More fonts like this. Ithoughtsx mind mapping utility 5 Try, buy and download these fonts now! Las vegas slot machine. Sixtyfour 1 7 2. FF Franziska Font. Please check the license to see if you can use FF Franziska for commercial projects. Please note: If you want to create professional printout, you should consider a commercial font.
Principle 3 4. Check it for free with Typograph. Cookies help us deliver our services. By using our services, you agree to our use of cookies.
Find any font from any image Member Benefits Auto character recognition system 80 fonts in results Save results Get help on forum and more Custom text preview Google fonts search - we suggest free alternatives to expensive fonts Zero Ads Filtering fonts by price and foundry Become a PRO member. Forgot your password? Remember me. The serifs also grew thicker and longer, in order to be recognizable as such in tiny point sizes. All variants of FF Franziska were printed out at regular intervals to test the functionality of the experimental curves.
However, a dpi laser printer rasterizes type in different quality at different sizes, changing curves into staircases, leaving room for interpretation of the shapes. A pragmatist simply prints it out at 20pt, looks at it from twice the reading distance and then judges the body text a hot tip from Albert-Jan Pool.
But you might as well use a printing plate and immerse yourself in the world of magnifying glasses and line testers. Glyphs have made the workflow much easier. They combine a basic calligraphic construction with angular elements and its incline tends towards an upright italic. Despite their independent natures, the roman and italics complement each other to form a harmonious type combination, and at the same time, they allow for a very wide range of design applications.
Then they were gradually endowed with an italic construction. In keeping with the idea that the italic is a typeface of its own — merely a fitting partner but not a sister to the roman — all glyphs were re-modeled, including the numerals and special characters. The uppercase letters were already drawn with a tendency towards the dynamics of the lowercase letters.
In the italic version, the uppercase letters take this a step further. They are not merely slanted spinoffs of the uprights; they themselves contain hand-drawn features of their own. Though they first looked more strongly like initials, this characteristic was reduced a bit to make the design more calm and fitting to the roman, despite its already lively lowercase letters. Thus, they offer more options for use in headlines and package design where their playful forms and edgy details can articulate themselves more.
This is because the pure average value of a thin weight and an ideal bold weight is not always ideal for a body text. If you want to design the often-used medium weights perfectly, one sure method is to draw a third version and then interpolate it in two steps. There was an interim theory that contrast should not only increase towards the bold pole, but should go towards both extremes hair and black , in order to calculate the exponential increase black and decrease hair.
This theory was unfortunately disproven, because the medium weights could barely be distinguished from each other. Ultimately, FF Franziska was calculated with three extremes in two curves according to the classic interpolation theory. Once a glyph has been designed, converted into vectors and then complemented by further variants such as hairline or black , you can merrily begin interpolating the intermediate weights.
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