissance Roman such as... Read More

FF Fago is the quintessential corporate typeface, a result of many years of work within the challenges and requirements of complex... Read More

Rounded typefaces go in and out of style. They are often used for user interfaces, or for back-lit signage. Sharp type often looks blunt... Read More

A grown-up, no-nonsense sibling to Erik Spiekermann’s popular FF Meta, FF Unit irons out many of the quirks of its predecessor, dialing... Read More

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of... Read More

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh... Read More

Soho is the latest addition to the growing range of typefaces from Sebastian Lester. This grand opus of a project resulted in a typeface... Read More

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier... Read More

FF Nuvo is a contemporary sans with a slight contrast. Certain characters have a calligraphic touch, especially a, g and y. The typeface... Read More

FF Info is named after its purpose: the transfer of information. Its clean lines make no fashion statements, nor do they attempt any... Read More

FF Zwo started as a constructivist concept, which was abandoned over time in favor of something more functional. Its final resulting... Read More

Basic Commercial is a font based on historical designs from the hot metal typeface era. It first appeared around 1900, and was created by... Read More

The impetus behind Felbridge was both ambitious and highly practical: to develop an ideal "online" typeface for use in web pages and electronic media. Robin Nicholas, the family's designer, explains, "I wanted a straightforward sans serif with strong, clear letterforms which would not degrade when viewed in low resolution environments." Not surprisingly, the design also performs exceptionally... Read More

Matthew Carter’s Verdana was made for screen reading and works brilliantly within that medium. FF Basic Gothic is a response to Verdana... Read More

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are... Read More

On the way back to the airport from the 1994 ATypI conference in San Francisco, Albert-Jan Pool... Read More

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper... Read More

Created by German designer Jürgen Weltin, Linotype's Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin's design has a dynamic, yet strong and very functional appearance with a... Read More

Lucida is a family of fonts with one basic design, but offered in two variations. It has both serif and sans serif characters. Lucida is suitable for books/text, documentation/business reports, posters, advertisement, multimedia.

German designer Jürgen Weltin designed Linotype Finnegan, a modern text design with roots in the humanist letterforms of the Renaissance. As the recognizable direction of movement in writing runs from upper left to lower right, Weltin mimicked this in his design: Linotype Finnegan's up and down strokes end in residual serifs. All of the thick strokes have a taper; horizontal strokes and curves... Read More

The aim with this enhancement of Hans Reichel’s mega-popular FF Dax typeface was to balance the contrast so that the letters would work... Read More

FF Masala is a small sans and script family from French type designer Xavier Dupré. The initial idea for the typeface was to create a casual-style sans to complement his earlier FF Tartine Script. After some refining and reconsideration, FF Masala became a a stand-alone product, with three sans styles including italics, and a set of script faces, drawn in three weights. FF Masala Script... Read More

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having... Read More

In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a... Read More

FF Dagny is a spare sans serif drawn in the “grotesk” style. In 2002, Sweden’s largest daily newspaper Dagens Nyheter (DN) changed from... Read More

FF Signa is a characteristically Danish design, rooted in architectural lettering rather than book typography. Originally created for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-turned-typeface” conversion, FF Signa received a Danish... Read More

London-based designer David Quay designed ITC Quay Sans in 1990. One of the precursors to the long run of functionalist European sans serif faces that has been a dominating force in type design since the 1990s, ITC Quay sans is based on the proportions of 19th Century Grotesk faces. Grotesk, the German word for sans serif, defines an entire branch of the sans serif movement, which culminated in... Read More

FF Zine is a fine example of Berlin-based designer Ole Schäfer’s logic. Art Directors often have trouble finding coordinated typefaces across several different styles. The design began with a related project. In 1996, Schäfer drew a two-weight headline face for Dresden’s Sächsische Zeitung newspaper. The brief called for a display system offering multiple “atmospheres.” The solution he came up... Read More