The rugged maritime environment and the aesthetics of the Atlantic coastal region served as a primary source of inspiration for this type family. I was always fascinated by the specific letterforms found in coastal areas and the unique character they convey. From these observations, we developed an alphabet into a contemporary design. The typeface combines a clean structure with soft curves and distinctive, unconventional shapes.
Search for the Treasure
GOLDEN LUXURY AURA
Omega 3 Supplement
VIVID POWER SPIRITS
Mille Chevaux Bleus 18
THE PURE AZURE BLISS
Cosmétique Naturelle
SECRET MOON GLOW
Zenithal Reflections 16
RADIANT DISTORTION
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Sometimes, the search for the perfect letter is like a treasure hunt in the depths of the ocean. From an endless array of choices, one must unearth precisely those forms that give an idea its unique expression. Only these characteristic details create an overall picture with high recognition value.
BelleMer is the result of such a search, featuring many distinctive characters. The “g” and the “y”, for example, have a special structure. Irregularities are deliberately incorporated into the typeface to create a lively rhythm. The “A” has a special crossbar, and the “S” tilts to the right. These intentional breaks in symmetry give the typeface a warm and human touch.
With five distinct weights, the type family offers versatile solutions for diverse design requirements. From Light to Black, each weight maintains a consistent balance between organic curves and geometric forms. This hierarchy ensures seamless adaptation across all media: lighter weights prioritize legibility in body text, while the bolder weights provide maximum impact for bigger sizes.
Equipped with tiny serifs pointing outward, the main stems are monolinear. This defining feature consists of tiny, precisely crafted serifs that point gently outward at the ends of the strokes. They lend a subtle liveliness to the otherwise clean and evenly weighted lines.
Complementing this soft aesthetic, the letterforms feature rounded corners on both the inside and the outside. This dual treatment eliminates any harsh or aggressive angles, giving the characters a smooth, organic, and friendly appearance.
Adding a counterpoint to its soft curves, the typeface incorporates sharp, triangular elements within its structure. These geometric accents can be seen in letters like “E”, “T”, or ”L”, where they replace traditional straight cuts or brackets with dynamic, angled terminals.
Each letter in this showcase carries a distinct personality, significantly shaping the overall visual impact of the typeface. Here are a few examples featuring our favorite characters. The design truly comes to life in application, demonstrating how these letters perform within various layouts.
It is important to us to manufacture type that is well equipped with a decent language support with all the features necessary for excellent typographic work. In addition to a range of weights, this includes diacritics and different sets of figures for all sorts of layout and document applications. Let’s take a look under the hood.
Stingray
Since the earliest days of metal type, there have been variations of the same letter in a font. For the past twenty years you can switch between such alternates by selecting them in the OpenType feature panel. The use of specific alternates may have a significant impact on the overall appearance of a typeface, e.g. changing from a two-storey g to its single-storey version.
1/10 of the ocean
When you typeset a slash between figures to separate denominators and numerators, OpenType will automatically create a proper fraction.
102,99€
111,70€
When figures are typeset in invoices, annual reports or any other table, you may want to use tabular figures. Unlike conventional proportional figures, all tabular figures have the same width, achieving a structured appearance in lists.
C2H5OH
A subscript is a character that slightly sits below the baseline. They are used in formulas, mathematical expressions as well as in specifications of chemical compounds and isotopes, but may have many other uses as well. These characters are not simply ordinary characters reduced in size: to keep them visually consistent with the rest of the typeface, they are optically heavier than a proportionally scaled character.
Hello2 and good bye3
A superscript is a character that slightly sits above the baseline. It has the same weight and size like a subscript character. They are also used in formulas, mathematical expressions and text references, but may have many other uses as well.
Latin: Afar, Afrikaans, Albanian, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic, Gagauz, German, Gikuyu, Gilbertese/Kiribati, Haitian-Creole, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Moldovan/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana, Seychellois-Creole, Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok-Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen, Tuvaluan, Uzbek, Wallisian, Walloon, Welsh, Xhosa, Zulu.
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