Instead they preferred to have a new typeface family designed. Simply choosing a bolder weight would already have improved the legibility. It was definitely a good idea to replace the Neue Helvetica® Light font. What do you think of other contemporary interpretations of DIN Mittelschrift?Īlbert-Jan Pool | “I think it is interesting to see how Apple® tried to ride the coat tails of FF DIN’s popularity. ![]() Of course, due to the aesthetics of the original FF DIN a serif version would become rather mechanical, with a specific range of possible applications, just like FF DIN itself.” As long as the basic structure of a given typeface is relatively conventional and the skeleton of the characters allow for it, anything is possible. So you don’t feel you can take it too far, beyond the core concept of FF DIN?Īlbert-Jan Pool | “Not exactly, no. Similarly you could add a serif version, a round slab serif, and so on… There is a lot of potential and you can go really far with this.” It has a serif ( Corporate A stands for Antiqua), a sans serif ( Corporate S stands for Sans), and a slab serif ( Corporate E stands for Egyptienne). S♾ for example, the super family Kurt Weidemann developed for Daimler Benz.I now had the freedom to offer new suggestions for FF DIN, but everything was always reviewed by Albert and he makes any final decisions.”Ĭhronological overview of the expansion of the FF DIN super family.Īlbert-Jan, with regards to expanding FF DIN, how far do you think you could take this family?Īlbert-Jan Pool | “In theory you could extend the typeface indefinitely. This expansion made us decide to update the entire typeface family and optimise a lot of things too. ![]() “For the latest expansion I had the honour of drawing the two new Thin and Extralight weights for FF DIN following Albert’s instructions and specifications. Our collaboration has become very close – personal meetings in his Hamburg office, corrections on the printouts via mail, and lots of telephone calls.” Albert reviewed nearly every single glyph and drew up design rules for drawing new ones. We started extensively documenting our work on FF DIN, making tons of test prints (just ask our interns… they had to make all those prints and mail them to Albert). He has become the art director and I am the designer executing his ideas, much like Erik Spiekermann collaborates with other typeface designers to produce his font families. Inka Strotmann | “During the years we have worked together I breathed in so much of FF DIN’s DNA that I am now able to help Albert considerably more. Has your role evolved since those early days?
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