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Larnelle CHAMBERS
← All design workCase Study 04

Type Designer

Oasis
Geometric

A geometric sans-serif with room to breathe. An original family built around open forms, a steady rhythm, and expression across weights.

Try the typeface ↓

Original typeface

Oasis Geometric: a specimen drawn directly from the original font files, from open counters to the rhythm between weights.

My role
Type Designer
Scope
Typeface family, spacing, specimen, live type tester
Project
Original typeface
Timeline
2022

01 // Live specimen

Make it say something.

Nine weights. Upright and oblique. Your words, set in the original Oasis Geometric. Adjust the size and spacing to see how the family changes character.

Oasis Geometric / Regular Upright / 24 characters

Selected setting: 72px / Tracking -0.02em

Clarity has a character.

02 // A family, not a single voice

  • Form follows feeling.Thin · 100
  • Form follows feeling.ExtraLight · 200
  • Form follows feeling.Light · 300
  • Form follows feeling.Regular · 400
  • Form follows feeling.Medium · 500
  • Form follows feeling.SemiBold · 600
  • Form follows feeling.Bold · 700
  • Form follows feeling.ExtraBold · 800
  • Form follows feeling.Heavy · 900

03 // Selected character forms

04 // Look closer

The space inside the letter.

Oa
Round form. Single-storey a.The circular bowl gives these letters a shared structure; the upright stem makes the lowercase a distinct within it.
AaAa
Thin / HeavyCompare the same pair at the ends of the family. Weight changes the counterspace and the density of a line, not just its emphasis.
AlwaysAlways
Upright / ObliqueTwo original font files, the same size and weight. The oblique carries movement without changing the geometric voice.

05 // Pair spacing

Letters are read together.

Compare the font’s built-in pair spacing with kerning disabled. Size, weight, and tracking stay fixed; only the spacing adjustment between particular letter pairs changes.

AVToWa

Printed pair setting: kerning on.Kerning adjusts individual pairs. Tracking adds space across a whole passage. Use the live tester above to explore the second independently.

06 // The family in use

From a reading voice to an identity.

Oasis Geometric / Editorial specimen

Give an idea
some room.

A quiet kind of clarity.

A headline invites. A paragraph explains. A caption points to the detail. One family can do all three when scale, weight, measure, and space each have a clear job.

Light 300 / Regular 400 / Medium 500
Editorial hierarchy: a light, tightly set title above comfortable Regular reading text. The smaller information stays at normal tracking.
Oasis Geometric / Wayfinding specimen

01Gallery

02Studio

03Library

Medium 500 / Regular 400
Wayfinding hierarchy: aligned numbers, short names, and a dedicated direction column. The typography carries useful information at a glance.
See Oasis in two complete identity studies ↗

07 // Licensing

18 styles · 9 upright / 9 oblique

Give the wordsa voice of their own.

Oasis Geometric is available for commercial identity, editorial, packaging, digital, and product work.

  1. 01Desktop & printBrand, editorial, packaging, and campaign applications.
  2. 02Web & digitalWebsites and browser-based experiences.
  3. 03ProductSoftware and app interfaces.
  4. 04Custom & studioTypeface extensions and commissioned type direction.
Request a licensing quote ↗

Tell me the intended use, distribution, audience, and term. I’ll reply with a tailored licence scope, fee, and next steps.

Project overview

The work
behind the work.

Oasis Geometric explores how a typeface can be precise without becoming impersonal. The work begins with proportion and counterform, then develops into a coherent family that can carry both quiet interface text and a confident display voice.

I designed the letterforms as a system: individual shapes matter, but so do the intervals between them, the texture of a sentence, and the way the same word changes through the weight range. The family moves from Thin to Heavy, with upright and oblique styles.

The live specimen uses the original font files. Circular forms, the single-storey a, and the changing balance of stroke and counter can be inspected directly. Set your own words to judge how those choices behave beyond the alphabet.

Decision sequence

Form. Weight. Rhythm.

Inspect the original outlines, hold a phrase constant through the weight range, then examine the spacing in a complete line. Each comparison reveals a different part of the same system.

Decision 1 of 3: A circular O. A single-storey a.

Decision 01 · Detail

Oasis Geometric: a specimen drawn directly from the original font files, from open counters to the rhythm between weights.

01 / 03 — Form

A circular O. A single-storey a.

The large Oasis wordmark makes the rounded construction visible; the Aa comparison isolates how stroke and counter change from Thin to Heavy. The single-storey a gives the lowercase a direct, compact shape. Read the spaces inside the letters alongside their outer silhouette.

The shape of a letter and the space around it are one design problem.

Type principle

Reflection

The constraint.
The response.

The constraint

Geometric construction can quickly become rigid. The challenge was to keep a recognisable structure while giving counters, proportions, and spacing enough room to work together at different sizes.

My response

I developed the family across nine weights, with upright and oblique styles. The presentation connects close-up letterforms with weight comparisons, pair spacing, and complete applications. Rather than treating the alphabet as the finished story, it asks how the same construction behaves in a headline, a sentence, and a compact line of information.

Next project

The Gleaner