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forty9 Release 49 | Summer/Autumn 2009: ff Avance Pro, ff Dagny Pro, ff Dax Compact Pro, ff Duper Pro, ff Gateway OT, ff Jackie Pro, ff Kava Pro, ff Luggagetag OT, ff Meta 3 Pro, ff Tisa Pro, ff Typestar OT, ff Typestar OCR OT, ff Unit Slab Pro

a ff Avance

a ff Dagny

a ff Dax Compact

a ff Duper

a

a

a

a

ff Gateway A One

ff Gateway a Two

ff Gateway B One

ff Gateway B Two

a

a

ff Jackie

a ff Tisa

ff Kava

a ff Typestar

a ff Luggagetag Two

a ff Typestar OCR

a ff Meta 3

a ff Unit Slab


Designed by Alexander Roth for the FontFont Typeface Library. Š October 2009 fsi FontShop International GmbH All rights reserved.


Forty9 Yves Peters

I sometimes get the impression (pardon the pun) that printed specimens are on the decline. With the ease and accessibility of broadband internet it seems a waste of resources to cut down trees and pump carbon dioxide into the atmosphere to produ­ ce type specimens on paper. On top of that the cost for physically sending off brochures can be prohibi­ tive for companies that operate globally.   The advantages of digital type specimens are manifold. There is no restriction on size nor page count, nor on colours or images – although detailing is limited to the resolution of the computer monitor at the end user side. pdfs can be made interactive and include direct links to additional information on the web. And file size is no real issue anymore, as current fast internet connections allow for pretty hefty files to be downloaded from websites.   Yet despite all this many type lovers keeps cla­ mouring for oldskool specimens, printed with real ink on tangible paper. Personally I also belong to that category. We've mentioned it before and we'll say it again – despite the ubiquity of text on the Web, most type was meant to be seen on paper. Ivo Gabrowitsch, Marketing Director of FontFont, was struggling with this dilemma, and decided to meet the world of the digital and the analogue half­ way. He enlisted the design skills of Alexander Roth who had produced some great work while interning at fsi FontShop International last spring and sum­ mer, and asked him to showcase the FontFont 49 release.   Forty9 can perfectly be navigated and viewed on screen, but is specifically designed to be prin­ ted, with a page size that accommodates the paper size of common printers. As it is only printed by the user, no resources are wasted. It truly is the best of both worlds.


ff Avance | 2000 Evert Bloemsma

Now available in OpenType and OT Pro

evolutionary versatility complexity for life on Earth

łåŗġê-şćãļè ŧřëŋđś

Random Mutation Genes further investigation is required The most striking characteristic of ff Avance is the use of asymmetrical serifs in the Roman weights, something we are only used to seeing in an italic. Upper as well as lower case letters have serifs in the upper left and lower right corners, remnants as it were of the connection between hand-written letters. In Evert Bloemsma’s earlier family FF Cocon these relics of handwriting were left away entirely. With Avance he had rediscovered the expressive qualities of such details which emphasize the movement and direction of reading. Bloemsma’s interest in contemporary design had made it difficult for him initially to consider drawing a face with serifs. He had this to say about them:   “The serif has many purposes and possible origins, and it took some time before I felt ready to handle this item. The serif may carry a burden of outdated conventions, so applying serifs is risky when trying to avoid the swamp of traditions. Some aspects related to the use of serifs:   Ornament/Decoration: Symmetry is found in all kinds of shapes. Often it seems to express balance, security, and certainty. This static monumentality does not really belong in our present world.   Calligraphy: A serif could be seen as a remainder of the movement of the hand in writing. But is writing – and especially broad-nib calligraphy – still a valid inspiration? Think about how much we really write in daily life. Much text is produced using the computer’s keyboard. Soon, when

speech recognition is actually feasible, the amount of handwritten text will be even less. The self-evidence with which many type designers use writing as their main inspiration is not that self-evident anymore. On the other hand it will be difficult to invent another convincing foundation. No other design discipline relies so heavily on habit and therefore on convention as type design. In the case of ff Avance a solution can be found in the design itself.   A finishing touch: We sometimes seem to be afraid of an open end, just like that, plain. There is some psychological desire for a clearly delineated border between something and nothing. In the case of letterforms this would be the end of a curve or a stem. On the other hand some interesting properties of serifs which could improve the typographic appearance: A more regular word image. The eye guided along the line. The overall image of text could be more pleasant because serifs can bring more differentiation of forms, a wider spectrum of forms. An expression of dynamic movement, a stream of thoughts. Reading is moving. Serious contemporary typography should strive for transparent expression and prevent itself from building facades that disguise. Revivals of ancient masterpieces have a limited value. Their superb qualities should find new means of expression, no matter how hard it will be to capture a similar refinement.”


ff Avance

a Regular

a Italic

A Regular

x Regular

Italic

Bold

Italic

Bold

Italic

Italic

Bold

e Bold Italic

i Bold

t Bold Italic

b

n

g Bold Italic

U

Q

a Bold Italic

s

m

g Regular

Bold

z

y Regular

a

K Bold Italic


ff Dagny | 2009 Örjan Nordling, Göran Söderström

New FontFont

random changes

all known species are descended from a common ancestor

Change in the Genetic Material A gene pool is the complete set of alleles for a gene in a single population

The Encoded Genetic Information

Origin of Species process of genetic recombination, sexual organisms can also exchange dna

Mõđèŗń Ëvǿłūŧïôŋăŕŷ Şyňťħëšíş Charles Darwin and Alfred Wallace

Natural Selection small changes in genotype can lead to dramatic changes in phenotype

reshuffling of genes through sexual reproduction In 2002, the Swedish newspaper Dagens Nyheter (dn) changed from broadsheet to tabloid – a change that came along with a major impact on dn’s journalism, editing and design. Pangea design’s Creative Director, Örjan Nordling, had already worked with dn as a design consultant in 1996. In 2000, dn had been redesigned under the leadership of Mario Garcia. For the new design Nordling had created dn Bodoni exclusively for Dagens Nyheter. The change to tabloid called for a more compact setting and Pangea design was commissioned to produce a matching sans

serif for Sweden’s largest daily newspaper. This became dn Grotesk which now has evolved into ff Dagny. For the FontFont Library several adjustments were made, the cont­ rast in stroke thickness was reduced for better legibility in small sizes and characters were redesigned together with the FontFont TypeDepartment. The family now includes a range of consistent weights from Thin to Black making it perfect for use in body text and all kind of other applica­ tions. The name Dagny is an abbreviation of Dagens Nyhe­ ter as well as an old nordic female name meaning “new day”.


ff Dagny

a Thin

Thin Italic

a Light

Bold

Thin

Thin Italic

c Light

e w Light Italic

a Extralight Italic

a Regular

a Italic

a

a Bold Italic

M

Extralight

a Light Italic

a

a

a

Black

a Black Italic

h Extralight

g Extralight Italic

G Regular

s Italic


ff Dax Compact | 2006 Hans Reichel

Now available in OpenType and OT Pro

carnivores that stalk their prey in open country

European Badger

Blood Sport of Badger-Baiting ↑↓→↔←⇧⇩⇨⇔⇦⓪①②③…⑳ Meles, Arctonyx, Taxidea and Mellivora

0.87"96'23:15.432

Ŝübfåmïłŷ Męĺļîvõříŋąē capable of fighting off much larger animals

DISH OF GOULASH FF Dax Compact is a useful extension of the FF Dax family. The main difference in comparison to the regular version is that ascenders and descenders are relatively small and the upper case letters have the same height as the lower case letters with ascenders. That makes the typeface appearing larger and more compact,

although set in the same point size. The width is somewhere between FF Dax Condensed and FF Schmalhans. The FF Dax Compact is especially suitable for headlines in magazines, newspapers, for posters, flyers ... whenever a little more noise is needed.


ff Dax Compact

Light

Regular

Extrabold

Black

Bold

Light

h

x Extrabold

Regular

Black

i

w Extrabold

Regular

A

g Black

c

t

G

r

Bold

Light

e

Z Medium

Medium

a

a

a

a

a

a

Medium

Bold

S

m weight

Regular


ff Duper | 2009 Martin Wenzel

New FontFont

an organism is any living system

MOLECULES

��������←↑→↓↖↗↘↙←↑→↓↖↗↘↙

any living structure capable of growth and reproduction

Ğęńëţïċåļľŷ Ãbłē ŧǿ Ïŋţėřbŗéëđ

↑→↓↖↗↘↙ macromolecule are nucleic acids, proteins, carbohydrates and lipids

•�������•�����▪▫○●

{[(0123456789 | 0123456789 | 0123456789 | 0123456789)]}

ALPHA TAXONOMY Martin Wenzel’s original idea from 1998 evolved into a kind of informal ff Profile in the end. The new FF Duper has a homemade touch, but provides of course all typographic qualities of a contemporary OpenType font. FF Duper consists of Regular, Bold, Regular Italic and Bold Italic weights, supports more than 60 langu­ages, has several figure sets and fractions and includes alternative forms for a, g and y as well as a set of arrows, bullets and ornaments. And there is a special extra: All weights contain three

versions of each glyph and via an OpenType feature the three alternatives are used in succession, treating vowels and consonents separately and recognizing even spaces between words for a lively and hand-made appearance of the typed text. Preliminary versions of the typeface have already been successful in education and school projects, but there are surely more areas where FF Duper perfectly fits in.


ff Duper

a Regular

g Regular

Italic

Italic

Bold

Italic

Italic

Bold

g Bold Italic

i Bold

n Bold Italic

b

r

e Bold Italic

K

j

w Regular

Bold

Italic

a Bold Italic

s

o

H Regular

Bold

W

w Regular

a

a

O Bold Italic


ff Gateway | 1997 Stephan Müller, Cornel Windlin

Now available in OpenType

AVIATION ADMINISTRATION fixed base operator service

AERODROME äir.tråffïç.côñtrół

Integer:0123456789 FAR Landing And Takeoff Field Lengths

PNEUMATIC_GEAR LINETO, the Swiss studio specialized in technoide minimum typography, has published FF Airport, after FF Dot Matrix and FF Screen Matrix in 1994/95. This time, Pronto and Cornel succumbed the typographical charm of LCD displays, freight waybills and boarding passes. The mixture of mobility and speed have produced primitive raster systems and brutal typographic measures: with FF Airport till the low-end of aesthetic design where Jan Tschichold and Jacques Tati say good night.

FF Gateway A and B are based on the display systems at the Berlin airports Tegel and Schönefeld. Both fonts are available in two versions: one for the use in up to 24 pt and one for large sizes.FF Luggage Tag-One is derived from luggage stickers. The font includes the underlying grid, thus offering additional possibilities for the user. FF Luggage Tag-Two refers to the touching retromodern boarding pass system of an airline based in the most beautiful airport of the world: Paris Charles de Gaulle.


ff Gateway

A One

A Two

A One

A Two

A One

B One

A Two

A One

A Two

k B Two

d

w B One

B Two

O

t

h

x

B Two

B One

A Two

c

n

A

r

B Two

G

e

W

A One

B One

s

g

a

a

a

a

B One

B Two


ff Jackie | 2009 Dario Muhafara

This underused roman/ script is now much easier to use with all its swashes, ligatures, and alts intelligently combined into a single OpenType font for each style.

Alcoholic Beverage

BOURBON ČØĊÕŅŪŤ ÅŔŐMÂ Irish Annals of Clonmacnoise

classified as grain neutral spirits or vodka

COGNAC FLAVOUR Fusel oils are higher alcohols than ethanol

John Sailor’s

Original Mississippi Whiskey Inspired by the lettering on Jack Daniel’s whiskey labels, Dario Muhafara proceeded to design a font with a contemporary look between a retro design and a serious script face. The idea was to create a font that it is very well suitable for

text in large sizes (above 16-point), but also useful in logotypes and short texts. FF Jackie comes with swash caps, alternatives glyphs, ligatures, and also a block version with an old-fashioned slip shadow effect .


ff Jackie

Regular

Bold

Regular

Bold

Regular

Fill

Bold

Regular

Bold

Block

f

s Fill

Block

c

B

y

m

Block

Fill

Bold

g

h W

A

r

Block

x

k

t

Regular

Fill

e

G

a

a

a

a

Fill

Block


ff Luggagetag | 1997 Cornel Windlin

Now available in OpenType

ERROR/MAILFUNCTION/ERROR SpÄcÊ TrÅnspÔrtãtïÒn SystËm (STS)

LOW EARTH ORBIT

Next Station: High Moon Orbit

réüŠåbłë làüñçh šystëm

NASA Vehicle Assembly Building

SOLID_ROCKET_BOOSTERS SOLID ROCKET BOOSTERS Astronauts and Payload LINETO, the Swiss studio specialized in technoide minimum typography, has published FF Airport, after FF Dot Matrix and FF Screen Matrix in 1994/95. This time, Pronto and Cornel succumbed the typographical charm of LCD displays, freight waybills and boarding passes. The mixture of mobility and speed have produced primitive raster systems and brutal typographic measures: with FF Airport till the low-end of aesthetic design where Jan Tschichold and Jacques Tati say good night.

FF Gateway A and B are based on the display systems at the Berlin airports Tegel and Schönefeld. Both fonts are available in two versions: one for the use in up to 24 pt and one for large sizes.FF Luggage Tag-One is derived from luggage stickers. The font includes the underlying grid, thus offering additional possibilities for the user. FF Luggage Tag-Two refers to the touching retro-modern boarding pass system of an airline based in the most beautiful airport of the world: Paris Charles de Gaulle.


ff Luggagetag

a Grid

One

Two

t Two

Grid

o Two

w Two

A Two

One

One

One

k

W

K

c

Grid

Grid

Grid

a

a

a

a One

Two

h

G One

a

a

a Grid

a Grid

e One


>>>>>>>>>

************************ * * * * ************************


>>>>>>>>>>>>>>

**** * * * * ****


ff Kava | 2009 Yanone

New FontFont

coffee arabica Emperor Menelik II of Ethiopia Several species of small evergreen bush of the genus Coffea

associated with rebellious political activities in Europe

7.32-480:59

Ķåffá ŗęğíõŋ ïņ ŵēŞŧęřʼn Ėťħĭőpĩå A beverage as black as ink, useful against numerous illnesses

Illustration of Coffea arabica

star o dust coffee usually 100–150 millimeters long ff Kava started out as a free typeface called Kaffeesatz, published by yanone in 2004 during the early stages of his type designing career. The bold weight was reminiscent of coffee house grotesk typefaces of the 1920s, while the lighter versions were supposed to bridge the gap to contemporary

type design. The current ff Kava family is a carefully revised, more rounded version of the old Kaffeesatz fonts. A black weight has been added as well as small caps and more figure sets to form now an attractive modern and soft sans serif type family.


ff Kava

Thin

Light

a Black

Bold

Light

g Black

Regular

Regular

N Light

e Black

v Thin

s

x

Q

k

Regular

Thin

Bold

n

w

i

A

Bold

c

h

f

Light

Regular

Thin

a

a

a

a

Bold

Black


ff Meta 3 | 2008 Erik Spiekermann

The lightest weights of the FF Meta family are now available in OpenType. The new Pro version supports Greek, Turkish, Central European, and other Extended Latin languages.

System is a set of interacting or interdependent entities

μετά σύστημα ThThecbchckclctfbffffiffjfftfhfifjfkftfufvfwfyheqtsbschshskslspsttfthetitjttttfttittjtutvtwty

Çőŋvëňŧïōʼn ŏf Přǿpęrţŷ the school of sports clockwise direction street-check

Μυ Έψιλον Ταυ Αλφα structure, defined by parts and their composition

interconnectivity

••←↑→↓↖↗↘↙•• Soft Systems Methodology processing and outputs of material, energy or information FF Meta was originally (1985) conceived as a typeface for use in small point sizes. Against its intended purpose, FF Meta very quickly became one of the most popular typefaces of the computer era, and has been referred to as the Helvetica

of the 90s – not necessarily a compliment. It is used a lot in magazines, from the Normal weight in small point sizes for captions up to the Black version for large headlines.


ff Meta 3

a Hairline

Hairline Italic

a Light

Thin

Hairline

s Light

R Light Italic

Thin Italic

Hairline

b Light

t Hairline Italic

a Light Italic

G

k Hairline Italic

a

g

c Thin Italic

e

Thin

a Light Italic

N

a

a

Thin

g Thin Italic

h Hairline

r Hairline Italic


ff Tisa | 2008 Mitja Miklavčič

Mitja Miklavčič has added a Thin and Light weight to his award-winning ff Tisa.

trunk diameters of up to 4 m

taxus baccata

Bright Red Berry-Like Structure Called an Aril

Pǿĩşőŋŏųš Āłķăľõíðŝ

sumatra arils are mature in 6–9 months 0° 23' 0" South, 101° 46' 0" East

the seed is dangerously poisonous

▸ Botanic ● Gardens ◂

Especially the Longbow Slovenian designer Mitja Miklavčič drew ff Tisa to meet the technological and aesthetic requirements of modern magazine use. His primary goal was to develop a softer, more dynamic version of a nineteenth-century slab serif wood type. A large x-height and pronounced serifs make ff Tisa extremely legible in text sizes, its

unique design details, including slightly exaggerated ink traps and a fairly upright italic, becoming evident in display applications. The typeface was selected by the tdc judges for a Certificate of Excellence in Type Design in 2007.


ff Tisa

a Thin

Thin Italic

a Regular

Bold

Light

t Medium

a

a Thin

Medium Italic

O Thin Italic

s Regular

B

g Medium Italic

a

g

W Light Italic

a Light Italic

Medium

Bold Italic

e

Light

a Italic

a

a

a

Bold

r Italic

c Bold Italic


ff Typestar | 1998 Steffen Sauerteig

Now available in OpenType

Space Exploration

TECHNOLIGIA optical character recognition Tëçhñó-Prøgrêssìvïšm

SEMICONDUCTORS

Quantum Mechanics Theory 101

PARTICLE GENERATOR

HARDWARE

Code*0194783* FF Typestar from eBoy is a collection of five unaffected fonts for the working world – the classic typewriter meeting the demands of modern communication. The four basic weights offer everything

necessary for office communication and the OCR variation is a monospaced alternative for more mechanical moments.


ff Typestar

Regular

Italic

Black

a OCR

Black Italic

OCR

n

B Italic

Black

Black

Regular

Black Italic

g e

r Italic

o

i

s Black

Italic

O

y

Black Italic

M

c Regular

a

a

a

a

OCR

Q Regular

k

t Black Italic

OCR


ff Unit Slab | 2009 Erik Spiekermann, Christian Schwartz, Kris Sowersby

New FontFont

System of Measurement

kilograms per second squared 0123456789 • 0123456789 • 0123456789 • 0123456789

metrology

Bureau international des poids et mesures

Marcus Vitruvius Pollio

Express Occurring Quantities

←↑→↓↖↗↘↙ Ƶėŗǿ Męăŝůŗėmēŋŧ When Erik Spiekermann and Christian Schwartz first star­ ted work on ff Meta Serif, they were also planning to do ff Unit Slab, either at the same time or right after ff Meta Serif was released. They figured that since ff Meta and ff Unit have so much in common, it would be smart to make two serif families that could be used together, along with either of the sans serifs. ff Meta, which has more organic details, was going to be the more

traditional serif text face. ff Unit seemed like it would adapt well to being a clean and contemporary slab serif, especially since the i and I in the sans already showed them what the serifs would look like. Kris Sowersby and Christian Schwartz actually worked together to rough out complete ranges of testwords for both families at the same time, and ff Unit Slab sat half-finished while ff Meta Serif was completed.


ff Unit Slab

Thin

Thin Italic

a Regular

a Bold

Ultra

Light

a Black

a

Medium Italic

a Black Italic

s

g Thin

Thin Italic

c

g Light Italic

a

a

a Ultra Italic

e

Light Italic

Medium

Bold Italic

a

Light

a Italic

a

a

a

a

Regular

h Italic


FontFonts are available through fsi and its distributors. FontFont and FontFont typeface names are trademarks of fsi FontShop International GmbH.


FontFont Release 49