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This is my Next

Fonts that I desperately need in my collection.

Nikolaus Alexander Stohn
Last edited November 01, 2016
Entering shop by stroller you decline

FF Mark is one of the most iconic geometric sans serif typefaces of our time. Created by German type designers Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department in 2013, this versatile family draws on historical examples from German geometry in the 1920s. With additional creative input of Erik Spiekermann, they created a contemporary interpretation of classic German... Read More

Think more, design less

FF Bauer Grotesk breathes new digital life into the metal type “Friedrich Bauer Grotesk”, a 1933 release by the Trennert & Sohn type foundry in Hamburg Altona, Germany. Its geometric construction infused with an art déco zeitgeist tied to the era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk which a few years earlier. Bauer Grotesk stands out by... Read More

Beware the hobby that eats

A grown-up, no-nonsense sibling to Erik Spiekermann’s popular FF Meta, FF Unit irons out many of the quirks of its predecessor, dialing back the warmth to a comfortable, if a bit cool, room temperature. Set at small sizes, FF Unit’s legibility is aided by its increased contrast and simplified forms, all of which (a, g, i, j, l, U, M) have alternates. First released in 2003, FF Unit later... Read More

That square is top of cool shape

FF OCR-F came as the first in a series of “non-design” typefaces for the FontFont library. Technically oriented faces, such as DIN, Courier, Pica, or OCR-A and OCR-B have never seen so much demand in design as today. Art directors, magazine publishers, and poster designers love their cold, martial forms. At the same time, many would like to have a few more weight options and perhaps a... Read More

Think more, design less

For decades, two different styles marked the streets of divided Berlin. West Berlin street signs were made using a sans serif standard that dated back to the 1930s, at least. Meanwhile, street signs in East Berlin made use of a narrow, router-based design, which was most likely developed during the 1950s. After German reunification in 1989, it was unclear what would happen to these competing... Read More

Please take care of the bamboo

When ITC Officina was first released in 1990, as a paired family of serif and sans serif faces in two weights with italics, it was intended as a workhorse typeface for business correspondence. But the typeface proved popular in many more areas than correspondence. Erik Spiekermann, ITC Officina's designer: "Once ITC Officina got picked up by the trendsetters to denote 'coolness,' it had lost... Read More

This freezer is out of control

FF DIN Round comes as a welcome addition to the most popular family in the FontFont library and brings warmth to FF DIN’s simplicity and industrial sterility. The face is more than a programmatically rounded version of its predecessor. Albert-Jan Pool and his team reworked each letterform to maintain the structure of the original. This ensures FF DIN and FF DIN... Read More

Tether even a roasted chicken

Eurostile Candy is a fun spinoff from Akira Kobayashi's Eurostile Next family. As the name implies, it is based on Eurostile but with many striking new features. Most obviously, the corners and joints have been rounded off to give it a more friendly and softer feel. On top of those changes, the main skeleton of many characters have been modified. Any extra strokes have been removed - such as in... Read More

Carefully ground obstacle be care walk

When Christian Schwartz and Erik Spiekermann were working on FF Meta Serif, they had plans to also expand the FF Unit family (a closely related design) to include FF Unit Slab. They figured that it would be nice to create a serif and slab that could be used together, as well as with their own sans counterparts. While FF Meta Serif featured a more classical structure, FF Unit Slab was shaping up... Read More

Entering shop by stroller you decline

Dieter Hofrichter’s blunted, spurless Carnas typeface maximizes its counter-forms by pushing its strokes outward, each character forming a straight-sided or superelliptical structure. The face treats the passing eye to a subtle diagonal jostling as tensioned upper-right and lower-left curves create radial symmetry.

A friction is very interesting

Work began on what would become the Between typeface with sketches of a DIN that didn’t feel quite so cold. The principle of warmth became the focus of the family, which covers three variations from subtle nuance to humanistic fluency. Built for versatility, the Between typeface’s numbered variations span eight full weights from thin to black, each complete with a companion italic.

Hannes von Döhren, Christoph Koeberlin and FontFont Type Department
FontFont 2006
Felix Bonge and Thomas Ackermann
FontFont 2014
Erik Spiekermann and Christian Schwartz
FontFont 2003
Albert-Jan Pool
FontFont 1995
Verena Gerlach and Ole Schäfer
FontFont 2000
Erik Spiekermann and Ole Schäfer
ITC 1990
Albert-Jan Pool
FontFont 2010
Akira Kobayashi and Aldo Novarese
Linotype 2008
Erik Spiekermann, Christian Schwartz and Kris Sowersby
FontFont 2009
Jan Fromm
Jan Fromm
Dieter Hofrichter

The Foundry
Akira Kobayashi
Monotype 2016