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Correspondence Fonts

Give your message the right tone of voice with this selection of fonts for all your correspondence needs.

Ivo Gabrowitsch
Last edited May 25, 2016

We can hope the days of seeing messages—on paper or on screen—in Courier, Times or Arial are long past. We all have different voices, so there is no reason why all our communication should look the same. These correspondence fonts make sure your message comes across as professional and personable, with the right tone of voice – monospaced looking yet proportional typefaces that appear more typographic than true typewriter faces, from business-like to friendly.

jungle
wunderkinder
Please do not sit on crocodile

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

chalet
japanophilia
Marinated fish balls rice noodles

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

always
illustrative
Danger! Dinosaur area, keep out

Sumner Stone worked together with Bob Ishi of Adobe to create the Stone family fonts, which appeared in 1987. Coincidentally, ishi is the Japanese word for stone, which precluded any squabbling about whose name the font would carry. The family consists of three types of fonts, a serif, a sans-serif and an informal style. The Stone fonts are very legible and make a modern, dynamic impression.

mystic
japanophilia
Smoking is friend of mental activity

Seeing the possibility of creating a Meta for everyday office use (instead of a specialized tool for graphic designers), Erik Spiekermann expanded the family with this function in mind. The oldstyle figures were replaced with default tabular lining ones and the overall spacing was loosened for better reproduction on a wider variety of screens, printers, copiers, and fax machines. In 2012... Read More

chalet
enthusiastic
Fly chair shaking his head

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

chalet
wunderkinder
Stop, I do not eat junk mail

When ITC Officina was first released in 1990, as a paired family of serif and sans serif faces in two weights with italics, it was intended as a workhorse typeface for business correspondence. But the typeface proved popular in many more areas than correspondence. Erik Spiekermann, ITC Officina's designer: "Once ITC Officina got picked up by the trendsetters to denote 'coolness,' it had lost... Read More

rocket
microphysics
Whatever you do, don’t regurgitate

When ITC Officina was first released in 1990, as a paired family of serif and sans serif faces in two weights with italics, it was intended as a workhorse typeface for business correspondence. But the typeface proved popular in many more areas than correspondence. Erik Spiekermann, ITC Officina's designer: "Once ITC Officina got picked up by the trendsetters to denote 'coolness,' it had lost... Read More

jungle
wunderkinder
Throw mischievous cook the sauce

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

grapes
hypothenuses
Freak out and drink all the liquor

FF Fago goes professional with its two Correspondence members, Sans and Serif, made with the needs of the business world in mind. The proportions and robust, screen-friendly letterforms are adjusted for clear communication. To meet the standards and limitations of the office environment, tabular figures and an open italic ‘a’ are standard, and ligatures were removed.

replay
japanophilia
Dogs have owners, cats have staff

FF Fago goes professional with its two Correspondence members, Sans and Serif, made with the needs of the business world in mind. The proportions and robust, screen-friendly letterforms are adjusted for clear communication. To meet the standards and limitations of the office environment, tabular figures and an open italic ‘a’ are standard, and ligatures were removed.

mystic
guitarfishes
Thank you for habitual drinking

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

always
japanophilia
Work to live, don’t live to work

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

always
wunderkinder
Stop, I do not eat junk mail

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

chalet
illustrative
Life is too short to follow the rules

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

safety
ultraviolets
Misery loves bacon and cheese

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

brandy
ultraviolets
Poisonous and evil rubbish

FF Letter Gothic is a family designed by Albert Pinggera based on the old IBM “Letter Gothic” typewriter faces. As the name suggests, this version is not monospaced, but is proportionally-spaced for setting text. A monospaced version is available; see FF Letter Gothic Mono. Each of FF Letter Gothic Text’s three weights is accompanied by a true italic companion. As is the case with many families... Read More

Albert-Jan Pool
FontFont 1995
Alex Rütten
FontFont 2010
Sumner Stone
ITC 1988
Erik Spiekermann and Ole Schäfer
FontFont 1997
Ermin Mededovic
TypeTogether 2014
Siegfried Rückel
FontFont 2008
Erik Spiekermann and Ole Schäfer
ITC 1990
Erik Spiekermann and Ole Schäfer
ITC 1990
Erik Spiekermann and Ole Schäfer
FontFont 1998
Ole Schäfer and Andreas Eigendorf
FontFont 2000
Ole Schäfer and Andreas Eigendorf
FontFont 2000
Veronika Burian
TypeTogether
Hrant Papazian and Nina Stössinger
FontFont 2011
Luc(as) de Groot
LucasFonts 2022
Henning Krause and Jörg Hemker
FontFont 2002
Siegfried Rückel
FontFont 2002
Ole Berntsen Søndergaard
FontFont 2000
Tim Ahrens
Just Another Foundry
Steffen Sauerteig
FontFont 1998
Albert Pinggera
FontFont 1996