Opet Italic
Opet partnered with us to develop a new typeface from its logotype. The project began with a return to the original mark, designed by Ivan Chermayeff in 2004, and to the calligraphic flow that gives it its distinctive character. Rather than treating the logo as a fixed graphic form, we used it as the basis for a complete typographic system, drawing the character set from scratch. The result is Opet Italic. The typeface extends the character set into Latin Extended-A, supporting more than 100 languages and giving the brand a broader and more consistent typographic range. Its forms were refined for clarity across scale. Assertive at large and medium sizes, but still even and fluid in smaller settings, from the website to internal documents. Numerals were an important part of the work. In Opet’s daily use, they carry a great deal of information, so their structure, proportion, and spacing required close attention. We strengthened their drawing, aligned them optically with the cap height, and improved their kerning so they sit more naturally within text. The same care was applied to several key glyphs, including the ampersand, the Turkish accented letters, and the capital A and T, whose forms needed to account for specific conventions in Turkish typography. These details helped bring linguistic precision into the typeface without losing the movement inherited from the logotype. Because Opet operates across a wide and varied technical infrastructure, compatibility was central to the brief. The font had to work not only in contemporary design environments, but also in older systems still used in the field. We made sure it runs reliably almost anywhere, from Figma on a MacBook to a kiosk running Windows XP. Opet Italic gives Chermayeff’s original mark a second typographic life. It translates the calligraphic energy of the logotype into a precise, durable, and contemporary typeface, shaped for the everyday work of Opet’s design teams.

Opet Italic
Opet partnered with us to develop a new typeface from its logotype. The project began with a return to the original mark, designed by Ivan Chermayeff in 2004, and to the calligraphic flow that gives it its distinctive character. Rather than treating the logo as a fixed graphic form, we used it as the basis for a complete typographic system, drawing the character set from scratch. The result is Opet Italic. The typeface extends the character set into Latin Extended-A, supporting more than 100 languages and giving the brand a broader and more consistent typographic range. Its forms were refined for clarity across scale. Assertive at large and medium sizes, but still even and fluid in smaller settings, from the website to internal documents. Numerals were an important part of the work. In Opet’s daily use, they carry a great deal of information, so their structure, proportion, and spacing required close attention. We strengthened their drawing, aligned them optically with the cap height, and improved their kerning so they sit more naturally within text. The same care was applied to several key glyphs, including the ampersand, the Turkish accented letters, and the capital A and T, whose forms needed to account for specific conventions in Turkish typography. These details helped bring linguistic precision into the typeface without losing the movement inherited from the logotype. Because Opet operates across a wide and varied technical infrastructure, compatibility was central to the brief. The font had to work not only in contemporary design environments, but also in older systems still used in the field. We made sure it runs reliably almost anywhere, from Figma on a MacBook to a kiosk running Windows XP. Opet Italic gives Chermayeff’s original mark a second typographic life. It translates the calligraphic energy of the logotype into a precise, durable, and contemporary typeface, shaped for the everyday work of Opet’s design teams.