F37®

F37® × @wolffolins

F37®×Ochre Drawing on their multicultural design expertise, we have released two Latin/Arabic fonts inspired by the Middle East. In collaboration with F37® Ryan Miglinczy Vishnu Pasupathy Sebastian Klein https://lnkd.in/daPyCX5e

I love spending time on font sites 🤩 F37 Sonic by F37® 👌 https://www.f37sonic.com/

F37 Caligari out now: https://lnkd.in/e7-6rtB2

Our design director Duncan Gravestock talking yesterday at Cardiff Metropolitan University #branding

CALL FOR FREELANCERS 📢 We are looking for freelance: ▪️ Senior Brand Designers ▪️ Senior Type Designers To start ASAP, based either around Manchester or remotely (in the UK). Please send your portfolio and day rate through to jobs@f37.com

CALL FOR FREELANCERS 📢 We are looking for freelance: ▪️ Senior Brand Designers ▪️ Senior Type Designers To start ASAP, based either around Manchester or remotely (in the UK). Please send your portfolio and day rate through to jobs@f37.com

NEW F37® Playground F37 Northern As a global company with clients and employees from around the world, we are proud of our Mancunian roots. It is a city steeped in industrial history bringing with it the famous red brick buildings, now icons of the city. While many of these once industrial buildings are no longer used for industry, the facades have been preserved — and with it the typographic landscape of industrial Manchester. In the heart of Manchester, just off Deansgate, there has stood the Great Northern Warehouse since 1898. Once one of the most advanced railway goods exchange in the UK, it now serves as an imposing backdrop to many local and visitor memories of Manchester. Inspired by the local and personal importance of the site, we have revived the facade brick lettering, expanding the 19 letters on the building into a typeface. F37 Northern comes complete with lower and upper case, a suite of symbols, arrows, emojis, patterns and even a modular train se. We are proud to bring this small piece of heritage alive once again.

NEW F37® Library F37 Qbik puts a new slant on hardcore geometric sans. It’s bold, powerful and uncompromising… although not so much in its rotalic form. Qbik is born from a brutalist design aesthetic, most of its characters are created out of basic geometric forms and with minimal optical adjustments. It feels hard, pure and confident, a font that knows exactly what it stands for and refuses to budge on principle. Apart from a couple of characterful quirks, like the cap Q, which resembles an upside-down yo-yo. Or the lowercase alternate g, that looks like it has tank tracks. This all starts to change in the companion variant version, which instead of the usual italics come as ‘rotalics’. With italics, the letterforms are slanted, with their feet planted firmly on the baseline. Rotalics however, are rotated to the right, so the characters kind of look like they’re ice-skating, or at least off balance and tottering forward. F37 Qbik is available across five weights, in both upright and rotalic, so 10 styles in all. Medium and regular work best for longer text, while light, bold and black are just the job for display and titling. https://lnkd.in/eQ--GGMN

F37® Archive : ITV The priority given to the accessibility of a typeface within a design brief has become increasingly important to clients. This global trajectory was set by our ever increasing interactions with screens and further fuelled by the surge of first time digital users to critical websites during the pandemic lockdowns across the world. Drawing on historical fundamentals of legibility as well as modern understandings of eye movement and visual impairment, we worked closely with ITV’s in-house accessibility team to design a suite of fonts across 3 families. The Text Sans was the utilitarian workhorse, designed for the ever important body copy which holds the majority of the information. Based off the Display Sans, we toned down the personality and emphasised the disambiguation of letters and comfort of reading. The Display Sans and Serif were the bold headline type-families used at larger size. While accessibility was a priority, there was more leeway to imbue it with a distinct personality instantly recognisable to ITV. Commission: DixonBaxi