Web FontFonts: Serif and Slab

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 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

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

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 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

The premise for FF Ernestine came from the search for a versatile monolinear text face whose design could transmit seemingly opposite feelings. Its designer, Nina Stössinger, hoped to develop a solution that would feel inviting, but also serious; somewhat feminine, but not too swirly-girly – at once both charming and sturdy. The design’s rather large x-height and wide, open shapes allow it to... 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

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 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

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 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

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

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