Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century.
With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. More Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications.
Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings.
The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space.
That is why the contrast between Compressed Thin and Compressed Heavy style is substantial.
As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent.
It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style.
Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline.
The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text.
Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular.
Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table.
The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface.
The single-story g and the cut-off r are accessible via the OpenType feature.
With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. More Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications.
Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings.
The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space.
That is why the contrast between Compressed Thin and Compressed Heavy style is substantial.
As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent.
It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style.
Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline.
The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text.
Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular.
Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table.
The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface.
The single-story g and the cut-off r are accessible via the OpenType feature.