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FF Fago® Correspondence Sans

par FontFont
Styles individuels à partir de $68.99 USD
Famille complète de 4 polices: $209.99 USD
FF Fago Correspondence Sans Font Poster 1 FF Fago Correspondence Sans Font Poster 2 FF Fago Correspondence Sans Font Poster 3 FF Fago Correspondence Sans Font Poster 4 FF Fago Correspondence Sans Font Poster 5
La famille de polices FF Fago Correspondence Sans a été conçue par Ole Schäfer, Andreas Eigendorf et publiée par FontFont. FF Fago Correspondence Sans contient 4 styles et options de package familial.

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FF Fago Correspondence Sans Volume

 4 polices

Meilleure offre!

Par style :

$52.49 USD

Paquet de 4 styles:

$209.99 USD

Options d'achats
Ajouter à l'album
Ajouter aux favoris

Familles apparentées

Options de licence

À propos de la famille

German type designer Ole Schäfer created this sans FontFont in 2000. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as software and gaming. FF Fago Correspondence Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with tabular lining figures. This FontFont is a member of the FF Fago super family, which also includes FF Fago, FF Fago Correspondence Serif, and FF Fago Monospaced.

Concepteurs: Ole Schäfer, Andreas Eigendorf

Éditeur: FontFont

Fonderie: FontFont

Maître d'ouvrage: FontFont

MyFonts débout: Nov 29, 2011

FF Fago® Correspondence Sans is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. FF is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.

À propos FontFont

FontFont was established in 1990 when FontShop founder Erik Spiekermann and fellow type designer Neville Brody wanted to build a foundry where type was made for designers, by designers; a place where type designers were given a fair and friendly offer and where true type magic was made. “From the very beginning,” representatives of the foundry say, “we wanted to bend the rules and test typographic boundaries, to build a library with a collection like no other; a range of typefaces that had different styles, different purposes, that was contemporary, experimental, unorthodox, and radical.”

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