Tag Archives: Fontfont

Introducing a flexible new script font: FF Eggo from Fontfont

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FF Eggo (visual: fonts.com)

Font designer Lukasz Dziedzic created FF Eggo when a friend opening a grocery store asked him for a logo. The font was initially created so that his friend could make “milk” and “bread” signs for his grocery store, but the publication designer in Lukasz wanted Eggo to be very flexible. Most script fonts only work with lowercase, when capital letters are used only at the beginning of words. Lukasz wanted his uppercase letters to also work in all-caps settings. So he chose a plain, dynamic style, quite upright model. The uppercase in Eggo works on its own, but it also mixes well with the lowercase, which is more classically calligraphic. The thin style looks like it’s written with a pen or thin marker, while the bolder ones could be done with a brush or a marker. In the end Lukasz created 10 styles for Eggo. As he says: “…five weights which you can easily mix for the right flavor: the upright styles which are a bit more casual, and the italics, which are a bit more classic. And the uppercase which works rather well in all-caps but also mixes well with the lowercase.”

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Below are a few samples of creative use from Fontfont:

*To order FF Eggo, please email info@alttype.com.sg

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FF Quixo – a pleasant companion for any kind of advertising or packaging application.

Drip. Splat. Pop. Quixo!

German type designer Frank Grießhammer snapped his fingers and dipped his brush into a bottle of ink, thereafter FF Quixo was born ! The name “Quixo” is an onomatopoeic exaggeration. The word comes directly from the sound of dipping a brush into a bottle of ink. Also, it is the sound of that same bottle, dropping on the floor: “Quix-O!!”.

FF Quixo is a tool-based typeface family, based on the contrast of the pointed pen. Its diverse spectrum of 12 styles (6 weights with Roman and Italic in each) are suitable for compact and concise passages of text. FF Quixo plays on various sides of creative type – headline and text, bold and fine. It is a typeface that can show a playful side without looking goofy and is equipped with all the features and considerations necessary to produce complex typography.

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To order font, please email info@alttype.com.sg

Bestselling Fonts of all times

FB Agenda – recommended for Newspaper, Magazine, Web and Corporate use
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Designed by Greg Thompson, Agenda offers a high-style alternative to the contemporary Swiss sans. Agenda is a fresh humanist sanserif inspired by Edward Johnston’s magnificent London Underground face, drawn in 1916. Italics in particular are vital styles of their own, forming interesting alternatives to customary sloped romans. Large and capable, the series offers fifty-two versions of the design.

Akzidenz-Grotesk BQ – an excellent choice for headlines requiring heavily-weighted strokes
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H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.This early sans serif preceded the first weight of Helvetica by over 40 years. Throughout the years, H. Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Günter Gerhard Lange and is an excellent choice for headlines requiring heavily-weighted strokes.

Linotype Avenir – harmonious looking for both texts and headlines
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Adrian Frutiger designed Avenir in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of Erbar and Futura, but to also make use of the experience and stylistic developments of the twentieth century.The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines.

FB Benton Sans – recommended for Newspaper, Magazine, Book and Corporate use
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Developed as a re-imagining of Morris Fuller Benton’s 1908 classic, the News Gothic™ typeface family, Benton Sans retains much of the workhorse flexibility of its predecessor, while introducing new features and refinements unavailable in the original design. With a wide range of weights and styles, Benton Sans has gained popularity in publishing and many other forms of print media. Benton Sans is recommended for Newspaper, Magazine, Book and Corporate use.

Corporate A BQ
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Corporate S BQ
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Corporate S is a clean and crisp sans serif design that’s very legible and readable.
Both Corporate A and Corporate E are part of the Corporate ASE typeface trilogy designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!”

DIN Next – good for use in books and magazines
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The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute’s standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation.

FF Dax – ideal for advertising use, especially packaging and logo
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German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.

FF Din – ideal for advertising use, signage and website design
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Dutch type designer Albert-Jan Pool created this sans FontFont between 1995 and 2009.The family has 20 weights, ranging from Light to Black in Condensed and Medium (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design

Frutiger – good for signage: easy recognition from a distance
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World renowned typeface designer, Adrian Frutiger, was commissioned by the Charles De Gaulle Airport near Paris in the late 1960s to develop a typeface for airport signage. Instead of adapting his previously designed Univers® family, he developed something new that would also go on to become a classic – the Frutiger® typeface. The new design was completed in 1975 and installed at the airport that same year.

Futura – a popular typographic choice to express strength, elegance, and conceptual clarity.
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Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible.

Helvetica – one of the most famous and popular in the world !
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The Helvetica® typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography.

Neue Helvetica – quintessential sans serif font, timeless and neutral, and can be used for all types of communication !
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In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights. Neue Helvetica contains 51 different font weights. All weights are also available in Central European versions, supporting the languages of Central and Eastern Europe. Lastly, 34 weights are available in Cyrillic versions. Read more about Neue Helvetica…
Complementary fonts:
Chinese fonts that pair well with Neue Helvetica: MHei HK (Traditional Chinese), MHei PRC (Simplified Chinese).
Korean fonts that pair well with Neue Helvetica: YD Gothic 100 (Korean)

PMN Caecilia – recommended for magazines
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The PMN Caecilia® design is a slab serif font with subtle changes in line thickness, large counters (the area enclosed completely or partially by a letter), and a taller than usual base height. Because the lines of this font follow writing patterns rather than shapes, many people find this font easier to read.

Interstate – recommended for Newspaper, Magazine, Book, and Corporate use.
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Interstate continues to enjoy wide popularity on everything from advertisements, website, publications, corporate branding, television programming, product design, book covers, and more.

FF Meta
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The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost).In 2011, FF Meta was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF Meta super family, which also includes FF Meta Correspondence, FF Meta Headline, and FF Meta Serif. FF Meta is suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design.

Metro Nova – a versatile and distinctive sans serif typeface
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Metro Nova comprises seven weights, from ultra thin to extra black in regular proportions, and six weights as condensed designs. Each has an italic counterpart for a total of 26 fonts. The development of the Metro typeface began as a “design dare.” First released in 1930, Metro was the wildly popular result of a challenge to create a new, versatile and distinctive sans serif typeface for Linotype typesetters. Over 80 years later, Toshi Omagari welcomed the opportunity to update this seminal design for digital imaging. The new typeface, Metro Nova, builds on the foundation of the original Metro, preparing it perfectly for today’s taste and technology.

Museo Sans – clean geometric design style that works well in both text and display sizes
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Museo Sans is a full-featured, highly legible sans serif font family designed by Jos Buivenga. Museo Sans sports a familiar look and is based on the popular Museo serif typeface family. Museo Sans has a sturdy, low contrast, geometric design style that works well in both text and display sizes. The Museo Sans font family includes 10 fonts: 5 different weights with matching italics with Western and Central European language support. Read more about Museo Sans…

Myriad – an excellent choice for text typography that is comfortable to read.
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Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read.

Neo Sans – ultra modern font that looks futuristic
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Designed by the British type designer Sebastian Lester. The typefaces were released by Monotype Corporation on April 19, 2004. The design concept called for a versatile, futuristic typeface that didn’t look “crude, gimmicky or ephemeral”. Read more about Neo Sans…

Scala Sans – graceful sans font, great for editorial text
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This graceful sans serif humanist font may have a recent design history, but its roots go all the way back to the late 1700s. The FF Scala Sans’ font is a companion font to the FF Scala’ font, both created by Dutch designer Martin Majoor in the early 1990s. They were designed for the Vredenberg Music Center, a concert hall in Utecht in the designer’s native Netherlands.

Soho – great for corporate identity and product branding
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Slab serif typefaces are enjoying something of a renaissance, offering versatility whether for corporate identity, product branding, text or display use. With 40 weights to choose from Soho gives designers endless possibilities from the ultra chic lines conveyed by the lighter weights to the rock solid statement made by the heavier weights.

Univers
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The Univers® typeface family is one of the most prolific grotesque sans-serif typefaces of the century. Like Helvetica®, Univers is based on 1898‘s Akzidenz-Grotesk. However, Univers is unique in that the design lacks superfluous features of any type, creating a design that is versatile and distinctive without being obstrusive. Adrian Frutiger began work on Univers in 1954, completing his design in 1957. The Univers type family has grown to 44 different weights and styles, some of which include Cyrillic characters.

The Sans – a modern classic suitable for corporate branding design
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TheSans is a modern classic. A favourite for corporate design, editorial design and new media, it comes in an astounding range of widths and weights, including a large set of hairline fonts. Read more about The Sans…

If you are interested in ordering any of these fonts, please email info@alttype.com.sg

*this font compilation is based on bestselling font reference from Linotype, Monotype, myfonts and FontShop.

Handwriting, Calligraphic and Script fonts

Handwriting, calligraphic and script fonts from Linotype, Monotype, Bitstream, Fontfont, Scholtz, Hallmark, Sudtipos, Emily Lime, Bomparte and Kimberley Geswein. Font enquiries: please email info@alttype.com.sg

Introducing App+ Fontfonts : Easy licensing for mobile apps, editable documents & hardware

Licensing fonts on additional platforms such as mobile phones, computer games or other hardware used to be a costly affair. Now with App+ Fontfont, you can choose your favourite font from the world’s largest collection of original, unique and contemporary typefaces at affordable prices.

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Whether you want to use FF DIN in a mobile app, enhance a car interface with FF Meta or embed your PowerPoint presentation with FF Scala, with App+ you can. What’s more, you don’t need to buy a license for every app or device, the one App+ license will cover them all.
So, using FontFonts just got even easier and frustration-free!

App+ for mobile phones
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App+ for PlayStation Portable video games
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App+ for GPS applications
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App+ for tablet computer applications
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In short, App+ FontFonts can be embedded in all apps, devices and documents.The fonts are licensed by years, not users, and the basic App+ license is valid for one year.

Check out these fontfonts:

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Font enquiries: please email info@alttype.com.sg

FF Videtur

FF Videtur is a new Serif font family of 4 weights by Axel Bertram and Andreas Frohloff, suitable for Film & TV, Editorial & Publishing, and Small Text.

The concept for FF Videtur is based on bitmap fonts created by Axel Bertram for the state television broadcaster in East Germany (GDR-TV) during the 1980s. Bertram and Frohloff collaborated to develop the TV-Videtur into a modern text face that harnesses the extreme limitations of the 1980s to deliver a solution for the increasing demands of today’s devices and media. Freed from yesteryear’s technical restrictions, all letters were drawn anew. The best characteristics of the earlier forms were kept, but the typeface’s vertical proportions, serif shape, and stroke contrast were carefully reconsidered.

FF Videtur’s four weights Light, Regular, Medium and Bold support the Latin-based European languages. In addition to both lining and oldstyle figures with proportional and tabular spacing options, the fonts include smaller-sized figures for fractions, scientific inferiors and superiors, as well as a series of arrows, symbols and ornaments.

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FF Marselis

Ficticious exhibition poster (FF Marselis) Photo: Casper Benson/fStop (Christine Gertsch)

Fictitious bag designs (FF Marselis) (Christine Gertsch)

FF Marselis crossbreeds geometric and humanistic forms, creating a freshly dynamic sans serif family. The family includes four weights – Light, Regular, Bold and Black. Each weight has a companion italic.

FF Marselis In-Use: Brussels Airport
FF Marselis is the selected corporate typeface for Brussels Airport. Its warm, soft and curvy features are a radical departure from the neutral, matter-of-factly or more technical-looking alphabets usually found in airports. The typeface works very well from gigantic display sizes, where the curved diagonals and typical teardrop-shaped counters define its personality, down to the smallest body text. FF Marselis is used in the logo as well. Designed by Megaluna, the branding and design leg of multidisciplinary agency The Factory Brussels, the new identity of Brussels Airport is striking, and beautifully illustrates the versatility of FF Marselis. It also makes a strong case for corporate branding, specifically for such a large entity, to look less “corporate”.

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