This is my Next

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

FF Mark is one of the most iconic geometric sans serif typefaces of our time. Created by German type designers Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department in 2013, this versatile family draws on historical examples from German geometry in the 1920s. With additional creative input of Erik Spiekermann, they created a contemporary interpretation of classic German... Read More

FF Bauer Grotesk breathes new digital life into the metal type “Friedrich Bauer Grotesk”, a 1933 release by the Trennert & Sohn type foundry in Hamburg Altona, Germany. Its geometric construction infused with an art déco zeitgeist tied to the era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk which a few years earlier. Bauer Grotesk stands out by... 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

For decades, two different styles marked the streets of divided Berlin. West Berlin street signs were made using a sans serif standard that dated back to the 1930s, at least. Meanwhile, street signs in East Berlin made use of a narrow, router-based design, which was most likely developed during the 1950s. After German reunification in 1989, it was unclear what would happen to these competing... 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 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

Eurostile Candy is a fun spinoff from Akira Kobayashi's Eurostile Next family. As the name implies, it is based on Eurostile but with many striking new features. Most obviously, the corners and joints have been rounded off to give it a more friendly and softer feel. On top of those changes, the main skeleton of many characters have been modified. Any extra strokes have been removed - such as in... 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

Dieter Hofrichter’s blunted, spurless Carnas typeface maximizes its counter-forms by pushing its strokes outward, each character forming a straight-sided or superelliptical structure. The face treats the passing eye to a subtle diagonal jostling as tensioned upper-right and lower-left curves create radial symmetry.

Work began on what would become the Between typeface with sketches of a DIN that didn’t feel quite so cold. The principle of warmth became the focus of the family, which covers three variations from subtle nuance to humanistic fluency. Built for versatility, the Between typeface’s numbered variations span eight full weights from thin to black, each complete with a companion italic.