Friendly Geometric Variable Sans Serif

OC Format blends geometric clarity and neo-grotesque proportions, with just enough analogue nuance to feel human.

Format takes cues from the timeless confidence of Futura and the pragmatic efficiency of Akzidenz Grotesk, blending the two into something that feels familiar, warm, playful, and approachable.

Much of its character comes from analogue references, particularly screen-printed text from mid-century signage and posters. Like those examples, the shapes here aren’t mechanically flawless; subtle irregularities and quirks are baked in lending the typeface a gentle, human touch that keeps it from feeling cold or clinical.

With bold weights and a versatile selection of alternates, Format is designed to work hard across branding, editorial, and display, bringing warmth, clarity, character, and a certain je ne sais quoi that sets it apart.

One license. Every style. All media.

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Overview

12 Static Styles

Weight Axis (wght)

Italic Axis (ital)

Anatomy

Ligatures

Discretionary Ligatures

Alternates

Alts index

ss01 Wedge Punctuation
ss02 a (double storey)
ss03 y (round)
ss04 Space = a
ss05 Space = fjty
ss06 Space = g
ss07 Space = mn
ss08 Space = r
ss09 Renner = a
ss10 Renner = g
ss11 Renner = jy
ss12 Renner = mn
ss13 Renner = r
ss14 Renner = t
ss15 Ink pool = abdghmnpqry
ss16 Straight = Jfjrty
ss17 Bayer = mn
ss18 M
ss19 Q
ss20 Public Signage

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Renner was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers throughout the 20th century and today. The typeface Architype Renner is based upon Renner's early experimental exploration of geometric letterforms for the Futura typeface, most of which were deleted from the face's character set before it was issued. Even before 1932, Renner made his opposition to the Nazis very clear, notably in his book Kulturbolschewismus (Cultural Bolshevism). He was unable to find a German publisher, so it was published by his Swiss friend Eugen Rentsch. While designing his typeface Futura, Renner appeared at a public forum in Munich with several other German authors to speak out against the Nazis and other right-leaning parties who criticized anything that deviated from tradition as being "cultural bolshevism."

Renner's original plan was for two versions: a more conventional version suitable for general use, and a more eccentric, geometric lower case based on the circle and triangle. This plan was scrapped, although the characters did appear on an early specimen and more recently on at least one digitisation. Other foundries quickly launched derivative geometric sans-serif typefaces, particularly in the United States. In the UK Futura, while sometimes used, was overshadowed by Gill Sans, which became popular for similar reasons in the UK and came to define 1930s and 1940s printing. While more humanist, it also has geometric leanings which are particularly visible in the capitals.

Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. Relatively little-known for a half-century after its introduction, it achieved iconic status in the post-war period as the preferred typeface of many Swiss graphic designers in what became called the International or Swiss design style which became popular across the Western world in the 1950s and 1960s. Its simple, neutral design has also influenced many later typefaces. It has sometimes been sold as Standard in English-speaking countries, and a variety of digital versions have been released by Berthold and other companies. Grotesque (German: Grotesk) was a standard term that had become popular in the first half of the nineteenth century for sans-serifs.

Figures

Old Style Figures

Tabular Lining

Fractions

Roman Numerals

Circled Figures

Circled Alphabet

Numerator / Denominator

Arrows

Symbols…

Language Support
& Glyph Set

Guten Tag,
Io parlo italiano…

Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian, Nynorsk Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Welsh, Western Frisian, Zulu

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Friendly Geometric Variable Sans Serif

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