FontFont News - Latest Comments

Re: Über FontFont FF Q Type

chronicler_Isiah — Tue, 21 May 2013 11:24:16 -0000

Uppercase looks awesome - the lowercase somehow a bit awkward.

Re: On Our Reading List Part Two: Design Blogs

nhteoman — Sun, 05 May 2013 07:32:47 -0000

NHTE is a Web & Graphic designing company offering a wide spectrum of design capabilities & solutions with best quality and affordable rates.

Re: On Our Reading List Part Two: Design Blogs

Web Designers Ireland — Mon, 01 Apr 2013 03:44:05 -0000

Great list!
I'm glad you put this together, there are a few blogs here that I definitely need to check out.
http://www.jefmedia.ie/page/We...

Re: Best FontFonts for logo, branding and corporate identity from our Collection Tier

Gathus Man — Sat, 29 Dec 2012 12:57:46 -0000

very recently i've registered a company but yet i haven't selected a logo so if there is any one who could help me to design a unique one please contact me. drgathus@live.com

Re: Our top 10 most popular webfonts in-use

fontfont — Mon, 17 Dec 2012 10:17:00 -0000

It's our pleasure! It looks great :-)

Re: New Release: FF 61

John — Mon, 10 Dec 2012 21:53:22 -0000

Oh please extend FF Cellini with cyrillic.

Re: Our top 10 most popular webfonts in-use

Thomas Schranz — Sun, 25 Nov 2012 18:00:05 -0000

Thanks so much for featuring Blossom. We really do love FF Kievit and did chose it with great care. I should finally write about it :)

Re: Spiekermann transforms Olympics typos in record-breaking time

erik spiekermann — Wed, 08 Aug 2012 09:35:33 -0000

Why wouldn't FF Unit work? It reads well in small sizes and even takes less space than Arial. Plus it is easier to distinguish between 1, l. I, i (sic). And it has been used on TV, very successfully. I actually designed a typeface for TV graphics for German ZDF. So I do know what it takes.

Re: Spiekermann transforms Olympics typos in record-breaking time

erik spiekermann — Wed, 08 Aug 2012 09:32:09 -0000

of course this would be different if done for TV. Bt that is not the point. I have done TV graphics and know what it takes. But this was simply a look at the typography, the mess of hierarchies and all the mistakes made in one table.

Re: Spiekermann transforms Olympics typos in record-breaking time

mark hall — Tue, 07 Aug 2012 13:48:37 -0000

# think about
(edit won't work)

Re: Spiekermann transforms Olympics typos in record-breaking time

mark hall — Tue, 07 Aug 2012 13:46:13 -0000

I think the point of this is to thing about improvements in typographic systems. This is not a proposal for a re-design, but surely just pointing out what is considered 'wrong' with the first.

Re: Spiekermann transforms Olympics typos in record-breaking time

Jonas — Tue, 07 Aug 2012 11:30:39 -0000

Looks like a show off & commercial for his font (which wouldn't work for this project at all).
Just saying ;)

Re: Spiekermann transforms Olympics typos in record-breaking time

espiekermann — Tue, 07 Aug 2012 10:51:19 -0000

There was no brief. Just half an hour to prove these things can be improved very easily. Besides, my page takes less space than the original one. And you’re welcome to have a go yourself.

Re: Spiekermann transforms Olympics typos in record-breaking time

ithinkitsnice — Tue, 07 Aug 2012 10:01:35 -0000

Yes. Erik's is more legible in itself but it's not a solution for on-screen as it is, and that's the design problem. If you were to see how this actually looked on a screen — on top of various images, in a 16:9 frame or on an old, lo-res 4:3 CRT — I think you would refine it further.

Re: Spiekermann transforms Olympics typos in record-breaking time

Jeremiah — Tue, 07 Aug 2012 09:53:03 -0000

the dark blue background makes the Russian and Moldavian flags near impossible to read. the dark grey background separates them effortlessly.

Re: Spiekermann transforms Olympics typos in record-breaking time

Guest — Tue, 07 Aug 2012 09:52:17 -0000

Its just wrong, he didnt do that in 30 min, took longer than that, because the first version was only blue/grey, without flags and had several typos... just saying

Re: Spiekermann transforms Olympics typos in record-breaking time

Simon — Tue, 07 Aug 2012 09:43:27 -0000

Hmm I prefer the other one to this one although it has better typography is styled in a much less interesting way.

I personally think having the Surname in capitals is a good way to find who you are interested in quicker.The black line serves as a header but is only relevant for bodyweight - the other is a subtitle and so shouldn't share the same line. The light grey back doesn't work well with the colourful flags.

Re: Spiekermann transforms Olympics typos in record-breaking time

9erssteve — Tue, 07 Aug 2012 09:37:54 -0000

While there is no doubting Erik's version is greatly improved from a legibility standpoint. It is also a completely different shape.

Surely in order to prove that it's possible to produce well laid out and typographically accurate TV graphics the brief should have been to reproduce the piece to the same footprint as the original.

It's easy to make things more legible when you can increase the page depth... Something which you cant do on TV.

Re: “Standing at the bottom of Mount Everest wearing a swimsuit.”

Hrant — Thu, 26 Jul 2012 21:14:12 -0000

Go Nina!

This was quite revealing and endearing. I especially appreciated that, even though FF Ernestine is very much its own typeface Nina still somehow maintained a bit of the cool spirit of its original inspiration, Industria.

Re: “Standing at the bottom of Mount Everest wearing a swimsuit.”

Tiago Marques — Thu, 26 Jul 2012 07:19:13 -0000

Re: “Hard and fast categorization is anathema to creative typography”

Nick — Wed, 27 Jun 2012 23:53:49 -0000

Sorry, I meant “Optical Sizing”.

Re: “Hard and fast categorization is anathema to creative typography”

Nick — Wed, 27 Jun 2012 03:54:45 -0000

The display variants of Brown Gothic were developed ad hoc for newspaper headlines, not as part of a coherent plan of optically scaled weights produced by interpolation.

First I did Extra Bold and Extra Bold Condensed for David Pratt at The Globe and Mail. Then I produced further bold, black and heavy styles for Tony Sutton of News Design Associates, which he used in a succession of redesigns. He is always looking for the elusive power font, so I provided him with Brown fonts that have different combinations of weight, x-height, sidebearings and condensing, to see what clicked with him. Subsequently I produced the text sub-family for Tony, according to the normal design axes of weight and slant.

“Optical Scaling” means different designs for different sizes, it doesn’t imply any particular relationship between those designs, other than they belong to the same family.

Re: “Hard and fast categorization is anathema to creative typography”

Indra Kupferschmid — Tue, 26 Jun 2012 13:56:28 -0000

I still don’t get it. In other families you usually have some styles in multiple variants, like “text regular” and “display regular”, or two versions of a bold. In Brown there are just some styles that are more tightly spaced, but have no equivalent in the “text”-range. That’s like having optical sizes that only come in one size. Also, I miss the adjustment of stroke weight and proportions, in addition to just changing the side bearings.
As for other sans-serif families with optical sizes: There is PT Sans Pro, Amor Sans, Cronos (which some might not regard a “real” sans). Most extensive sans-families with normal, condensed, and wide styles in numerous weights can be used similarly.

Re: “Hard and fast categorization is anathema to creative typography”

Nick — Tue, 26 Jun 2012 12:46:52 -0000

If it was necessary to do more than change tracking, I suspect there would have some demand for optically scaled sans faces in the past, and more ot them produced. Are there any others apart from Brown Gothic and Neue Haas Grotesk?

Re: “Hard and fast categorization is anathema to creative typography”

Nick — Tue, 26 Jun 2012 12:43:18 -0000

Optical sizing of Brown: as well as narrower sidebearings, the amount of “bowing” of the terminals is less in the display fonts.