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Boasting scripts both modern and deformed, a display face based on Hama Beads, well-crafted text faces (both serif and sans), and of course, more, this latest release of FontFonts lives up to expectations.
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FF Danubia™
Viktor Solt-Bittner experimented with the modern, high-contrast types of the 18th century, redrawing them, then deviating from the models to
create FF Danubia. The fonts are suitable for both body text and display.
For the unusual Script version, Solt-Bittner began with his highly uniform
FF Danubia Italic (instead of basing
it on the historical models that are typically consulted for such things), thereby creating a unique alternate for the italic, and a distinctive display face in its own right.
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FF Zwo™
The beginnings of FF Zwo were based on a constructivistic system, which designer Jörg Hemker later abandoned over time in favor of functionality. The final result is a very legible family of typefaces.
FF Zwo has eight weights, from Extra Light to Black, each with italics, small caps, italic small caps, lining figures, selected alternate lower case, and alternate figures. FF Zwo joins other FontFont mainstays—like FF Meta,
FF Kievit, and FF Scala—as a versatile type system: flexible, distinct, and comprehensive.
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FF Pepe™
Pepe Gimeno’s FF Pepe achieves an uncommon melding of carelessness
and painstaking execution. This combination is the source of the vitality and freshness the face exudes. The capitals are deformed, giving them
a forceful personality that is complemented by the more tame lower case. FF Pepe is versatile and uninhibited.
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FF Beadmap™
Ian Wright, an illustrator living in London, sent David Crow a set of Danish Hama Beads. Wright had used them to create type pictures based
on embroidery templates, and Crow saw their potential as a workable font: FF Beadmap was born.
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FF Ginger™
Jürgen Huber’s FF Ginger expresses speed and dynamism—think internet service providers, couriers, service bureaus, hip TV shows, trendy athletic shoes, etc. FF Ginger’s icons extend its typographic scope, while the Flamboyant versions add an odd sparkle to individual letters.
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FF Turmino™
Ole Schäfer’s FF Turmino progresses from an open, light text weight to
a condensed black weight. Schäfer explains that “when using the family for newspapers or magazines it is now possible for the first time ever to set more text in Black than in Normal or Light.” In typical Schäfer fashion, FF Turmino is outfitted with three types of figures and currency symbols for all six weights.
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FF Hydra™
The idea behind FF Hydra came from the unique lettering of French poster art of the late 19th and early 20th centuries. Silvio Naploeone thought the lettering of this period combined qualities of whimsy, economy and impact, and decided a typeface incorporating these characteristics would be quite relevant for today’s modern design aesthetic.
FF Hydra was designed to be versatile for both print and new media. The regular font provides impact with economy of width while the expanded version makes FF Hydra suitable for longer blocks of text. Both widths create a unique overall impression, exemplified by their exaggerated inktraps and true italics.
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FF Elegie™
For FF Elegie, Albert Boton started from calligraphic studies by painters such as Auriol, Benjamin Rabié, Mucha and Lautrec, all of whom were discovering Japanese art at the turn of the 20th century. Though they probably used brushes, Boton began his drawings for FF Elegie with a Brause ink pen. The result is a lively family of handwritten typefaces with ornaments and alternate swash capitals.
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Table of contents
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