Contemporary book text

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square... Read More

Originally designed during her Type and Media masters course at the Royal Academy of Art in The Hague, FF Dora was drawn by editorial and book designer Slávka Pauliková. It is a strong-willed type system consisting of five styles: Regular, Italic, Bold, Bold Italic, and Display. FF Dora’s construction principles – especially in the italic and display styles – are based on a careful study of... Read More

The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary. Ingeborg’s text styles are functional and discreet. This was achieved without losing the classic characteristics of a Didone typeface, which are the vertical stress and the high contrast. The display styles on the other hand are... Read More

Xavier Dupré’s FF Yoga mixes the harshness of a blackletter with the balanced rhythm and round shapes of the Renaissance Roman. Its sturdy serifs are a good choice for body text; They also serve as an effective headline face given their subtly chiseled counters. FF Yoga Sans is a contemporary alternative to the quintessential humanist sans (Gill Sans) and a steady companion to FF Yoga... Read More

With the help of Paul van der Laan for kerning, spacing and production, Mike Abbink developed FF Milo Serif as a companion for his FF Milo family. Nevertheless, FF Milo Serif is also perfectly suitable as a stand alone typeface, or for use together with any other sans serif. Like its counterpart, FF Milo Serif is also a resilient grain; although rooted with historical attributes it is truly a... Read More

Under the guidance of Albert-Jan Pool and Professor André Heers, Jakob Runge started designing the typeface that would ultimately become FF Franziska as part of his studies at Muthesius Academy of Fine Arts and Design in Kiel. The robust text face performs well in body text, while its more extreme weights do the work of setting headlines. Details such as its short descenders accommodate tighter... Read More

These days, it’s easy to find typefaces with multiple widths and weights, but they’re nearly all sans serifs. Large serif families are much less common. The 30-style FF More fills this need. In three widths, five weights each, the family answers every need of publication design, from readable text and space-efficient captions to strong headlines. FF More’s robust serifs and gentle contrast hold... Read More

FF Tisa designed by Mitja Miklav quickly became a new-millennium favorite of graphic designers, in print as well as on the web. Its large x-height and sturdy, well-spaced forms aid its legibility at text sizes, while its low stroke contrast and range of weights allow it to successfully function at larger sizes as well. Since the designer considered wayfinding systems a potential use for the... Read More

The original Swift (1985) proved its worth in corporate identities, magazines and newspapers and occasionally in books. It is a versatile type and can be used in a wide range of circumstances. It is a striking type, with large serifs, large counters and letters that produce a particularly strong horizontal impression. This means that words and lines in Neue Swift are easily distinguished, even... Read More