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deep ux

verschiedene Schriften für deep ux Webseite

Alexander Schnepp
Last edited September 05, 2016
Thank you for habitual drinking

The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary. Ingeborg’s text styles are functional and discreet. This was achieved without losing the classic characteristics of a Didone typeface, which are the vertical stress and the high contrast. The display styles on the other hand are... Read More

Think more, design less

The Century Old Style family was modeled on Century Expanded, which had been cut in 1900. Similar weights and proportions were maintained, but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style family is a useful text design that offers good legibility and economy.

Carefully ground obstacle be care walk

Iridium™ was designed by Adrian Frutiger in 1972 for Linotype. It is in the "modern" style like Bodoni or Didot, in that it has the sparkle created by a high thick/thin contrast and a symmetrical distribution of weight. But the sometimes harsh and rigid texture of the modern style is tempered by Frutiger's graceful interpretation. Iridium itself is a very hard, brittle and strong metal; yet the... Read More

No cross railing lest suddenness happens

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

Beware of explosive dogs

The design of Sabon Next™ by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s own schema for the original Sabon, and to interpret the complexity of a design originally made in two versions for different typecasting systems. The first was designed for use on Linotype and Monotype machines, and the second for Stempel hand composition.... Read More

In case of emergency, run like hell

FF Tisa designed by Mitja Miklav quickly became a new-millennium favorite of graphic designers, in print as well as on the web. Its large x-height and sturdy, well-spaced forms aid its legibility at text sizes, while its low stroke contrast and range of weights allow it to successfully function at larger sizes as well. Since the designer considered wayfinding systems a potential use for the... Read More

Wit is educated insolence

Fournier was made by Monotype In 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were among the earliest of the "transitional" style of typeface and were a stepping stone to the more severe "modern" style made popular by Bodoni later in the century. They had more vertical emphasis... Read More

Poisonous and evil rubbish

FF Aad is a modern sans serif typeface with humanist touches. The terminals end horizontally, making the negative shape in between letters more open and simplified, resulting in clean and easy to read compositions. The family consists of five weights, each with genuine italics. Note the distinctive italic lowercase Y. Its neutral but elegant appearance makes it an ideal choice for corporate use.

Michael Hochleitner
Typejockeys 2009
Linn Boyd Benton, Morris Fuller Benton and Monotype.Design Studio
Monotype 1894
Adrian Frutiger
Linotype 1972
Claude Garamond and D. Stempel AG
Linotype 1499

Mitja Miklavcic
FontFont 2008
Monotype.Design Studio and Pierre Simon Fournier
Monotype 1742
Aad van Dommelen
FontFont 2015