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FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only fonts in his biography ‘Hello I am Erik’, edited by Johannes Erler, and published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois who cleaned it up and completed it. In the meantime FF Real has been extended to a family of two... 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

The Slate typeface family melds superb functionality and aesthetic elegance into a remarkable communications tool. Few typefaces possess the beauty and power of this design.Slate is the work of Rod McDonald, an award-winning typeface designer and lettering artist. At one point in his forty-year career, McDonald participated in a typeface legibility and readability research project conducted by... Read More

Syntax™ was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing... Read More

Few applications are outside FF Nort’s broad range. Its large x-height, open counters and wide apertures make it equally suited to print and interactive design projects. It excels in text sizes for captions, subheads and long-form copy. As stroke weight increases, FF Nort becomes a powerful display type tool. From simple text copy to complicated brand design, and everything in... Read More

Details like the splay of the upper and lowercase W, alternate cursive constructions of a, g, & y, and its crimped spurs distinguish Texta from other popular faces that mix humanist sans, geometric, and American gothic models. The face comes in a mirrored set of regular and alternate forms, filling out a full eight weights.

A peculiarly British humanist sans, the semi-spurless Foundry Sterling confidently handles text setting in its interior weights, while its lighter and heavier extremes perform well at slightly larger sizes. The face comprises six weights, with a companion italic in the Book weight.