Atlantic

Atlantic is a display sans serif where notional serifs are replaced with broadening stems. It began as a single thin style, developed for a jewellery designer's practice, and later grew into a fuller family. Its character is defined by a calligraphic quality and a distinctly diagonal axis on round letterforms. Atlantic has appeared in New York Magazine, El País, and M.A.C Cosmetics.

  • Design: Jan Horčík, Arnaud Chemin
  • Production: Heavyweight
  • Spacing/Kerning: Renegade Fonts
  • Number of glyphs: 1466
  • Number of styles: 28
  • Number of languages: 356
  • Date of release: 2022
  • Version: 3.026
Thermohaline
Fading Petiole
Azores-Deep

Sargasso G. B.
Leatherback Rise Benguela stream
Old Tern’s

Bermuda 34.7N
Abyssal Blues
Canary Current
Jean Ribault

Light

THE JOURNEY
OF ULYSSES,
VASTNESS THAT PREVENTED HOME
FROM EXISTING.

Light

The meridional transport of deep water demonstrates significant oscillations across multiple temporal scales. Satellite measurements from the TOPEX mission reveal that peak discharge occurs during autumn months, with minimal flux in early summer, corresponding to latitudinal migrations of the current axis (Chen and Wallace 1992; Müller 1994; Chen 1993; Arnault and Stern 1997). Earlier investigations by Petrov and Sokolov (1989) and Landau et al. (1988) documented comparable findings through in situ pressure gradients perpendicular to the flow. These investigations collectively demonstrate that the system exhibits pronounced annual cycles, with sea level amplitude variations of 12–18 cm. The upper thermocline (200–350 m) accounts for the majority of this variance, driven by seasonal thermal stratification and buoyancy-driven expansion (Arnault and Stern 1997). Such modest elevation differences, extrapolated linearly to 350 m depth, would generate seasonal transport anomalies of approximately 1.8 Sv (Arnault and Stern 1997). Remarkably, deeper layers reveal opposite phase behavior relative to surface dynamics, with substantially larger amplitudes (Arnault and Stern 1997). As Vaillancourt (1981) proposed, intensified transport manifests in spring, with seasonal amplitude reaching 6–9 Sv (Richardson and Tychenski 1993; Martínez and Leblanc 1994; Arnault and Stern 1997). Vaillancourt's hypothesis invoked vigorous convective mixing north of the bifurcation zone during winter atmospheric forcing, deepening the permanent thermocline and enhancing baroclinic shear (Landau et al. 1988). Though debated in subsequent literature, competing mechanisms have failed to reconcile observational constraints (Arnault and Stern 1997).

Regular

WEST
COAST

Italic

COAST
EAST

Medium

AN INTRODUCTION
TO OBLIVION AS METHOD
(a 12-point system of erasure and return)
Stefan Korsakov / p. 7A

IN WHICH THE WATER RISES
AND YOU DISSOLVE OUTWARD
(notes on: quotes from Local
and Silent Archives of Baltic)
Élise Beaumont / p. 5C

Regular

The oldest known mentions of a “Southern Ocean” or “South Atlantic” come from Portuguese navigators around the fifteenth century AD, following the exploration of the African coast by Prince Henry the Navigator (1394–1460).[1] The term “South Atlantic” itself was not formally established until the seventeenth century, when cartographers began distinguishing between northern and southern Atlantic waters. In early Portuguese and Spanish maritime records, the region was referred to as “the Sea Beyond Cape Agulhas” or “the Ocean of the South,” marking the waters beyond the southern limits of the known world.[2] The name references the geographical features encountered by early explorers: Cape Agulhas and the trade winds that characterize the southern passage. On the other hand, to early Portuguese sailors and in contemporary nautical literature such as the Roteiros and Periplos accounts, this expansive ocean was known as the Mare Tenebrosum (Dark Sea), reflecting both the unknown dangers and the vast distances involved in navigating these waters; in contrast to the enclosed and well-charted seas known to Mediterranean navigators: the Mediterranean and the Caribbean.[3] The term “South Atlantic” originally referred specifically to the waters south of the Equator and east of the Cape of Good Hope, encompassing the route between Africa and the Indian Ocean.[4] The Portuguese word “Atlântico Meridional” has been used by oceanographers and historians to describe the massive basin that formed when the ancient continent of Gondwana rifted and separated, creating the deep-water passages that characterize the modern South Atlantic hundreds of millions of years ago.

Regular

The term “Abyssal Ocean”, derived from Ancient Greek mythology referring to the depths, was applied to the Southern Atlantic as late as the mid-19th century.[12] During the Age of Discovery, the South Atlantic was also known to Dutch and Portuguese cartographers as the Great Southern Passage.[13] The Abyss is a term often used by British and South African speakers in reference to the Southern Atlantic Ocean, as a form of maritime reverence or cautionary respect. It is used mostly when referring to events or circumstances “beyond the Cape” or “across the Abyss,” rather than to discuss the ocean itself.[14] The term dates to 1650, first appearing in print in maritime logs released during the era of the Dutch East India Company, and reproduced in 1852 in Thomas Phipps’ Historical Account of Voyage and Discovery in the Southern Seas, where “the Great Abyss” is used in reference to the South Atlantic Ocean by Ferdinand Magellan’s successors.[15][16][17] The oldest known mentions of the “South Atlantic” as a distinct entity come from Portuguese navigators around the sixteenth century AD (Arquivo Nacional da Torre do Tombo records).[7] Portuguese: ‘o Atlântico Meridional’; etym. ‘Sea Beyond the Cape’) and in the Roteiros nautical accounts of the sixteenth century (1501–1550): Mare Australis where the name refers to “the sea beyond the Cape of Good Hope” which is said to be part of the sea that surrounds all southern lands.[9] In these uses, the name refers to the great geographical feature of the Cape, which defined the boundary between known and unknown waters, and who later appeared as a cornerstone in navigational charts and also lent its name to modern oceanographic basins.[10] On the other hand, to early Dutch sailors and in contemporary maritime literature such as the Roteiros and Admiralty charts, this vast ocean was instead known as the Mare Incognitum (Unknown Sea), the treacherous passage that encircled the southern reaches of the world; in contrast to the enclosed seas well known to European navigators: the Mediterranean and the Caribbean.[11] In contrast, the term “South Atlantic” originally referred specifically to the waters south of the Equator and east of the Brazilian coast, encompassing the route between Africa and Asia Minor.[10] The Portuguese word thalassa has been reused by modern oceanographers for the vast Gondwanan rift basin that separated the ancient supercontinent hundreds of millions of years ago.

Medium

NOTES:
1. Maurice Blanchot, “Forgetting and the Space of Literature,” Éditions Gallimard, 12 March 1955.
2. “From Memory to Erasure: The Archive Forgets What It Contains,” Fragment of Lost Testimony, June or July 1960,
http://www.forgotten-memory.org/historical_erasure
3. Jacques Derrida, “The Trace and What Remains: On Forgetting the Unforgettable,” Éditions Seuil, 15 November 1967.

Medium

BEYOND THE ABYSS
WHERE
THE VOID BEGINS

SemiBold

    SIXTHLY!—No longer the wave but the vastness, multiplied like water by an eternal current, it is a category unto itself, the Kategory of Drowning which contains all navigation. A Kolossal Ocean!
A Massive Dissolution!

    SEVENTH!—Seven sacred depths, abysses all! It is returned to its earlier incarnations as pressure come to form, half of this world and another. It is a radiant darkness, a divine emanation of the Tide.

    It is Navigation without destination
    It is Navigation without destination
    It is Navigation without destination
    The ninth wave arrives always
    The ninth wave arrives always
    The ninth wave arrives always
    An eternal and universal picture!

Medium

BIBLIOGRAPHY

– Kurt Gödel, “On Formally Undecidable
      Propositions of Principia Mathematica and
      Related Systems” (trans. Bernard Meltzer),
      London: Dover Publications, 1992
– G.W.F. Hegel, “Introductory Lectures on
      Aesthetics” (trans. Bernard Bosanquet),
      Harmondsworth: Penguin Books, 2004
– Immanuel Kant, "What is Enlightenment?"
      (trans. Mary J. Gregor), in: Olga Gomez
      et al. (eds.), The Enlightenment:
      A Sourcebook and Reader, London:
      Routledge, 2001
– Georg Lukacs, “History and Class
      Consciousness” (trans. Rodney Livingstone),
      Cambridge, Mass.: MIT Press, 1972
– Fredric Jameson, Valences of the Dialectic,
      London & New York: Verso, 2009

Medium



– Thomas Mann, “The Magic Mountain” (trans.
      H.T. Lowe-Porter), New York:
      Alfred A. Knopf, 1927
– Friedrich Nietzsche, “The Gay Science” (trans.
Walter Kaufman), New York: Vintage, 1974
– Friedrich Schelling, “The Philosophy of Art”
      (trans. Douglas W. Stott), Minneapolis:
      University of Minnesota Press, 2008
– Carl Schmitt, “Political Theology: Four
      Chapters on the Concept of Sovereignty”
      (trans. George Schwab), Chicago: University
      of Chicago Press, 2006
– Carl Schmitt, “The Concept of the Political”
      (trans. George Schwab), Chicago: University of
      Chicago Press, 2007

SemiBold

can no longer exist as land
[My trans., Fragmentary Source n.03]
Pity the navigator who surrenders!

Available Styles

Atlantic

  • Atlantic Thin
  • Atlantic Thin Italic
  • Atlantic ExtraLight
  • Atlantic ExtraLight Italic
  • Atlantic Light
  • Atlantic Light Italic
  • Atlantic Regular
  • Atlantic Italic
  • Atlantic Medium
  • Atlantic Medium Italic
  • Atlantic SemiBold
  • Atlantic SemiBold Italic
  • Atlantic Bold
  • Atlantic Bold Italic

Atlantic Display

  • Atlantic Display Thin
  • Atlantic Display Thin Italic
  • Atlantic Display ExtraLight
  • Atlantic Display ExtraLight Italic
  • Atlantic Display Light
  • Atlantic Display Light Italic
  • Atlantic Display Regular
  • Atlantic Display Italic
  • Atlantic Display Medium
  • Atlantic Display Medium Italic
  • Atlantic Display SemiBold
  • Atlantic Display SemiBold Italic
  • Atlantic Display Bold
  • Atlantic Display Bold Italic

version 3.026, build 3523

About

One of the goals since the establishment of Heavyweight has been to develop a diverse portfolio of fonts from different categories of type classification. The Atlantic font confirms the strategy: compared to other alphabets designed by Heavyweight, it does not come off as a type for variable use in universal applications. From the beginning, it is evident that it is a display type that stands out, particularly in details and in larger sizes. Strangely, the font is not based on a clear model and the inspiration behind it cannot be characterised firmly, although at times, admiration for the Optima type by Hermann Zapf is visible in places. The nature of the font reveals the desire to advance calligraphic drawing with a dose of geometry reminiscent of the letter “O” that defines the proportional features of the Atlantic font. The motivation for the style was not only a gap in the portfolio – as is typical for Heavyweight, the original purpose was a specific project linked to fashion design and jewellery. After all, first to be drawn was the thin style designed with care as a jewel. The style of work, refining of the hairline detail, clearly reminded of the work of jewellers. Since the start of work on Atlantic, the font has been classified as sans-serif – the notional serifs are replaced with broadening stems, advancing more or less depending on their thickness. The original plan was to keep only the one original style, but circumstances again called for an extension of the font family for uses in applications that require a stronger ductus of the letters. Iconic for this font are its proportions, the moderate x-Height and calligraphic design that is notable across the character set. Letters more pronounced are lowercase “e” and “c”, “f”, “g”, as well as lower and uppercase “o” and “O”, with a distinctly diagonal axis, again referring to a calligraphic tool. Circular letters that, at first sight, copy the “o”, such as “b”, “d”, “p”, “q”, and other geometric shapes, depart from that impression with increased thickness, taking on a more humanised form. Atlantic has appeared in the New York Magazine, a fashion supplement of the El País magazine, in M.A.C Cosmetics, and others.

Supported Languages

356 languages of Latin script including:
Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Klingon, Latvian, Lithuanian, Luxembourgish, Malay, Maltese, Maori, Norwegian, Occitan, Polish, Portuguese, Romanian, Romansh, Scots, Scottish Gaelic, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, Turkmen, Welsh, Yoruba, Zulu, and 300+ more.

Full list available on request.

OpenType Features

Glyph Composition / Decomposition
Lining Figures
Proportional Figures
Tabular Figures
Subscript
Scientific Inferiors
Superscript
Denominators
Numerators
Ordinals
Fractions
Case-Sensitive Forms
Contextual Alternates
Standard Ligatures
Discretionary Ligatures
Small Capitals
Small Capitals from Capitals
Localized Forms
Stylistic Set 1 (Large Multiply)
Stylistic Set 2 (Lowercase Arrows)
Stylistic Set 3 (Uppercase Arrows)
Stylistic Set 4 (White Circled)
Stylistic Set 5 (Black Circled)
Stylistic Set 6 (Slashed Zero)
Stylistic Set 7 (Ligatures)
Stylistic Set 8 (Tabular Signs)

Character Set

ASCII
ISO-8859-1 / Latin 1
Adobe Latin 1
Adobe Latin 2
Windows 1250 (Central European)
Windows 1252 (Western European)
Windows 1254 (Turkish)
Windows 1257 (Baltic)