A font perfect for not just one, but many projects! Introducing Oceanwide Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans! Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use. Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights. Here's a quick video tour of Oceanwide Pro by Dave Lawrence, including all the great things Oceanwide can be used for! We've tested Oceanwide for these industries, with stunning results!: Tech Arts Fashion & Style Business & Branding Corporations Logistics Architecture Food and many more... Oceanwide can be used for: Headers Subheadlines Logos Even body text, if tracked. Print & Screen The styles it can take are also many. It's great for: Modern/minimalist design Flat design Cut out design User Interface (UI) Technical designs In combination with text effects, even for grunge and other situations. And many others... DESIGN FEATURES Simplicity Tall x-height Hand-sloped obliques (italics) Narrow spacing Semi-wide proportions Expert kerning Well proportioned, usable lights & extra lights Large caps Great ALL CAPS MODE Uppercase punctuation Uppercase spacing with California Type Foundry’s Smart Tracking™ Advanced fraction support Proportional lining figures Thick joins Smooth curves Sturdy—great for textures and effects Variable font available Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide! DESIGN STORY—THE FORGOTTEN SANS by Dave Lawrence, Lead Designer, California Type Foundry Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans! It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year. Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.” The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple. Hopefully this font is a worthy successor to the font that inspired it. Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer. ——————— Simplicity. Versatility. Oceanwide.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

Supernett was originally created in 2013. Now we decided to upgrade it: more styles, more glyphs, more features, more everything. Have fun with Supernett 2019! Supernett 2019 super revised version Supernett is a versatile handmade text- and display-family and is perfect for space-saving headlines. All letters and numerics are available in three variants which alternate randomly with OpenType Contextual Alternates activated. One of Supernetts key features is Wiggling & jumping letters: letters jump around the baseline or tilt forward and backwards without a plan. Combine this with OpenType Contextual Alternates and let Supernett look truly hand-drawn with a maximum effect when applied to big typesetting. Further features include small caps, glyph alternates, case-sensitive forms, fractions, symbols and many more. Supernett is a hand-drawn / handmade / handdrawn Sans-Serif font-family. Supernett is available in three weights, two widths, Uprights and Italics. The handmade family is tailored for large font sizes but also impresses with seamless legibility in small type sizes. Due to its display origin and slightly condensed appearance, make sure to increase the spacing a little when used in text setting. The extensive character set supports 209 Central and Eastern European as well as Western European languages (for details, please see below). Supernett Font and Feature Guide Download it | View it online Supernett OpenType Features Alternating Letters Letters and numerics are available in three variants which alternate randomly → OpenType Contextual Alternates Small Caps Supernetts Small Caps mixes Upper- and Lowercase letter forms. Choose between »Small Caps« or »OpenType All Small Caps«. The latter replaces lower- AND uppercase letters, as well as the dotted i and activates punctuation to match the small caps’ height. Wiggling letters All glyphs tilt slightly and randomly forward and backwards → OpenType Swashes (or OpenType Stylistic Set 06) Jumping letters Each single glyph moves individually up or down → OpenType Titling Alternates (or OpenType Stylistic Set 07) → for a stronger effect, add OpenType Stylistic Set 08 (Jumping Baseline MORE) Case-Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography. → activated when an app’s all-caps styling is applied Slashed Zero Make clear what you’re talking about and work with a slashed zero → OpenType Zero with a Slash Fractions Figures separated by a slash are substituted by proper fraction glyphs. A date however, written like 10/12/2019 will remain unchanged. → OpenType Fractions Alternate Glyph Set 1 → OpenType Stylistic Set 01 Alternate Glyph Set 2 → OpenType Stylistic Set 02 Alternate Glyph Set 3 The default glyph set. Activate it to disable Alternating Letters within OpenType Contextual Alternates. → OpenType Stylistic Set 03 Y Alternate Choose between two different styles of Y → OpenType Stylistic Set 04 Underlined Uppercase O & ordinals → OpenType Stylistic Set 05 → activate OpenType Ordinals to substitute No. by № Uppercase I Alternate There’s an alternate for the isolated ›I‹ (I love you) → included in OpenType Contextual Alternates → or activate OpenType Positional Forms: Automatic Form → substitute every single ›I‹ with OpenType Stylistic Set 09 Bullet Alternate Choose between two different styles of bullet (•) → OpenType Stylistic Set 11 Squares and Circles Type a – z and out pop squares and circles. All symbols are PUA-encoded for easy copy and paste between different applications. → OpenType Stylistic Set 10 → or open your apps’ glyphs panel and double-click the desired symbols Supernett is an organic and decorative hand-drawn / handmade Sans Serif display-family for packaging, posters, book-covers, kids- (children-), food- and logo-design and will best stand out in huge grades. Its handmade / hand-drawn origin is subtle yet visible. Supernett supports 209 languages Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni View other fonts from Georg Herold-Wildfellner Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut