FF Karo

Designed by Martin L'Allier in 2005. Published by FontFont.

Starts at $39.00 for a single style and is available for:
Type to compare other characters
&
Column Regular
&
Line Regular
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120
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
70
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
40
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
25
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
18
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
12
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
120
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
70
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
40
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
25
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
18
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
12
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.

FF Karo™ supports 82 different languages such as Spanish, English, Portuguese, German and French in Latin, Other, and Cyrillic scripts. (Please note that not all languages are available for all formats.)

View all 82 languages

Morača
Vézère
Bräkneån
Weißeritz
Rhône
Pøleå
Maçãs

Languages

Please note that not all languages are available for all formats.

Common Languages

  • Spanish
  • English
  • Portuguese
  • German
  • French

Latin

  • A
  • Afrikaans
  • Albanian
  • Asturian
  • Azerbaijani (Latin)
  • B
  • Basque
  • Belarusian (Latin)
  • Bosnian (Latin)
  • Breton
  • C
  • Catalan
  • Chichewa
  • Cornish
  • Corsican
  • Croatian
  • Czech
  • D
  • Danish
  • Dutch
  • E
  • English
  • Esperanto
  • Estonian
  • F
  • Faroese
  • Finnish
  • French
  • Frisian
  • Friulian
  • G
  • Galician
  • German
  • Greenlandic
  • H
  • Hungarian
  • I
  • Icelandic
  • Indonesian
  • Irish
  • Italian
  • K
  • Karelian
  • Kurdish (Latin)
  • L
  • Ladin
  • Latin
  • Latvian
  • Lithuanian
  • Luxembourgian
  • M
  • Malagasy
  • Malay (Latin)
  • Maltese
  • Maori
  • O
  • Occitan
  • P
  • Polish
  • Portuguese
  • R
  • Rhaeto-Romance
  • Romani (Latin)
  • Romanian
  • S
  • Samoan
  • Sardinian
  • Serbian (Latin)
  • Slovak
  • Slovenian
  • Somali
  • Sorbian, Upper
  • Spanish
  • Swedish
  • T
  • Tahitian
  • Tsonga
  • Tswana
  • Turkish
  • W
  • Walloon
  • Welsh
  • Wolof
  • X
  • Xhosa
  • Z
  • Zulu

Other

  • A
  • Afar
  • F
  • Fijian
  • G
  • Gaelic (Scottish)
  • K
  • Kinyarwanda (Ruanda)
  • Kirundi (Rundi)
  • N
  • Norwegian
  • O
  • Oromo (Afan, Galla)
  • P
  • Papiamentu
  • Q
  • Quechua
  • S
  • Shona
  • Swahili (Kiswahili)
  • T
  • Tagalog
  • U
  • Uighur

Cyrillic

  • K
  • Kazakh
  • T
  • Turkmen
The
Black
Phlegmatics
Proportional Figures
167 167
Tabular Figures
167 167
Oldstyle Figures
167 167
Lining Figures
167 167
Subscript
167 167
Fractions
135/167 135/167
Superscript
167 167
Replaces character with superscript version.
Standard Ligatures
flfi flfi
Historical Forms
hist hist
Replaces letters with historical variants that may appear anachronistic today. The best-known example is the long form of s.
Case-Sensitive Forms
(H-o) (H-o)
Shifts punctuation up to a position that works better with all-caps text.
Ordinals
1a2o 1a2o
Replaces characters with ordinal forms for use after figures.
View this style in detail
My optimism is loud and wears big heavy boots.
— Henry Rollins
View this style in detail
Punctuation
!
"
#
%
&
'
(
)
*
,
-
.
/
:
;
?
@
[
\
]
^
_
`
{
}
¡
§
¨
¯
´
·
¸
¿
Uppercase
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
Lowercase
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
Phonetic Extensions
ə
Modifiers
ˆ
ˇ
˘
˙
˚
˛
˜
˝
Combining Diacritical Marks
̒
̦
Ligatures
Currency
$
¢
£
¤
¥
Symbols
+
<
=
>
|
~
¬
±
×
÷
Decimal
0
1
2
3
4
5
6
7
8
9
Other
²
³
¹
¼
½
¾
Mathematical Operators
Superscripts and Subscripts
Number Forms
Miscellaneous
¦
©
®
°
Letterlike
Arrows
Geometric Shapes
Dingbats
Lowercase
µ
ß
à
á
â
ã
ä
å
æ
ç
è
é
ê
ë
ì
í
î
ï
ð
ñ
ò
ó
ô
õ
ö
ø
ù
ú
û
ü
ý
þ
ÿ
ā
ă
ą
ć
ĉ
ċ
č
ď
đ
ē
ĕ
ė
ę
ě
ĝ
ğ
ġ
ģ
ĥ
ħ
ĩ
ī
ĭ
į
ı
ij
ĵ
ķ
ĸ
ĺ
ļ
ľ
ŀ
ł
ń
ņ
ň
ʼn
ŋ
ō
ŏ
ő
œ
ŕ
ŗ
ř
ś
ŝ
ş
š
ţ
ť
ŧ
ũ
ū
ŭ
ů
ű
ų
ŵ
ŷ
ź
ż
ž
ſ
ƒ
dž
lj
nj
ǻ
ǽ
ǿ
ș
ț
ȷ
Uppercase
À
Á
Â
Ã
Ä
Å
Æ
Ç
È
É
Ê
Ë
Ì
Í
Î
Ï
Ð
Ñ
Ò
Ó
Ô
Õ
Ö
Ø
Ù
Ú
Û
Ü
Ý
Þ
Ā
Ă
Ą
Ć
Ĉ
Ċ
Č
Ď
Đ
Ē
Ĕ
Ė
Ę
Ě
Ĝ
Ğ
Ġ
Ģ
Ĥ
Ħ
Ĩ
Ī
Ĭ
Į
İ
IJ
Ĵ
Ķ
Ĺ
Ļ
Ľ
Ŀ
Ł
Ń
Ņ
Ň
Ŋ
Ō
Ŏ
Ő
Œ
Ŕ
Ŗ
Ř
Ś
Ŝ
Ş
Š
Ţ
Ť
Ŧ
Ũ
Ū
Ŭ
Ů
Ű
Ų
Ŵ
Ŷ
Ÿ
Ź
Ż
Ž
Ə
DŽ
LJ
NJ
Ǻ
Ǽ
Ǿ
Ș
Ț
Titlecase
Dž
Lj
Nj
Uppercase
Δ
Ω
Lowercase
μ
π
Punctuation

“Typography is what brought me to graphic design,” says FF Karo designer Martin L’Allier. “I played with typefaces before exploring the world of images.” In an introductory type design course offered during his second year of college, he designed the first version of FF Karo (then called Wisigoth and Ostrogoth). A quote from Matthew Carter was the inspiration for L’Allier’s project: “Black letter is technically the perfect digital typeface. It decomposes perfectly into a mosaic on a computer screen. There are beautiful bitmaps. It’s even self-hinting. It’s so perfect for the digital medium, why has it not supplanted roman in our current all-digital typography? Roman makes very indifferent bitmaps, I can assure you.” – Peter Wildbur, Information graphics, Van Nostrand Reinhold, New York, 1989.

L’Allier started on FF Karo by studying the bitmaps of Fraktur fonts. “Carter is indeed right about how well-adapted Fraktur letterforms are to the grid-based medium of bitmaps,” he says. L’Allier initially set out to create a bitmap Fraktur, but saw that the field was already well-represented, and that Bézier curves offered a great deal more flexibility.

The design evolved from tiny joined squares to rounded-corner squares with space in between. Glyph selections were made after extensively researching Fraktur typefaces; their history, how they were used traditionally, and what uses they have in contemporary society.

FF Karo combines the calligraphic heritage of Fraktur fonts with the rational and optical dynamics of the grid. Its structure and large glyph selection can contribute to a visually rich piece of graphic design.

FF Karo™ has 2 Styles