Ff Scala Is Named After the Teatro Alla Scala (1776–78) in Milan

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As ﬁrst released (1991) ff Scala had only four styles: Regular, Italic, Bold and small caps. Since then ff Scala has grown to 28 styles.

ff Scala & ff Scala Sans: two typefaces, one form principle

ff Scala and ff Scala Sans are two di=erent typefaces sharing a common form principle. The character of a seri=ed typeface mainly arises from the form principle and from elements such as serifs and contrast of the strokes. A sans serif design depends almost entirely on the form principle. ff Scala Sans was made simply by cutting the serifs o= from the characters of Scala and by adjusting their contrast. So the skeletons of both ff Scala and ff Scala Sans are identical.

the skeleton of both ff scala and ff scala sans more closely have the same cala Italic has strong ) S d.c. d.c. ff ect the set width. = Bold Italic Scala Bold to 84% would give the ff cala find its roots in the first vertically- cala find its roots in the S Scala Italic is by the clearly influenced ff ff Compressing ondensed could be used for texts, for example in narrow cala is clearly influenced by elements from other cala is clearly influenced Washington Washington Washington S Scala Bold Condensed is a good display face, suitable for book ff egular C ff Scala R d.c. d.c. tressed typefaces of the French typographer Pierre Simon French tressed typefaces of the f rom the humanist model as found in therom the humanist model types, first printing The bold weights (including the changing a text character widths as the normal weights, so from normal into bold does not a serifs. The almost exaggerated length of its serifs gives Scala serifs. The almost exaggerated length of its italic a very strong rhythm. The form principle of much In some details (mostly in the serifs) the italic is Fournier (mid-eighteenth-century). But there are also influences But (mid-eighteenth-century). Fournier f the design type that inspired such as the late-fifteenth-century of Bembo. Although to keep a style of its own. The slab typefaces, it has managed made to print without jaggies on a 300 dpi serifs were originally and low contrast worked to prevent The dark colour laserprinter. early PostScript the thin parts from breaking up (most of the the same reason fonts are too thin). For ff scala The form principle of chancery cursives of the sixteenth-century Italian writing masters chancery cursives of the sixteenth-century Italian look is far from ‘written’. However the like Arrighi and Palatino. related to the roman than one sees in most other typefaces. related to the roman than one sees in most other the capitals of The capitals of the italic are directly derived from the roman. s columns. same set width but the stems would be too thin. ff scala condensed The condensed versions of the Scala family can be mixed perfectly with the and of the Regular Condensed normal versions. The stem widths of the Regular are the same: which makes it a real condensed. f covers and posters. Again the stems of the Bold Condensed and of the Bold have the same widths.

Sevilla Sevilla Sevilla bembo fournier ff scala fournier bembo

g g Washington Washington Washington Washington n

scala bold

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n Singapore bold condensed bold 84 % ff

changing a text from normal into bold doesn’t effect the set width in some details the italic is closely related to the roman is closely related the italic in some details F O ff scala sans N T F O

The ﬁrst attempt to make a sans serif to accompany a serif N T F

design was made in 1931 by the Dutch typographer Jan van O C U

Krimpen with his typeface Romulus. Four weights of ‘Romulus S Sans’ were cut, but unfortunately they were never released. 3 ff Scala Sans is based on ff Scala and thus indirectly on the vertically stressed old-face model. This is rarely seen with sans serif designs (Gill Sans [1929] and Syntax [1968] are notable exceptions). Many of the modern sans serifs (Akzidenz Grotesk, Helvetica, Univers) are based on eighteenth-century classical designs such as Walbaum. Their basic forms are rather ‘closed’ while the same elements in ff Scala Sans are ‘open’. This improves its legibility, especially in smaller point sizes.

walbaum ff scala

univers ff scala sans

Also the italic of ffScala Sans is based on the seri=ed form: so it is a real italic, not a sloped roman. This means not only that its slope is di=erent to that of the roman, but that its form principle is clearly di=erent too. Just as in the seri=ed version. aa bb ee hh kk qq yy zz the real italic of ff scala sans ff scala sans black and light A di;cult thing to deal with in sans serif designs is the ‘justiﬁca- tion’ or natural spacing of characters. In most sans serifs the justiﬁcation is too narrow. In ff Scala Sans much attention has been given to this problem, and perhaps even more attention has been given to the Black and the Light versions of ff Scala Sans. So the Black and the Light are not only very suitable as display faces but they are also excellent for longer pieces of text. Of course all styles of the Scala family have an extensive set of kerning pairs. Birmingham Birmingham Birmingham Birmingham ff scala sans light and black

ff scala sans condensed To add different condensed versions to sans serif designs is much more common than it is with seriffed typefaces. ff Scala Sans comes with a Regular Condensed and a Bold Condensed. ff Scala Sans Regular Condensed is perfect for use in captions or as a text face in narrow newspaper columns. Of course it can also be used for headings. ff Scala Sans Bold Condensed is both a display face and a text face.

The New York Times ff scala sans condensed Frankfurter Allgemeine t q - in ) ). ⁄ 123 4 5 4 123 . It is & ? ! ¿ ¡ , provided © aps set ( of policy an Krimpen comma aps set. The special Lin ) are added in a special ligatures ⁄ added to most of the styles a matter an Krimpen comma ( as jq -ligature. @ H ; < = > ? special signs 1234567890 Scala Sans non-lining or old style 1234567890 ⁄ small caps ⁄ ff characters are 163,–). : such as squares, circles, stars and arrows, ¤ jq y © and (not to be confused with the key for slash). H igures fonts and as lowercase letter in the regular ⁄ Scala and of special ). ff ( 1 2 3 4 5 6 7 8 9 0 ) are, ¤ 163,– jq based on the commas in Roman inscriptions and it is Lining F specially designed to match the size of the small caps. The change the font. Some characters in the C is number gures ing Figures fonts (LF fonts) provide the lining ﬁgures ( the standard character set and in the C 6 7 8 9 0 Expert set. There is even an fonts ( both in solid and in outline. The Euro symbol comes in two versions: as capital letter in the A italic small caps are again real italics, which can be seen clearly in some characters. ( The common f-ligatures special characters old style figures In both ﬁ The sets have some special features. The normal capitals Caps set, so for example when typing a are included in the Caps one does not have name in small caps with starting capitals, to It meant to be used in lines of capitals or small capitals (it is used in some of the captions here). The V is one of the few new typographic signs of last century included in the Regular Caps set, and is found under the key set, and is found under the included in the Regular Caps for fraction are Another special character is the V of the Scala famil H jq & H 1234567890 1234567890 1234567890

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FONTFONTFOCUS 4 r the italic small caps are small the italic o and lining figures FONTFONTFOCUS 5 ¤ the ligatures saphyr crystal a a

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f , f t, right-pointing and lef 1530. In the eighteenth century, iamond made some lovely hands (pointing right D , rystal C cala Jewels is a set of four decorated all-capital typefaces, all-capital of four decorated is a set cala Jewels S amont fournier f orrectly, without gaps, the value of the word space (which is without gaps, orrectly, /4 %. the border elements) should be set to 100 of o with be used in combination ables, in which he used a harlequin hand to point the moral of iamond t areis based on Remy Peignot’s while Crystal original designs, Ornamented, based on Fry’s is 1955 and Pearl of Cristal is Jewel in 1796. Every by Richard Austin originally designed set the borders set of border elements. To provided with a small c 1 ff scala jewels ff scala f ewels ( earl J pointing, solid and outline, male and female, thumbs up and thumbs down and many more. based on those employed by Bruce Rogers. There are serif and sans serif hands, right and lef Claude Garamont in around Claude Garamont each fable. Most of the hands provided in and left) and in 1933 Bruce Rogers designed the book Aesop’s and in 1933 Bruce and left) F the name of hand, printer’s fist, pointer fist, pointer the name of hand, printer’s ff scala hands (in English Probably the first two ‘signes d’indication’ gar (1530) (1742) p saphyr crystal d derived from the capitals of Scala Bold. the capitals of Scala derived from Pierre Simon Fournier Pierre Simon

FONTFONTFOCUS scala hands (selection) 6

ff AdOpuXy@mq F O N T F O N T F O C U S

Type specimen

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ff Scala… ff Scala Sans…

Light Light Italic

Regular Italic Regular Italic

Bold Bold Italic Bold Bold Italic

Black Black Italic

caps caps italic caps caps italic

caps bold caps bold italic caps bold caps bold italic

Regular Condensed Regular Condensed

Bold Condensed Bold Condensed

Diamond

Crystal

Pearl

Saphyr F O N T F O N T F O C U S

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ff Scala Sans Light abcdefghijklmnopqrstuvwxyz S §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü 13

ff Scala Sans Light Italic abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff Scala Sans Regular 1234567890 abcdefghijklmnopqrstuvwxyz º §¶#@®©™%‰$¢£¥ƒ¤ +±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff Scala Sans Italic 1234567890 abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤ +±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff Scala Sans Bold 1234567890abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤ +±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff Scala Sans Bold Italic 1234567890abcdefghijklmnopqrstuvwxyz mpje §¶#@®©™%‰$¢£¥ƒ¤ +±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

FF Scala Sans Black abcdefghijklmnopqrstuvwxyz º §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

FF Scala Sans Black Italic abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff scala sans caps abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤+ ±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff scala sans caps italic abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤ +±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff scala sans caps bold abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

ff scala sans caps bold italic abcdefghijklmnopqrstuvwxyz §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

FF Scala Sans Regular Condensed abcdefghijklmnopqrstuvwxyz º §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü

FF Scala Sans Bold Condensed abcdefghijklmnopqrstuvwxyz jft §¶#@®©™%‰$¢£¥ƒ¤+±<=>·÷⁄¬^~•ÅÇÉÑÒØÜåçéîñòøü ex F O N T F O N T F O

C ffScala is named after the Teatro alla Scala (1776–78) in Milan. There U

S were two reasons for this name: ffScala was made especially for a 14 concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid-eighteenth-century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As ﬁrst released (1991) ffScala had only four styles: Regular, Italic, Bold and small caps. Since then ffScala ff ff ff has grown to 28 styles. Scala and Scala Sans are two different Scala Sans Regular 7/9 pt, 9/11 pt, 13/15 pt typefaces sharing a common form principle. The character of a seriffed pack my box with ﬁve dozen liquor jugs · portez ce vieux whisky au juge blond qui fume · zwei boxkämpfer jagen eva durch sylt · voor ac

ffScala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ffScala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid-eighteenth-century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ffScala had only four styles: Regular, Italic, Bold and small caps. Since then ffScala ff ff ff has grown to 28 styles. Scala and Scala Sans are two different Scala Sans Bold Italic 7/9 pt, 9/11 pt, 13/15 pt typefaces sharing a common form principle. The character of a seriffed whizzing jap alky driver subject of next requiem · exiled zouave packs barque with jolly frogmen · de export blijft qua omvang typisch zwak · ffScala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ffScala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid-eighteenth- century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ffScala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ffScala had only four styles: Regular, Italic, Bold and small caps. Since then ffScala has grown to 28 styles. ffScala and ffScala Sans are two different typefaces ff Scala Sans Light & Black 7/9 pt, 9/11 pt, 13/15 pt sharing a common form principle. The character of a seriffed typeface fixquark vom welbtyp geschleijnzt · oh, welch zynismus, quiekte xavers jadegrüne bratpfanne · küçük ilik yilandar kalbime doluyor kalbimdenuafesine sanki senin

ffScala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ffScala was made especially for a concert hall, the Vreden- burg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid-eighteenth-century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ffScala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As ﬁrst released (1991) ffScala had only four styles: Regular, Italic, Bold and small caps. Since then ffScala has grown to 28 styles. ffScala and ffScala Sans are two different typefaces sharing a common form principle. The character of a seriffed typeface mainly arises from the FF Scala Sans Cond. & Bold Cond. 7/9 pt, 9/11 pt, 13/15 pt form principle and from elements such as serifs and contrast of the strokes. A sans oly lompos volt és lucskos, a szôre sárga láng, éhségtôl karcsú, vágytól girhes, szomorú derekárol messze, oly lompos volt és lucskos, pack my dog with ﬁve dozen liqfume · uafesine sanki senin . for a for for a for cala S liqfume · ff (1776–78) in

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caps b b italic

caps italic b b light italic

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caps bold italic b b black italic

b caps y y y y y y y y y y b caps italic y y y y y y y y y y b caps bold y y y y

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t t t t t t t t t t t t t t t t t t t t t t t t Scala in practice

FONTFONTFOCUS 18 FONTFONTFOCUS 19

FONTFONTFOCUS 20 FONTFONTFOCUS 21 at typo- ptt fsi fsi Scala was augmented ff Scala on the FontFont label Scala on the FontFont ff Scala was among thethe very ff Scala Sans, also released by ff . He designed the text typography and (maybe Scala family was completed with 13 new styles, ff Scala family is designed by Martin Majoor. After his gra- After his Majoor. is designed by Martin Scala family ff Scala Jewels was designed in 1996 as a set of four decorated Scala Jewels was designed in 1996 as a set Scala family and for his book designs. Since 1997 Martin Majoor oor quality (old style figures, small capitals and ligatures were oor quality (old style figures, small capitals ontShop International. elefont List is a sans serif design, suitable for the very small sizes elefont List is a sans serif design, suitable for aser printers. In 1988 Majoor became one of the two in-house graphic design- In 1988 Majoor became ers hall in Utrecht. This concert Music Centre the Vredenburg at the Netherlands to use the Apple Mac- was one of the first in intosh for But the the production of its printed matter. fact that available for the Mac at that time,only 16 typefaces were and their p a typeface of his not available), made Majoor decide to design own. And so it happened that Océ-Netherlands in 1986. There he carried out researched screen he carried out researched in 1986. There Océ-Netherlands on the production of digital typefaces for typography and worked l first Mac typefaces with these special features. Infirst Mac typefaces with these special features. 1991 ff including light, black and condensed versions. 1990 to 1995 Majoor taught typography and type design at From the Schools of Fine Art in Arnhem and Breda and gave lectures at conferences. He has received prizes for the several TypeLab/ATypI ff has worked as a book typographer and type designer in both Arnhem and Warsaw. FontShop International released FontShop F of the new In 1994 Majoor started working on the design telephone directory new typeface for it. more important) he designed a completely T The accompanying used for information in a telephone directory. and has features such as small capitals Text, text face, Telefont non-lining numerals. with a sans serif version, The graphic designer in the Research & Development Department in the Research graphic designer typefaces of which two were derived from historical examples. typefaces of which two were derived from historical In 1998 the duation at the School of Fine Arts in Arnhem he started as a in Arnhem he started the School of Fine Arts duation at as its first serious text typeface. In 1993

Martin Majoor Martin

FONTFONTFOCUS 22 FONTFONTFOCUS 23 ased aps, b seriffed ondensed, . cala Jewels S ff aps). aps, Scala Bold C , Scala Hands) ala. Every Jewel has aala. Every different c S ondensed, Scala Bold C f F Scala Jewels. 1996. our decorated typefaces are Scala Italic C Scala Bold Italic C FF Scala Sans 2. 1998. (Scala Sans Regular Condensed, Scala Scala Sans Bold Condensed, Scala Sans Bold Sans Bold Caps, Italic Caps FF Scala Sans 3. 1998. (Scala Sans Black, Scala Sans Black Italic, Scala Sans Light, Scala Sans Light Italic). F Scala Diamond, (Scala Crystal, Scala Pearl, Scala Saphyr). These f f decorative element. FF Scala 2. 1998. (Scala Bold Italic, Scala Regular C on the bold capitals of the are Inter- published by FontShop national. has a italic Scala and it cala Bold, S in Hamburg, ff ff Vredenburg urw cala. It is one of the S elefont Text Italic, elefont Text , T ff ypeface. It was digitized on ypeface. It was t cala Sans is published by S tudy usic Center in Utrecht. It was usic Center elefont List Regular, Telefont List Telefont elefont List Regular, s

seriffed typeface designed sans serif typeface based on sing Ikarus software. It can be seen sing Ikarus software. erré. 1984. cala Sans Bold, Scala Sans Caps, F Scala. 1989. F Scala Sans. 1993. rst serious text typeface. ontShop International. loped roman instead of an italic). aps. A year later it was published ext Regular Scala Sans Regular, Scala Scala Sans Regular, Scala Regular, Scala Italic, Scala Regular, he the Macintosh first typeface for as never been published. F made for the signing system of the in Music Centre Vredenburg serifs of all characters are longer. 1994. Text. List and Telefont Telefont (T List Bold, Telefont Italic, Telefont T has a List version Telefont directory. (for the directory itself) and a Text version (for any continuous text). with non-lining figures and small S Italic). Scala Sans Caps A the original s ff Passage. 1993. A special version of Utrecht. The figures have shorter ascenders and descenders and the F ( Scala Small Caps.) Bold, Scala A exclusively for the M t c its International as by FontShop fi F ( Sans Italic, Scala Sans Bold Italic, S A of the computers u of as the predecessor few sans serifs with a ‘real’ Telefont Text Bold, Telefont Text Bold, Telefont Text Telefont A typeface designed Small Caps). especially for the Dutch telephone h (normally a sans serif design New York, Type designs Type ork: London, Items, A useful Eye, ritical spirit of a New Y Cap & Design, Cap Hamburg, 1994;

Page, I.D. Magazine,

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ublications Scala’.

P 1995; no. 3

the telephone book’. instrument – the new design for

Jan Middendorp. ‘ Lubalin 1992 Study Center, telephone book’, Robin Kinross. ‘C Stockholm, 1995; no. 2

ff perfektionism’. Martin Majoor. ‘Old style -typothek: Martin Majoor. Jan Haug. ‘Holländsk

Amsterdam, 1994; no. 8 no. 10 the Graphic design and typography in on recent Dutch typedesign’. Robin Kinross. ‘Non-lining ﬁgures: Savings’. Peter Hall. ‘Long Distance 1995; no. 16 + Expert egular, egular, old, R B t that f f l l and and he said: Bold Italic talic, I lf f l + Expert ) ) ) (Windows). ) c Bold, c p pc pc

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egular, Italic, Bold, Caps, Bold, Caps, Italic, egular, egular, Italic, Caps, Caps Italic, Bold, Bold Italic, Caps Italic, Caps, egular,

f f f […] The crowd gathered in a circle around them. A I have always done without but I now need you more and more. then said: Serif Hand moment Sans H R ff The abbrevations ‘Mac + f lf ff f Italic Black Light, Light Italic, Black, Reference Numbers for Numbers Reference f lf ff Crystal, Diamond, Pearl, Saphyr Diamond, Pearl, Crystal, available for both Macintosh and Regular Condensed, Bold Condensed, Caps Bold, Caps Bold Bold, Caps Caps Bold Condensed, Regular Condensed, Italic, Hands Regular Condensed, Bold Condensed, Bold Italic, Caps Italic, Bold Italic, Caps Bold Condensed, Regular Condensed, Bold Italic Bold, Caps Caps R

f s i F o n t S h o p

I n t e r n a t i o n a l , T e x t

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n e o n W i m

W e s t e r v e l d , P r i n t i n g M a i n - E c h o g

to be continued by ff focus number 2: ff Quadraat www.fontfont.com The most versatile collection of contemporary typefaces

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