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FIFTY|1 — Fontfont-Release-Magazin Nr. 2 fifty|1 FontFont Release Magazine No. 2 Releases 50 and 51 | Autumn/Winter 2009/2010: ff Brokenscript, ff Celeste/Sans/Small Text, ff Cocon, ff Dagny, ff Dax/Compact, ff DIN/Condensed Italic, ff Duper, ff Enzo, ff Folk/Rough, ff Mach, ff Market, ff Masala/Script, ff Meta/Serif, ff Mister K Dingbats, ff Netto, ff Prater, ff Providence/Sans, ff Quadraat/Sans, ff Speak, ff Super Grotesk, ff Tisa, ff Trixie, ff Typestar, ff Yoga/Sans a a a a ff Celeste ff Celeste Sans ff Celeste Small Text ff DIN a a a a ff DIN Condensed Italic ff Folk ff Folk Rough ff Mach a a a ff Masala ff Masala Script c25ff Mister K Dingbats O ff Prater a a a a ff Providence ff Providence Sans ff Yoga ff Yoga Sans Designed by Alexander Roth for the FontFont Typeface Library. © February 2010 fsi FontShop International GmbH All rights reserved. Fifty|1 Ivo Gabrowitsch Wer erinnert sich noch an die Beowolf, eine Schrift, Natürlich gibt es auch mit den Releases 50 und 51 deren Buchstaben dank einer Zufallsfunktion von wieder neue Originale, denn unsere kreative Tradi- PostScript ständig ihr Aussehen veränderten? Erik tion weicht nun keinesfalls der Technik, sondern van Blokland und Just van Rossum schufen diese steht mit ihr mehr denn je in einer attraktiven »lebende Schrift« 1989. ff Beowolf wurde kurz darauf Wechselwirkung. Im vorliegenden zweiten Release der Grundstein unserer FontFont-Bibliothek, die in Magazin FIFTY|1 finden sich daher wieder gleicher- diesen Tagen ihren 20. Geburtstag feiert. maßen praktische Informationen wie inspirierende Tatsächlich stand die legendäre ff Beowolf bereits Schriftmuster. für die drei wichtigsten Bausteine der FontFont- Philosophie: ästhetische Qualität, technische Raffi- 06. ff Celeste: ...................................... Pro, Offc/Offc Pro nesse und Esprit. Auch die kurz darauf erschienenen 08. ff Celeste Sans: ............................. Pro, Offc/Offc Pro Schriften folgten diesen Motiven, zum Beispiel 10. ff Celeste Small Text: .................... Pro, Offc/Offc Pro ff Scala, ff Meta oder ff Hands. Dabei gab es zu 14. ff Brokenscript: ............................ Offc jener Zeit weder ein offizielles Leitbild, noch einen 15. ff Cocon: ....................................... Offc/Offc Pro typografischen Leitfaden für die junge Bibliothek. 16. ff Dagny: ....................................... Offc/Offc Pro Warum waren die Schriften der ersten Jahre trotz- 17. ff Dax, ff Dax Compact: .............. Offc/Offc Pro dem aus gleichem Holz geschnitzt? 18. ff DIN Condensed Italic: .............. Neuer FontFont Ganz einfach: Die FontFont-Bibliothek war eine 18. ff DIN: ........................................... erw. Sprachausbau, Offc/Offc Pro der ersten rein digitalen Schriftkollektionen. Die 22. ff Duper: ....................................... Offc/Offc Pro Schriftgestalter lieferten ihre Entwürfe in digitali- 23. ff Enzo: ......................................... Offc sierter Form nach Berlin. Das war neu und machte 24. ff Folk, ff Folk Rough: ................ OT, Offc FontFont zu einer schnell wachsenden Bibliothek, 28. ff Mach: ......................................... Neuer FontFont über 600 Familien sind darin mittlerweile enthalten. 32. ff Masala, ff Masala Script: .......... Neuer FontFont Auf der anderen Seite waren unsere Schriftgestalter 36. ff Meta: ......................................... Offc/Offc Pro auch Anwender, was sich in der Devise »Von Designern 37. ff Meta Serif: ................................. Offc/Offc Pro für Designer« niederschlug. Sie entwarfen die neuen 38. ff Mister K Dingbats: .................... Neuer FontFont Schriften immer auch für sich selbst, um entweder 42. ff Market: ...................................... Offc eine konkrete Aufgabe zu lösen oder eine Lücke im 43. ff Netto: ........................................ Offc Angebot zu schließen. Kann es einen besseren Ansatz 44. ff Prater: ........................................ OT, Offc geben, um nützliche Schriften zu entwerfen? 48. ff Providence, Es war ohne Zweifel der Designanspruch, der die ff Providence Sans: ........................ OT/Pro, Offc/Offc Pro FontFonts weltberühmt machte. Doch Schriften 52. ff Quadraat, ff Quadraat Sans: .... Offc werden natürlich nicht allein von Kreativen einge- 53. ff Speak: ........................................ Offc setzt. Aus diesem Grund haben wir nun die Office- 54. ff Super Grotesk: .......................... Offc FontFonts entwickelt. Mit ihnen stehen Anwendern 55. ff Tisa: ........................................... Offc/Offc Pro typischer Büroapplikationen Schriften zur Verfü- 56. ff Trixie: ........................................ Offc/Offc Pro gung, die exakt ihren Anforderungen entsprechen 57. ff Typestar: ................................... Offc und dabei auf dem neuesten Stand der Technik sind. 58. ff Yoga: .......................................... Neuer FontFont dreißig unserer wichtigsten Familien sind ab sofort 60. ff Yoga Sans: ................................. Neuer FontFont als Office-Fonts verfügbar, die gesamte Bibliothek wird derzeit überarbeitet und in dieses Format über- tragen. Was das Format im Detail auszeichnet, lässt sich auf den folgenden Seiten erkunden. Wir stellen vor: Office FontFonts Office FontFonts sind voll kompatibel mit Programmen wie Excel®, Word® and PowerPoint®. Alles ist OpenType Weil die Bildschirmdarstellung im Büroalltag eine wichtige Rolle spielt, wurde die visuelle Technik der Grafikdesigner schwören auf OpenType-FontFonts, Office-FontFont noch Mal verbessert und dem Büro- weil sie »typografische Intelligenz« enthalten und in Standard angepasst. Office-FontFonts sind für die professionellen Programmen wie Adobe CS® oder ClearType®-Technik optimiert, die mit Microsoft Win- QuarkXPress® zu Hochform auflaufen. Doch Anwen- dows XP eingeführt wurde und seit Windows Vista als dungen wie Microsoft® Office greifen auf viele Zei- Standard-Schrift-Glättung zum Einsatz kommt. chen und Features dieser PostScript-flavoured (CFF) Beide OpenType-Font-Formate basieren auf Uni- OpenType-Fonts gar nicht zu. Aus diesem Grund hat code und enthalten alle Schriftzeichen eines Schrift- FontFont eine neue Gruppe von OpenType-Fonts stils in einer einzigen Font-Datei. Darüber hinaus sind eingeführt, die Office FontFonts. Ihr wichtigstes Office-Fonts stilverlinkt, das heißt Fett, Kursiv und Merkmal ist die Buchstabenbeschreibung, die nicht Fett-Kursiv bilden eine Familie die mit einem ein- auf der PostScript®-Technik von Adobe® basiert son- zigen Eintrag im Schriftmenü erscheint. Die ver- dern auf TrueType. Daher nennt man sie auch True- schiedenen Stile rufen Office-User per Tastaturbe- Type-flavoured (TTF) OpenTypes. fehl oder mit einem Mausklick in ihre Stilpalette auf. Versalziffern für Tabellen sind Standard in den Office- Ländern verständlich, zum Beispiel Tschechien, der Fonts, weil sie für Rechnungen, Preislisten und Charts Türkei, Ungarn oder den Baltischen Ländern; viel unverzichtbar sind. Werden für typografisch an- Offc-Pro-Fonts enthalten sogar die kyrillischen und spruchsvolle Bürodrucksachen proportionale Medi- griechischen Schriftzeichen. ävalziffern oder Kapitälchen benötigt, können sie Auch wenn die Office-FontFonts die beste Wahl über einen Extra-Font ergänzt werden. Wegen ihrer sind für die weit verbreiteten Büro-Anwendungen Stilverlinkung werden Offc-Schriften als Basic-Set ge- Word®, Excel® oder PowerPoint®, sind sie zu allen liefert (Regular, Italic, Bold und Bold Italic); sind weitere textverarbeitenden Programmen kompatibel, die Strichstärken lieferbar (zum Beispiel Light oder Black), .ttf-Dateien verarbeiten können. Endlich können lassen sich diese paarweise ergänzen, geradestehend Designer und Büroanwender von der Plattformunab- plus kursiv. hängigkeit und der einfachen Bedienung der Open- Wie ihre OT-Kollegen unterstützen die Offc-Font- Type-Schriften profitieren. Fonts über 58 westliche Sprachen, wie zum Beispiel Englisch, Französisch, Spanisch und die nordischen Sprachen. Offc-Pro-Fonts machen sich in noch mehr ff Celeste | 1994–2007 Now available in OpenType Pro and the new Office Chris Burke format (Offc/Offc Pro). The Pro versions even speak Greek and Cyrillic. θρησκευτικός γάμος Human Dignity separation of church and state СЛУЖБА БОГУ existence of immortal beings Humanistic Life Stance Θρησκευτικός Γάμος Εισαγωγή Designer Chris Burke classifies hisff Celeste as a modern The font family ff Celeste was initially comprised of only humanistic face. The stroke-weight contrast is less pro- four members, Regular and Bold with an italic for each. As nounced than in traditional models such as Walbaum, the Bold was not particularly heavy, really more of a semi- making ff Celeste more suitable for current digital type- bold, it was felt that the family could do with some heavier setting and offset printing techniques, where high contrast members. So ff Celeste Extra Bold and Black have been is very accurately – perhaps too accurately – maintained. provided for those occasions in which greater emphasis, The letterforms are less rationalized and modular than impact or differentiation is desired. The Extra Bold pro- the starkest modern faces, but are influenced by old-style vides effective emphasis with the Regular weight, and the letterforms even with some vestige of a calligraphic influ- Black can be paired with the existing Bold. These combina- ence to provide a more readable dynamic. The serifs tend tions will be useful in, for example, designing dictionaries to the triangular and the italics harmonize well with the or reference books,
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