Monday, January 23, 2017

Font Families

I looked for typefaces that I could have multiple uses for. In doing so I was attracted to these families...

Base 9 and 12

Another Zuzana Licko creation for Emigre, Base 9 and 12 is a superfamily with both serif and sans varieties, as well as a monospace version. It's designed to harmonise the relationship between screen fonts and printer fonts, designed for use at the two most popular sizes - 9-point and 12-point - and multiples thereof.


Named after the place he lived, Otl Aicher's pioneering hybrid typeface superfamily was completed in 1988 - three years before his tragic death in a motorbike accident. Rotis was unique at the time for including semi-serif and semi-sans varieties alongside the traditional serif and sans versions, making it particularly versatile.


One more from the masters of versatility, Hoefler & Frere-Jones: Gotham is a practical workhorse typeface that's influenced by and celebrates the urban typography that surrounds us, from neon signage to hand-painted lettering on trucks. It comes in eight weights, as well as narrow, extra narrow and condensed varieties, all with complementary italics.


The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939.

Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design.

Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years.

After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.

Metrisch is new sans serif typefamily of seven weights plus seven italics uprights in each weights. The typefaces designed based on traditional geometric construction that have been built with letter size wider, the x-heights taller and short descender that almost proportioned with the basic letter shape. With little details added like clean vertical cuts on the terminals and optimized sharp corners that makes this fonts smooth and refined looks. It was represents the flavor of the most common humanist typefaces style and grotesk feels.

The weights comes from extra light to extra bold suitable to make display appearance, and the book and medium weights also works well as small/medium text sizes to accompany your design, such as editorial fashion magazine, solid headline, websites heading, poster, advertising, logo, signage, etc

Also, Metrisch type-family fully loaded with OpenType features such as some stylistic alternates, case-sensitive forms, fractions, small capitals,and another most common numerals features such as super & subscript, tabular & oldstyle figures, numerator-denominator, and has more extended latin diacritics characters.


There's a pleasing sense of symmetry to Cyrus Highsmith's creation for Font Bureau, with strong emphasis placed on the repeat and variation of counter shapes within the spacing between letters. The sans serif comes with seven weights in four widths, including compressed, condensed and extra condensed.


Knockout defies the Modernist canon, in order to reclaim one of typography’s great natural wildernesses: the American sans serif.

For more than a century before Helvetica, the sans serif landscape was dominated by unrelated designs. Gothic woodtypes in a dazzling array of proportions lived comfortably alongside anonymous foundry types, each design’s integrity the product of its autonomy. Because none of these faces were intended to relate to one another, none of their design characteristics were beholden to any external constraints: what worked for a supercondensed boldface need only work for that design, not also for the extrawide light face whose design afforded different possibilities and faced different challenges. This sort of “situational” approach to type design allowed for more varied and interesting designs, and it’s this approach that Knockout celebrates. With the functional benefits of a family that’s well-organized, and the visual appeal of styles that are individually designed, Knockout’s nine-width, four-weight family offers a range of voices that’s impossible to achieve with even the best Modernist sans serifs.

F.F. Good
 Sturdy and legible, a straight-sided sans serif
in the American Gothic tradition. The largest FontFont family ever!

Designed by Lukasz Dziedzic in 2007, 2010. Published by FontFont.

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