Favourite typefaces

Originally designed during her Type and Media masters course at the Royal Academy of Art in The Hague, FF Dora was drawn by editorial and book designer Slávka Pauliková. It is a strong-willed type system consisting of five styles: Regular, Italic, Bold, Bold Italic, and Display. FF Dora’s construction principles – especially in the italic and display styles – are based on a careful study of... Read More

Frank Grießhammer started FF Quixo out as graduation project while studying in the Type and Media program at KABK Den Haag. Learning pointed-pen calligraphy, he explored a more casual dimension by interpreting the model with different-sized brushes. In the typeface presented at graduation each of the weights is based on a different writing tool. Afterward, the concept was re-evaluated and... Read More

The initial concept behind FF Acanthus was to produce a “modern” neoclassical Roman that would have a less stark appearance than most French Didot-esque faces. FF Acanthus Regular takes direct cues from the Henri Didot typeface used in “De Imitatione Christi,” published 1788, but itself introduces more warmth and subtlety – this is especially noticeable at larger sizes. At smaller sizes, the... Read More

Libelle is a 21st century English Copperplate Script typeface. Created by Jovica Veljović, a designer with decades of experience as a calligrapher, typeface designer, and professor, Libelle differentiates itself from other Copperplates Scripts because its letterforms are less mechanical. The hand of the calligrapher shows through the forms, breathing new life into this historic genre.... Read More

ITC Veljovic was designed by Jovica Veljović and displays an obvious calligraphic heritage. The designer was strongly influenced by German designer Hermann Zapf and Israeli designer Henri Friedlander. ITC Veljovic exhibits a crisp precision, as if the letters were cut in stone rather than drawn with pen and ink.

Developed over a ten year period, FF Balance is an experimental sans serif that subverts the conventions of the style. Its horizontal strokes are heavier than the verticals and its top strokes appear slightly heavier than the bottom. Another unusual feature is the family’s uniwidth metrics. All weights and numerals of the family... Read More

FF Super Grotesk draws from a 1930s design by Arno Drescher, easily the most popular sans serif in use in East Germany – the GDR’s equivalent of the then unavailable Futura. Today, the face is found only in period specimen books and early East German ephemera. Both served as sources for FF Super Grotesk’s earliest sketches. Its original glyph coverage was increased with special symbols and... Read More