РУEN
type.today
10 styles,
2022

Ottessa

Light

Philipp Neumeyer, TypeMates

  • Desktop
    $50
  • Web
    $50
  • App
    $200
72px
Ottessa
Light
Вместе получается: «Неделима наша доля. Наша ноша нелегка».Вместе получается: «Неделима наша доля. Наша ноша нелегка».
48px
Ottessa
Light
The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.
24px
Ottessa
Light
А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…
15px
Ottessa
Light
Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.
About

Ottessa combines humanistic Dutch construction and ‘French’ apertures with a heavily modulated vibe. A large x-height and compact proportions make Ottessa an economical accomplice in changing up the typography landscape. To cover necessary ground, Ottessa comprises five weights with accompanying Italics. Ottessa doesn’t believe in linear interpolation. While the low-contrast weights from Extralight to Bold maintain the same transition from straight stem to curve, Extra takes a high-contrast approach. Extralight’s spiky triangular forms transform into stilted flats and, on top of that, vertical strokes take on the same thickness as the horizontals, giving the typeface an alluring emphasis on the horizontal.

Whether used for natural wine labels, dating apps, medicinal packaging and inserts or household items, Ottessa knows how to put your product into visual focus. With steeply angled polysemic Italics, spectacular visuals will become second nature to you.

With more than 860 glyphs per style, including native-approved Cyrillic, and a broad Latin character set, Ottessa speaks more than 270 languages. A plethora of OpenType features like multiple figure sets, case-sensitive punctuation, and a massive number of adjustable arrows and symbols enrich Ottessa’s typographic toolbox for every imaginable terrain.

Specimen (PDF, 554 KB)
Features

Case sensitive forms, six stylistic sets, standard ligatures, discretionary ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Belarusian, Bulgarian, Catalan, Chechen, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Philipp Neumeyer

Philipp Neumeyer was born and raised in the high mountains of Northern Germany. He graduated from the Muthesius Kunsthochschule (Academy of Fine Arts and Design) in Kiel before completing the postgraduate Type and Media course at the Koninklijke Academie van Beeldende Kunsten in The Hague. After some back and forth between Berlin and Copenhagen and working for LucasFonts and Playtype, Philipp settled in Berlin where he creates custom and retail typefaces as an independent type designer. Author of Theodor, Arnold, Rainer, and Norbert.

TypeMates

TypeMates: a straightforward font foundry.

For years, we — Jakob, Lisa and Nils — have been passionate about type and in 2015 we started working together, from our offices in Munich and Hamburg, as a type foundry.

We don’t believe that typefaces are neutral or purely functional systems for reading, rather that they are a visual language with emotional values. Our aim is to be straightforward in the complex field of type design. We do not want to hype or praise type too much, we want to work together with our clients and partners to deliver good results.

Our practice covers everything, from the tiniest nuance in a logo or piece of lettering to the design of extensive type systems. And whether it’s a beautiful idea, a complex client project with intense technical demands, or we’re just following our investigative TypeMate’s nose — we’re passionate about well-made letterforms delivered to the highest technical standard.

Whether it’s Die Zeit online, Fast Company, Red Bull TV or Lufthansa Magazine, typefaces we designed are used by magazines, newspapers and corporations who set the bar for design.

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