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Roc Grotesk
by Kostic
Individual Styles from $40.00 USD
Complete family of 45 fonts: $495.00 USD
Roc Grotesk Font Family was
designed by
Nikola Kostić and
published by
Kostic. Roc Grotesk contains
45
styles and family package options.
More about this family
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- Aa Glyphs
-
Best ValueFamily Packages
- Individual Styles
- Tech Specs
- Licensing
Roc Grotesk Wide Family
9 fontsPer Style:
$21.00 USD
Pack of 9 styles:
$189.00 USD
Roc Grotesk Normal Family
9 fontsPer Style:
$21.00 USD
Pack of 9 styles:
$189.00 USD
Roc Grotesk Extra Wide Family
9 fontsPer Style:
$21.00 USD
Pack of 9 styles:
$189.00 USD
Roc Grotesk Condensed Family
9 fontsPer Style:
$21.00 USD
Pack of 9 styles:
$189.00 USD
Roc Grotesk Compressed Family
9 fontsPer Style:
$21.00 USD
Pack of 9 styles:
$189.00 USD
About Roc Grotesk Font Family
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.
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.
Designers: Nikola Kostić
Publisher: Kostic
Foundry: Kostic
Design Owner: Kostic
MyFonts debut: Apr 5, 2018
Roc Grotesk
About Kostic
Kostić Type Foundry is located in Belgrade, Serbia. It is a small private foundry, run in cooperation between Zoran and Nikola Kostić (father and son). Zoran began making fonts in 1987 out of necessity, since his DTP studio needed PostScript Cyrilic fonts which, at the time, were being made by no one. While designing his first font, he discovered a whole new world whose beauty and complexity wove such a spell over him that he’s under its hold to this very day. He created a number of original typefaces like: Batke, Beograd, KosticSans, KosticSerif, Lapidary Capitals, Sketch, DesignerRound, Why Square (licence by Linotype) and Just Square (licence by Linotype) and about ten others, designed on the basis of Old Church Slavonic scripts (Hilandarski Ustav and Monah with 6,400 characters each). Nikola grew up playing and learning in his father’s DTP studio, where he was surrounded by the amazing world of the late 80’s and early 90’s graphic design, a period when technological breakthroughs opened up new possibilities for everyone in the business. Naturally, he became a graphic designer. He got his master’s degree in graphic design from the Faculty of Applied Arts (University of Arts in Belgrade) in 2002. However, type design was a different story. This peculiar and seemingly uninteresting craft was something he grew to love only when he was in his thirties and years into the business. He had to push himself hard so as to develop the discipline required to master this particular art. By 2016 he has designed more than a dozen typefaces. Among his most well known typeface designs are Breakers, Argumentum and the awarded Chiavettieri. Once mystified by his father’s craft, Nikola is now his proud partner at Kostić Type Foundry.
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