Fonts For Editorial Design

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the... Read More

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the... 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

Tablet Gothic from Veronika Burian and José Scaglione of TypeTogether makes brilliant harmony of two disparate grotesque models in a healthy number of widths and weights. First created for setting titles in periodicals, the project grew to handle text setting quite well, with a comfortably loose fit in the regular weights. The overall tone stays friendly throughout, helped by the face’s active,... Read More

Forget that hipster coolness for a minute and design something cute and charming with LiebeLotte! Go ahead and make beautiful things with her: birthday cards, wedding invitations, love letters, new signage for your deli—so many things look sweeter when you use this well-crafted handwriting font. We’ve put all of our heart and soul into this typeface—it took us a whole year to draw, refine, and... Read More

Sabre takes cues from the work of stone masons whose inscribed letter shapes were largely dictated by their medium and process. Bear in mind that while these forms are highly graphic at large sizes, they’re also strong forms that reduce nicely at and below 6–7 points.

The family that became FF Meta was first called PT55, an economical typeface made for easy reading at small sizes created for the West German Post Office in 1985. Erik Spiekermann later improved and expanded his design to include more weights and styles, and prepared its release as FF Meta, one of the first and truly foundational members of the early FontFont library. As desktop publishing... Read More

It was only after seeking the help of fellow type designers Christian Schwartz and Kris Sowersby that Erik Spiekermann was able to fashion a suitable serif companion to his most famous sans, FF Meta. Rather than pasting serifs in place, the process took starting from scratch until a face appeared that looked and felt like a Meta, but that functioned more like a traditional seriffed text... Read More

Working closely with Erik Spiekermann and Christian Schwartz, FF Meta Headline was brought to life by Joshua Darden. The design makes Meta work in the headline space, which requires a tighter fit and more compact forms, both horizontally and vertically. The face covers... Read More