Helsinki Design Week and it’s 10th anniversary is coming soon! Typostitch 23 collection is part of HDW and will be seen in Kluuvi Design Lab, Shopping Centre Kluuvi, Aleksanterinkatu 9. Open 4.-14.9. Mon-Fri 11-19, Sat 11-17, Sun 12-17. Wellcome!
I got this lovely, old German “kreuzstich” catalogue from my dear friend as a birthday gift. She had found it from a fleamarket. A True Treasure! Thank you so much Essi!
The exhibition ends on Sunday the 9th of June, so plenty of time still visit the Lokal Gallery and get some food for soul!
FF Din numbers, 40 x 60 cm.
The story of FF DIN goes like this:
San Francisco 1994. Albert-Jan Pool and Erik Spiekermann share a cab together from the ATypI conference to the airport. Spiekermann tells to Pool that if he wants to earn some money with type design, he should redesign OCR and DIN. Spiekermann had noticed that the existing DIN had became popular with graphic designers because of the typeface’s “lean, geometric lines”. Spiekermann invites Pool to Berlin to discuss the idea in detail.
Next year Pool’s FF DIN is published by Spiekermann’s FontFont. Pool designed a family of five weights, added true italics and some alternative characters, such as the “i” with a round dot. With time, five weights of DIN Condensed were added, as well as Greek and Cyrillic versions. The shape differs from the original mostly by thinner horizontal strokes and by more fluent curves.
Digital DIN fonts were available at the time, but only in two weights and in pure geometric shape. Pool’s FF DIN is based on a group of typefaces known as Deutsches Industrie-Norm (DIN) Schriften (German industrial standard fonts), which has its roots deep in German culture: it is considered the official typefaces of Germany. DIN was used for all German traffic signage.
Despite its primitive, technical look and the clear reference to the German motorway signboards, FF DIN became a phenomenon. Somehow it became almost as a new Helvetica, typeface to be used anywhere you need clarity.
FF DIN found its place also in posters and signs of cultural institutions. For instance the signage of Pompidou Centre in Paris is designed with FF DIN, quel skandale!
Verdana Regular upper case “Å”, diameter 21,5 cm.
Verdana is a typeface that was originally designed to use on screen. Most typefaces were designed for print and paper, but in Verdana’s case everything was created with the screen in mind.
Verdana is a humanist sans serif with large x-height and thus it is very legible even in small sizes. It has no serifs, but simple curves and open letterforms. The letterforms are so open that the counters, the negative spaces in the letters, do not fill in the letter and diminish the legibility.
The letterforms are also spaced widely so they are legible even when displayed in computer applications that don’t control spacing.
To increase the legibility even more Carter designed letterforms that look alike (such as i, I, and 1) to be as dissimilar as possible. The characters are now easy to distinguish. Number 1 (one) in Verdana was given a horizontal base and a hook in the upper left, and the uppercase “i” has serifs.
I chose an A-ring a.k.a. uppercase “å” to stitch. It has a completely round and big ring which is combined straight to the top of the letter “A”. Beautiful!