Style-Linked (.ttf)

FF Advert is an idiosyncratic and good-natured sans serif family for text in four weights. Its design is an homage to Metro, W. A. Dwiggins’ humanized geometric sans. The family is appreciated by graphic designers for including two unique lowercase ‘a’ forms in each font: single-story and double-story versions. The typeface is the work of Dutch designer Just van Rossum. A sister design exists... Read More

FF Advert is an idiosyncratic and good-natured sans serif family for text in four weights. Its design is an homage to Metro, W. A. Dwiggins’ humanized geometric sans. The family is appreciated by graphic designers for including two unique lowercase ‘a’ forms in each font: single-story and double-story versions. The typeface is the work of Dutch designer Just van Rossum. A sister design exists... Read More

Because of its linear nature and relative loose fit, FF Alega may be used in a variety of circumstances, producing headlines or even for setting text. When Rückel designed FF Alega, he did not consider adding a serif version. But following the typeface’s release, he experimented with the idea and decided that the effort was worthwhile. FF Alega Serif has a technical look, but is very readable.... Read More

Because of its linear nature and relative loose fit, FF Alega may be used in a variety of circumstances, producing headlines or even for setting text. When Rückel designed FF Alega, he did not consider adding a serif version. But following the typeface’s release, he experimented with the idea and decided that the effort was worthwhile. FF Alega Serif has a technical look, but is very readable.... Read More

FF Amman was designed in both Latin and Arabic and is one of the very few bi-script families where both the Arabic and the Latin characters were concurrently drawn from scratch by the same designer. It’s also the first typeface of its kind to contain “true Arabic italics,” instead of the much more common oblique versions often paired with the Arabic script. The unconventional family includes... Read More

FF Amman was designed in both Latin and Arabic and is one of the very few bi-script families where both the Arabic and the Latin characters were concurrently drawn from scratch by the same designer. It’s also the first typeface of its kind to contain “true Arabic italics,” instead of the much more common oblique versions often paired with the Arabic script. The unconventional family includes... Read More

FF Angie is a humanistic typeface with small asymmetrical lead-in strokes and flared serifs. Jean François Porchez’s first typeface, FF Angie marks the beginning of a significant career in type design, its designer being truly one of the most notable French designers of his generation. FF Angie covers five weights, each with a true italic companion. Its italics are drawn lighter and narrower,... Read More

The FF Archian family came from György Szönyei’s desire to create a geometric font using vertical and horizontal elements and no curves. FF Archian Normal was the first arrival of the family, the product of playful manipulation of form and function. The other weights were produced as variations on a theme, each with a different inspiration: architecture, painting, and fine arts. In 2010 the... Read More

FF Avance’s most notable characteristic is its use of asymmetrical serifs in the upright styles, something normally seen only in italics. Uppercase as well as lowercase letters have serifs in the upper left and lower right corners, vestiges as it were of the connection to earlier, handwritten letters. Evert Bloemsma’s focus on contemporary design made it difficult for him initially to consider... Read More

Developed over a ten year period, FF Balance is an experimental sans serif that subverts the conventions of the style. Its horizontal strokes are heavier than the verticals and its top strokes appear slightly heavier than the bottom. Another unusual feature is the family’s uniwidth metrics. All weights and numerals of the family... 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 in print, where its forms leave generous room for improvement. Influenced by the early sanses of the 19th century and developed for today’s print standards, FF Basic Gothic is a sans serif optimized for maximum legibility. With its functional, basic look, it is... Read More

FF Bau is a large workhorse family of sans serif typefaces drawn in the “Grotesk” genre. Christian Schwartz is its designer, working under the inspiration of Grotesk types cast by the Schelter & Giesecke foundry in Leipzig. Schelter & Giesecke sold these popular Grotesks for many decades; they were first introduced around 1880. When the Bauhaus moved nearby in Dessau in the mid-1920s, these... Read More

Jan Middendorp described FF Brokenscript in his book Dutch Type (2004) thus: “It is a study in Fraktur, or blackletter, possibly inspired by Gerrit Noordzij’s extensive writings on the subject.” One of the first blackletter typefaces in the FontFont library, the design takes cues from the early textura scribal tradition. The letterforms have been somewhat updated however, especially the... Read More

FF Celeste is a typeface for designers who like the idea of a Bodoni or Walbaum, but look for a robust and readable text face which tempers the sobriety of romance type with friendlier Renaissance-era features. The serifs tend to the triangular and the italics harmonize well with the roman in tone and width. The letterforms are less rationalized and modular than the starkest modern faces, but... 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 Celeste is a typeface for designers who like the idea of a Bodoni or Walbaum, but look for a robust and readable text face which tempers the sobriety of romance type with friendlier Renaissance-era features. The serifs tend to the triangular and the italics harmonize well with the roman in tone and width. The letterforms are less rationalized and modular than the starkest modern faces, but... Read More

The design of FF Chambers Sans is inspired by very divergent sources. In fact, during its development, designer Verena Gerlach had two styles in mind that work as polar opposites. The first was a traditional, engraved serif from a scientific book printed in 1686. The other is the generic sans serif style found in the lettering on enamel street signs. FF Chambers Sans is an experiment that... Read More

A popular choice within the FontFont library, FF Clan is an extensive family from Polish designer Łukasz Dziedzic. A contemporary sans with modestly squared curves, FF Clan comprises seven weights across an astonishing six widths. Dziedzic’s strong, readable types feature a large x-height, short descenders, and small caps for all weights. The thin weight is delicate but impactful, ideal for... Read More

The first sketches for the FF Clifford typeface were done in 1994. These drew inspiration from Alexander Wilson’s Long Primer Roman type, which was used to set an edition of Pliny the Younger’s “Opera,” printed by the Foulis brothers in 1751. The Italic is loosely based on Joseph Fry and Sons’ Pica Italic No. 3, from their 1785 specimen. These Roman and Italic designs combine to create FF... Read More

FF Cocon’s designer, Evert Bloemsma (1958–2005) described it as a “serious typeface.” Despite first impressions, the description holds up well. Since its 2001 release, FF Cocon has been used in an astoundingly wide variety of design applications. At large sizes, FF Cocon works as a display face, with beautiful detailing. And at small sizes, it remains surprisingly readable. The lowercase... Read More

Just as popular as the digital typewriter face FF Trixie are those in the FF Instant Types series: FF Confidential, FF Dynamoe, FF Flightcase, FF Karton, and FF Stamp Gothic. Named after the places each comes from, these fonts feature familiar character sets from everyday letters and figures all around us: packaging, flight cases, children’s stamp boxes, Dymo tape labelers. We see them every... 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 broadsheet to tabloid format. The switch accompanied a major change in DN’s journalism, editing and design. Mario García of García Media had just redesigned DN two years previously in 2000. Pangea design’s Creative Director, Örjan Nordling, who had worked with... Read More

FF Dax is without doubt Hans Reichel’s magnum opus. The design is a contemporary streamlined sans in three widths: normal, wide, and condensed. Suprisingly, FF Dax Condensed was the first to be released, in 1995. The concept behind the typeface was to combine the clarity of a condensed Futura with a more humanist touch. The result is a space saving and legible typeface of timeless quality. The... Read More

FF Dax Compact is a useful adaptation of FF Dax Condensed in six corresponding weights. Made for stacked settings and headline use, FF Dax Compact has shorter ascenders and descenders, making it especially suitable for magazine and other periodical headlines, as well as poster or other display work – anywhere a bit more volume is required.

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 better in long texts at small point sizes. FF Daxline is wider than its predecessor, and the capitals are larger. There is even a lighter version than light: thin. The result is a much more consistent, versatile family without abandoning the distinctive... Read More

On the way back to the airport from the 1994 ATypI conference in San Francisco, Albert-Jan Pool and Erik Spiekermann discussed Pool’s prospects, Spiekermann knowing that his friend’s employer had just gone out of business. He suggested that if Pool wanted to make some money in type design, that he take a closer... Read More

FF DIN Round comes as a welcome addition to the most popular family in the FontFont library and brings warmth to FF DIN’s simplicity and industrial sterility. The face is more than a programmatically rounded version of its predecessor. Albert-Jan Pool and his team reworked each letterform to maintain the structure of the original. This ensures FF DIN and FF DIN... Read More

Just as popular as the digital typewriter face FF Trixie are those in the FF Instant Types series: FF Confidential, FF Dynamoe, FF Flightcase, FF Karton, and FF Stamp Gothic. Named after the places each comes from, these fonts feature familiar character sets from everyday letters and figures all around us: packaging, flight cases, children’s stamp boxes, Dymo tape labelers. We see them every... Read More

FF Enzo is a vigorous Scandinavian sans. Drawn by Swedish designer Tobias Kvant, the family comes in five weights from Thin to Black, each complete with companion italic. Inspired by past and present type styles, the face achieves a unique look; this mix of various sans serif design currents creates a quite contemporary, lively texture. The design features a high x-height with particularly... Read More

FF Erikrighthand and FF Justlefthand are two of the first examples of loose, natural handwriting made to work as type. The software used to produce the designs was just being developed. It certainly didn’t hurt that Erik van Blokland and Just van Rossum actually know “how to write.” That’s not to imply that van Blokland and van Rossum were merely literate, but rather that had been taught... Read More

FF Fago is the quintessential corporate typeface, a result of many years of work within the challenges and requirements of complex corporate design projects. The family offers five finely balanced weights across three widths, enough for virtually any conceivable application. Its various widths were carefully planned and drawn to complement and combine with each other. Aside from the impressive... Read More

Just as popular as the digital typewriter face FF Trixie are those in the FF Instant Types series: FF Confidential, FF Dynamoe, FF Flightcase, FF Karton, and FF Stamp Gothic. Named after the places each comes from, these fonts feature familiar character sets from everyday letters and figures all around us: packaging, flight cases, children’s stamp boxes, Dymo tape labelers. We see them every... Read More

FF Folk is a small series of typefaces drawn from lettering that artist Ben Shahn used in his paintings and lithographs. The Ben Shahn Folk Alphabet was originally created as lettering in 1940, and in 1995 was produced as digital type by Maurizio Osti and Jane Patterson with the blessing of Mrs. Bernarda Shahn, approval from Ben Shahn’s estate, and under license from VAGA (New York). “Lettering... Read More

In your mind, you know what the letters should look like. That’s why FF Fontesque’s funhouse-mirror–style distortion is so successful at disorienting and drawing in the unsuspecting onlooker. The typeface keeps it loose with extreme proportions, unpredictable character axis, a bouncing baseline, and wild variation of stroke weight. The designer, Nick Shinn, argues that all the irregularity only... Read More

In your mind, you know what the letters should look like. That’s why FF Fontesque’s funhouse-mirror–style distortion is so successful at disorienting and drawing in the unsuspecting onlooker. The typeface keeps it loose with extreme proportions, unpredictable character axis, a bouncing baseline, and wild variation of stroke weight. The designer, Nick Shinn, argues that all the irregularity only... Read More

FF Ginger was designed as an alternative to the widely-used Crillee and Serpentine faces, which are especially popular for their bold italic variants. They express speed and strength and are popular choices for service industry logos, television productions, etc. FF Ginger’s Light weight and matching Icons extend the typographic scope of the narrow use cases seen in the other two. 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

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

Based on a rigid grid of squares and triangles, FF Gothic is probably Neville Brody’s most strictly constructed type family. In spite of the simplicity of the basic forms, its many variations allow for play and variety.

FF Soul is the creation of Amsterdam’s Donald Beekman. A musician, DJ, and chief of an underground record label, Beekman also develops branding and packaging for his colleagues in the entertainment business. FF Soul evolved from a logo he drew for Dutch club/house label Hardsoul. A brash, meaty face, FF Hardsoul has hard edges and a rock-and-roll feel. FF Softsoul’s rounded corners show the... Read More

The spark behind the creation FF Hydra family came from observing 19th and early 20th century French poster lettering. Its designer Silvio Napoleone found that the styles of this period combined whimsical, economic, and impactful qualities. A typeface that incorporated these characteristics could be especially relevant to today’s design aesthetic. Naploeone began by sketching an extremely... 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 technical wizardry. The typeface was initially intended for use on traffic signage,and other wayfinding systems in stations, on buildings, etc. Because space comes at a premium in such situations, FF Info Display is drawn narrow; It requires 15% less space than... 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 technical wizardry. The typeface was initially intended for use on traffic signage,and other wayfinding systems in stations, on buildings, etc. Because space comes at a premium in such situations, FF Info Display is drawn narrow; It requires 15% less space than... 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 technical wizardry. The typeface was initially intended for use on traffic signage,and other wayfinding systems in stations, on buildings, etc. Because space comes at a premium in such situations, FF Info Display is drawn narrow; It requires 15% less space than... Read More

FF Erikrighthand and FF Justlefthand are two of the first examples of loose, natural handwriting made to work as type. The software used to produce the designs was just being developed. It certainly didn’t hurt that Erik van Blokland and Just van Rossum actually know “how to write.” That’s not to imply that van Blokland and van Rossum were merely literate, but rather that had been taught... Read More

FF Karbid is a contemporary interpretation of storefront lettering done between 1900 and the late 1930s and preserved due to the German Democratic Republic’s economy of scarcity. In the beginning of the 1990s, FF Karbid’s designer Verena Gerlach began documenting storefront lettering in Berlin’s Prenzlauer Berg and Mitte districts. Sadly, these have since almost entirely disappeared, due to... Read More

FF Karbid is a contemporary interpretation of storefront lettering done between 1900 and the late 1930s and preserved due to the German Democratic Republic’s economy of scarcity. In the beginning of the 1990s, FF Karbid’s designer Verena Gerlach began documenting storefront lettering in Berlin’s Prenzlauer Berg and Mitte districts. Sadly, these have since almost entirely disappeared, due to... Read More

FF Karbid is a contemporary interpretation of storefront lettering done between 1900 and the late 1930s and preserved due to the German Democratic Republic’s economy of scarcity. In the beginning of the 1990s, FF Karbid’s designer Verena Gerlach began documenting storefront lettering in Berlin’s Prenzlauer Berg and Mitte districts. Sadly, these have since almost entirely disappeared, due to... Read More

FF Karbid is a contemporary interpretation of storefront lettering done between 1900 and the late 1930s and preserved due to the German Democratic Republic’s economy of scarcity. In the beginning of the 1990s, FF Karbid’s designer Verena Gerlach began documenting storefront lettering in Berlin’s Prenzlauer Berg and Mitte districts. Sadly, these have since almost entirely disappeared, due to... Read More

Just as popular as the digital typewriter face FF Trixie are those in the FF Instant Types series: FF Confidential, FF Dynamoe, FF Flightcase, FF Karton, and FF Stamp Gothic. Named after the places each comes from, these fonts feature familiar character sets from everyday letters and figures all around us: packaging, flight cases, children’s stamp boxes, Dymo tape labelers. We see them every... Read More

Before it was FF Kava, the five-weight family you see here started out as a free font family called Kaffeesatz, published by Yanone in 2004 during the early days of his type design career. The bold weight was drawn from a variety of coffee house lettering from the 1920s, while its lighter weights were done with the purpose of bridging the gap to contemporary design applications. A black weight... Read More

FF Kievit explores the synthesis of the sans serif form to the structure and proportions of a traditional Renaissance Roman such as Garamond or Granjon. Work began on the typeface in 1995 when Mike Abbink was a student at Art Center in California. The family spans nine weights and includes small caps, true italics, and multiple figure sets – everything necessary for creating sophisticated... Read More

FF Kipp was designed by Claudia Kipp who studied in Bielefeld, Germany. The typeface was initially part of her university thesis, based on a wood type alphabet from the 1930s she discovered in Leipzig. After digitizing the design, she went back to add special optical effects to convey the historical sense associated with printing from woodblock typefaces. The face has been broken into levels of... Read More

In FF Mach, all curved lines have been replaced by straight ones, some of which are set at angles. This results in a rather technical appearance, and one that’s contemporary in feeling. The family has 18 styles in all: six weights in three widths. FF Mach’s first sketches were drawn in 2004, when a colleague of Dziedzic’s planned a new Polish arts and culture magazine. He asked Dziedzic for a... Read More

FF Magda is a grunge family designed by Swiss-born designer Cornel Windlin. “I intended it to be a sister font to Erik van Blokland’s very popular FF Trixie, in order to offer a less nostalgic typewriter face to designers with an appetite for Banal Everyday Typography,” wrote Windlin. FF Magda isn’t a lazy effort, however. The family includes no less than nine levels of boldness or ink bleed,... Read More

H. A. Simon, an experienced figure in the German advertising world, drew the first version of what would become FF Market to use in a few specific design jobs. After the positive reaction that he received from clients and users of the fonts – and the fact that it appeared in designs far beyond Simon’s original intention – he re-drew and extended the family. As the name suggests, FF Market is... 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 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

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

Mike Abbink’s initial concept with FF Milo was to create a compact sans with very short ascenders and decenders. This resulted in a versatile typeface that’s well suited to magazine and newspaper typography. The typeface was named after a resilient grain, hinting at its ability to serve as a design staple. In later releases the design was expanded upon with FF... 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

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 Nuvo is a contemporary sans with a slight contrast. Certain characters have a calligraphic touch, especially a, g and y. The typeface offers several alternate characters that may be substituted – for example: a, g, k, s, y – for additional typographic range in text. Designer Siegfried Rückel developed the concept for FF Nuvo during a stay in Paris, after being inspired by the extravagant... 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 offers several alternate characters that may be substituted – for example: a, g, k, s, y – for additional typographic range in text. Designer Siegfried Rückel developed the concept for FF Nuvo during a stay in Paris, after being inspired by the extravagant... Read More

FF OCR-F came as the first in a series of “non-design” typefaces for the FontFont library. Technically oriented faces, such as DIN, Courier, Pica, or OCR-A and OCR-B have never seen so much demand in design as today. Art directors, magazine publishers, and poster designers love their cold, martial forms. At the same time, many would like to have a few more weight options and perhaps a... Read More

FF Olsen is a robust typeface made for small text sizes. The design merges both sans and serif models, combining the best of each for maximum stamina on the page. Up close, its Roman is almost a slab design, with firm wedge serifs not unlike those of Gerard Unger’s Swift. Such sturdy construction guards against the harshest environments. The italics follow a semi-serif structure. Before... Read More

While a senior in college, Christian Schwartz worked for a clothing company, designing t-shirts and labels. The aesthetic of one of the lines mixed industrial and military looks, which called for a lot of stencil type. He picked up some stencils at a hardware store and digitized the characters, since other companies regularly ripped off prints they designed with readily available fonts. In this... Read More

While a senior in college, Christian Schwartz worked for a clothing company, designing t-shirts and labels. The aesthetic of one of the lines mixed industrial and military looks, which called for a lot of stencil type. He picked up some stencils at a hardware store and digitized the characters, since other companies regularly ripped off prints they designed with readily available fonts. In this... Read More

In his primary role as an editorial and magazine designer, Łukasz Dziedzic has been in a constant search for new typefaces. Most of his own type designs originate from situations where he felt none of the available faces worked “quite right” in the context of a project he was working on. Therefore most of his typefaces have at some point seen use in real magazine layouts, and have been refined... Read More

One of Berlin’s must-visit cultural stops is the Prater, a beer garden in Prenzlauer Berg, a district in the eastern part of Berlin. The Prater easily has one of the most unique graphic identities in the city, completely handmade by artist-illustrator Henning Wagenbreth. The alphabets created by Wagenbreth became the starting point for a refreshing type family, FF Prater. To convincingly... Read More

One of Berlin’s must-visit cultural stops is the Prater, a beer garden in Prenzlauer Berg, a district in the eastern part of Berlin. The Prater easily has one of the most unique graphic identities in the city, completely handmade by artist-illustrator Henning Wagenbreth. The alphabets created by Wagenbreth became the starting point for a refreshing type family, FF Prater. To convincingly... Read More

One of Berlin’s must-visit cultural stops is the Prater, a beer garden in Prenzlauer Berg, a district in the eastern part of Berlin. The Prater easily has one of the most unique graphic identities in the city, completely handmade by artist-illustrator Henning Wagenbreth. The alphabets created by Wagenbreth became the starting point for a refreshing type family, FF Prater. To convincingly... Read More

One of Berlin’s must-visit cultural stops is the Prater, a beer garden in Prenzlauer Berg, a district in the eastern part of Berlin. The Prater easily has one of the most unique graphic identities in the city, completely handmade by artist-illustrator Henning Wagenbreth. The alphabets created by Wagenbreth became the starting point for a refreshing type family, FF Prater. To convincingly... Read More

Providence was first drawn in 1987 to set lines in a comic book series – FF Providence Sans for the dialog, and its serif companion for running narrative. In 1994 the typefaces were revisited, adding weights and a set of dingbats, and named after the designer’s home town in Rhode Island, USA.

Providence was first drawn in 1987 to set lines in a comic book series – FF Providence Sans for the dialog, and its serif companion for running narrative. In 1994 the typefaces were revisited, adding weights and a set of dingbats, and named after the designer’s home town in Rhode Island, USA.

This lively sans combines plain shapes with calligraphic touches. FF Sanuk’s roman letterforms are clean and crisply drawn, but their stylish detailing showcases Dupré’s artistic spirit. Modestly sloped, indeed, nearly upright italics convey a contemporary air while maintaining a high degree of legibility. The seven-weight family progresses in tone from a delicate hairline to a chunky fat face,... Read More

The FF Sari story begins in 1983 when Hans Reichel made his first typeface for the Berthold foundry, under advisement from Günter Gerhard Lange. This early work became a prologue to the graphic aesthetic and sense of originality which would guided Reichel in producing the FF Dax family. FF Sari is based on the same ideas that shaped that earliest typeface, but is itself completely redrawn and... Read More

FF Sero combines the familiar forms of an American Grotesque with the legibility of a Humanist sans. It has open counters, a relatively high x-height and a homogeneous gray value. Inside the seven years of its development, the classic letterforms matured to reveal a balanced, distincitve design. Eight carefully stepped weights and an extensive character set allow for a sophisticated and... 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

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

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

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

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

FF Speak is Danish designer Jan Maack’s rounded sans. Maack’s express aim was to capture the tone and feeling of youthful conversation. FF Speak’s smooth, energetic letterforms can be used in different ways to vary the intended mood, depending on the weights and amount of extra ligatures employed. Its light weight carries regular speech, and a heavy weight speaks more loudly. Regular and bold... Read More

Just as popular as the digital typewriter face FF Trixie are those in the FF Instant Types series: FF Confidential, FF Dynamoe, FF Flightcase, FF Karton, and FF Stamp Gothic. Named after the places each comes from, these fonts feature familiar character sets from everyday letters and figures all around us: packaging, flight cases, children’s stamp boxes, Dymo tape labelers. We see them every... Read More

FF Suhmo draws inspiration from classic slab serif types, particularly those used as and derived from typewriter faces, like Courier and American Typewriter. Designer Alex Rütten took influence from these and several other sources when creating FF Suhmo, like the neon-lettering typical of old Italian restaurants across Germany for instance. The design has short ascenders and descenders, a large... Read More

FF Super Grotesk draws from a 1930s design by Arno Drescher, easily the most popular sans serif in use in East Germany – the GDR’s equivalent of the then unavailable Futura. Today, the face is found only in period specimen books and early East German ephemera. Both served as sources for FF Super Grotesk’s earliest sketches. Its original glyph coverage was increased with special symbols and... Read More

Xavier Dupré designed FF Tartine Script and FF Jambono in 2000–2001, while he worked as a type designer in a packaging design agency in Paris. Dupré just wanted to have a complete font up his sleeve when he needed to whip up a logo for someone. FF Tartine Script is an informal face specially developed for food packaging, but it is also good for logos, or in short texts, or wherever you like.

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

What became FF TradeMarker was conceived as a “remix” of the Serpentine Bold typeface. After incorporating the proto-design into countless record sleeves, flyers, and logos that he designed, the Berlin-based designer Critzla finished the family and named it FF TradeMarker. This is a typeface for building brand identities. The original Serpentine inspiration – without its vestigial serifs – can... Read More

FF Tundra is a compact serif with stressed forms and softened contours. Its concept developed from an investigation into narrow letterforms and optimal readability. To avoid the ‘picket fence’ effect, FF Tundra’s letterforms emphasize horizontal movement. Type designer Ludwig Übele combined strong serifs and flat shoulders (note the n) with open counters and heavy endings (see a, e, c) and a... Read More

FF Typestar, from Steffen Sauerteig, part of the eBoy design collective, is one of the most sophisticated typewriter-inspired fonts in the FontFont library. Although FF Typestar is essentially a geometric typeface, it is still subtly refined. The small system includes two families. The first is a typical font quartet: regular, italic, black, and black italic. These offer everything needed for... Read More

FF Typestar, from Steffen Sauerteig, part of the eBoy design collective, is one of the most sophisticated typewriter-inspired fonts in the FontFont library. Although FF Typestar is essentially a geometric typeface, it is still subtly refined. The small system includes two families. The first is a typical font quartet: regular, italic, black, and black italic. These offer everything needed for... 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 back the warmth to a comfortable, if a bit cool, room temperature. Set at small sizes, FF Unit’s legibility is aided by its increased contrast and simplified forms, all of which (a, g, i, j, l, U, M) have alternates. First released in 2003, FF Unit later... 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 in these situations, and the amount of bluntness is unpredictable. The solution: start by rounding the corners. FF Unit Rounded began as an exclusive customization of FF Unit. Something friendly and precise to be read on screen, on signs, in print, and a broad... Read More

When Christian Schwartz and Erik Spiekermann were working on FF Meta Serif, they had plans to also expand the FF Unit family (a closely related design) to include FF Unit Slab. They figured that it would be nice to create a serif and slab that could be used together, as well as with their own sans counterparts. While FF Meta Serif featured a more classical structure, FF Unit Slab was shaping up... 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

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

FF Zwo started as a constructivist concept, which was abandoned over time in favor of something more functional. Its final resulting forms create a legible and clear face, rigid and sturdy, but with a decidedly contemporary handling. The design spreads out over eight weights, each with italics and small caps. Single-story “a” and “g” alternates are included, as well as stemless “u.” A... Read More

FF Zwo started as a constructivist concept, which was abandoned over time in favor of something more functional. Its final resulting forms create a legible and clear face, rigid and sturdy, but with a decidedly contemporary handling. The design spreads out over eight weights, each with italics and small caps. Single-story “a” and “g” alternates are included, as well as stemless “u.” A... Read More