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Fonts in the Adobe Fonts library include support for many different languages, OpenType features, and typographic styles.
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Ogg Font Family
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The resource of this site is provided by netizens, it is only for personal learning and reference, not for any commercial purposes; If the resource is released by the holder of the intellectual property rights, please be strictly in accordance with the license agreement within a reasonable range, otherwise you will take full responsibility of all the consequences.
Lucas Sharp. Unknown License The way of authorization is for reference only. Installable Embedding. Display all.Ogg has svelt lines that thin to near-hairlines before swelling out into its ample brackets and wide serifs. Can brackets be luscious?
Ogg has luscious brackets. Ogg is a melding of calligraphy and serif type design and was directly inspired by the 20th century calligrapher Oscar Ogg. The more you see of Ogg, the more the calligraphic influence becomes clear.
Switching to the italic gives you a luxurious calligraphic script with extravagant capitals and swooping ascenders and descenders. The merging of the two genres allows Ogg to have a formal presence while also feeling off-kilter enough to let it play alongside bolder and more aggressive typefaces. It has become a popular typeface for poster designs where it can contrast against wide grotesques and works extremely well when paired with illustration .
Oscar Ogg also mixed Italics and Romans in each of these lovely book covers Ogg designed, so Ogg the typeface owes more than just its name and design details to the calligrapher—it owes its construction as a family.
To do this without stripping the character out of the designs is a massive feat, and I think Sharp was successful in his efforts.
Ogg is very easy to use despite how flagrant it is, and the contextual alternates smartly help typographers avoid dicey collisions with the more expressive letterforms. The proportions were widened and the x-height balanced, the bowl still cramped in the upper half of the circular shape of the letter while having a larger counter to aid legibility and to prevent it from becoming a caricature.
These tweaks are all in service of the proportions of the typeface to ensure it is pleasant and evenly paced and every effort is made to give the font large counters and breath air into the design, giving the letters a more inviting presence.
Another way to really appreciate the hand-drawn influences in Ogg is to compare it to an Old Style serif . Ogg stands apart with its wide stance, calligraphic details, smoothed edges and exaggerated proportions. The quirks from the original calligraphy that Sharp retained make the font feel more naturalistic and expressive than something as classical and buttoned-up at Quarto.
I wish I knew more about calligraphy so I could communicate those aspects of the design more clearly, particularly about the Italic version of the font. I did find this diagram  helpful in showing how the strokes of the Roman and Italic characters of Ogg would be drawn by a pen, and how the angle the pen is held affects the stress of both the Roman and Italic letterforms.
I first noticed Ogg in use on several poster designs by Ryan J. One is static-y and the other looks like mercury. Both ephemeral, but with different textures and manifestations. This was also the first place I noticed the trend of pairing Ogg with sans-serif faces particularly Grotesquesbright colors and abstract imagery—contrasting artificial-feeling designs against the dual personalities of Old Style and calligraphy present in Ogg.
I think a few factors have contributed to the trend of using Ogg in this aesthetic. These posters need the warmth in their messaging in the same way early computers did. The wider proportions and smooth brackets reduce the impact of the vertical stress in the design, giving it a more relaxed feeling compared to Old Style or Modern serifs and evening the tone enough that it can pair against lower-contrast sans-serif fonts. These are the use cases it was likely designed for and it certainly does the job well.Ogg is a calligraphic serif typeface designed by Lucas Sharp and published by Village in The design was inspired by the hand lettering of twentieth century calligrapher Oscar Ogg.
Ogg is available in roman and italic styles. Summoning a renaissance flavor while still managing to feel fresh and contemporary, Ogg begs for employment in posters, product packaging, magazine spreads, book covers, and all kinds of editorial applications. Ogg Font Family. Mar 19, Fonts 0.
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Summoning a renaissance flavor while still managing to feel fresh and contemporary, Ogg begs for employment in magazine spreads, book covers, and all kinds of editorial applications. Designed by Lucas Sharp in Unable to load font. Evaluation only. Info; Cart About. Village is a type co-op. We are the union of eleven type foundries who have decided to go at it together.
Founded, in New York City. Ogg is a difficult typeface to ignore when you see it in use. It spiked my curiosity when I saw it on a few posters over the course of this year, and after identifying it with the help of the fine folks on the WhatTheFont Forum, I grabbed it for myself and started digging deeper.
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Although there is not a direct connection between these samples and the signature multi-kinked serif construction that forms the basis of the Ogg italic bouma, the design of Ogg amplifies many of the telltale moves found throughout Ogg's calligraphic works such as Ogg's signature italic ascenders. Although the foundational forms of the italic lowercase were more invention than direct inspiration, the uppercase forms found in the above sample were mined extensively for the italic majuscule.
The original lettering samples are a combination of calligraphic stroke, contour drawing, and white-out reduction. This combination of calligraphic and constructed forms became the perfect jumping off point for typographic exploration.
Rotating nib angle, stroke modulation, and full stops allow ink to build at extremes. Kinked corner joints are made by expert pivoting of the pen nib. In the spring ofwe set out to expand the weight spectrum of the original Ogg typeface. In latewe began the first prototypes of Ogg Text.Oggy and the Cockroaches - Sport Fans (S04E26) Full Episode in HD
Adapting the strange and irreverent Ogg display original into something useful for long-form reading was no small task. We also wanted to capture the beautiful hierarchy he achieved with his book jacket designs, where extravagant, high-contrast display titles would give way to beautifully legible sub-headers and captions.
In this vein, Ogg Text came to take on an unmistakably Dutch flavor, given its emphasis on the calligraphic underpinnings of the letterforms, and was no doubt informed by the process of drawing an entire Bram De Does inspired Old Style text face the year before.
The multiple serif constructions of the roman lowercase stems proved to be unique devices for letter differentiation. While many of the original constructions served as uniquely functional devices for text optimization, other forms were changed completely, adapting to their new format in novel ways that maintained the character of the family while providing functionality at smaller sizes.
The "y" descender above is a good example of this. Adapting the italic from the original display to text was a much more daunting task. These changes provided improved legibility and rasterization at small sizes, and were necessary for manually hinted webfonts. Subtle references to the swashy flavor of the original display italic can be found in the text, such as the top serif of the uppercase "A".
The new Ogg superfamily is a bold type system that finds cohesion in wildly different forms and genres. The family tracks the progression of its designer, from his early days exploring the irreverent imperfectionism of the original display, to the unexpected functionality and studied execution of the text. The superfamily is an amalgam of disparate references and ideation, both an inventive homage to one of the great underappreciated lettering artists of the twentieth century, and a new take on calligraphic text typography.