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Choose Character Set
- Sensaway STD
- Sensaway CE
- Sensaway PRO
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Choose Weights
- Light
- Light Italic
- Regular
- Regular Italic
- Heavy
- Heavy Italic
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Sensaway, from the talented young designer Aron Jancso, is a beautiful geometric font as primed for the spotlight in a
g… read more
Sensaway, from the talented young designer Aron Jancso, is a beautiful geometric font as primed for the spotlight in a glossy magazine as it on textiles and storefronts. The bold stencil font plays with negative space and strong graphical elements, creating an attention-grabbing aesthetic that smacks of confidence.
Sensaway Pro is the ultimate package of the Sensaway font including the complete Western Latin and Central European character sets.
This font is the second in Gestalten's foundry from the Hungarian artist after Ogaki.
Sensaway Pro is the ultimate package of the Sensaway font including the complete Western Latin and Central European character sets.
This font is the second in Gestalten's foundry from the Hungarian artist after Ogaki.
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About the Designer Aron Jancso
Gestalten scouted out the amazingly fresh Hungarian talent Aron Jancso and released his first and second commercial
font… read more
Gestalten scouted out the amazingly fresh Hungarian talent Aron Jancso and released his first and second commercial fonts Ogaki and Sensaway. Jancso who always liked to build, carve wood, and draw since childhood, has grown up to be a “type addict” and now devotes his time to meticulously drawing and designing letters.
www.behance.net/milen
More fonts by Aron Jancso
www.behance.net/milen
More fonts by Aron Jancso
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Interview with Aron Jancso
How did you get into typography? Did you have a deciding special experience?
It wasn’t intentional though I al… read more
It wasn’t intentional though I al… read more
How did you get into typography? Did you have a deciding special experience?
It wasn’t intentional though I always enjoyed drawing letters. Graffiti was my first obsession when I was 12. Later came computer graphics, web design, industrial design and some more. I started university with a product design course and I had a couple of graphic design courses. I enjoyed these very much and my favorite element was type. I had a chance to study in the US 3 years ago. And that was my turning point, spent my time mostly on my graphic design courses and doing work for my friends, started designing and developing fonts and so on.
Sensaway is your second release since we released the Ogaki family in our foundry. What distinguished the work on the new family compare to the last one?
This new family is larger containing 6 weights; has more Opentype features: swashes, stylistic alternates, small caps, old style numerals, standard ligatures and contextual alternates; and features a wider character set including 420 characters. And has a stronger relation classic type design.
Was there any main inspiration that helped bring you to the letter forms of Sensaway, or was there an origin where the letters derived their shape from? It looks like a photographic effect from superimposing. How did you come to these results? Was it just a formality thing, or was it your intent to work with something pictorially in your typeface?
Sensaway is based on a discarded logo for a web/graphic design studio called Senses. Later I decided to add 2 more weights and italics as well. The forms are a result of playing with infinite contrast in stroke width and making the invisible lines feel visible. The zero line spacing was another result of the infinite contrast idea.
Sensaway is a display typeface which plays with the charism and perception of a text font. Was there a main focus for usage or is it multifunctional?
I think it has a wider functionality compared to my previous font. But it wasn’t designed for a function, so I say just play with it!
Sensaway appears very trendy. Can you imagine it for fashion magazines, or was there a different vision for the font?
That could be one area that goes well with this font. The concept makes it elegant and traditional in a modern way, great for headlines, logos, posters, and even small bodies of text. I can see it in an art magazine, as a logo for jewelry or fashion brand, or even as a corporate typeface for the above; or on a music cover, party flyers and many more.
The zero line spacing of the capitals result in a carpet or textile like texture, so I could imagine it for company manufacturing or selling these
The simple, geometric elements of the letters make it great for decomposing and recomposing letters, experimenting further with this face.
Does the reaction to your last font shape how you want to build your new font?
It’s an independent concept, but I learned new things since finishing Ogaki, so wanted to build a larger and more usable family.
What do you think the blank areas of the individual characters in Sensaway say about how we visually are train to read letters, or how we process visual information?
Sensaway has traditional serif features; the only real difference is the contrast in stroke width. This makes the thinner lines of a letter to have a width of zero. If you look at a large sized Bodoni, you can see the thin lines are hairlines; their widths are almost zero compared to the stems. So I took this idea further achieving disappearing hairlines. What makes it legible is that we see the weights and see the directions of missing lines.
What is your next font project? Already any ideas? Since your last font Ogaki, your font developing is getting deeper into typography, in text typography. Are you going to draw a "real" text typeface the next time, or is your interest a different one?
I have a lot of different ideas and not sure what’s going to be next, but I think it will be another display font. The areas I experiment in are calligraphy, modernism, graffiti and minimalism, so the next one will be a child of these. I’ve got to learn more to be able to create a real good text face, but I’m on it, it will come a day I promise. So I’m learning by experimenting with display typefaces, lettering and calligraphy.
Ogaki and Sensaway are both stencil fonts. Is this a coincidence or do you have a special relation? Stencil fonts are marked as visual strong typefaces, more in a graphical way. Do you feel more as a type designer or as a graphic designer?
It’s a coincidence, Ogaki is sliced and based on the idea of high contrast between stems and negative spaces, so it’s similar but came from another idea. So I have no special relation to stencil and my sketches of possibly future typefaces are not stencil.
I consider myself a designer who loves type, but also like to work on graphics and even industrial design. Any kind of design requires the same kind of thinking and understanding, my interest pushed me towards learning type design and experimenting with type in the last 3 years, but we’ll see what future brings.
It wasn’t intentional though I always enjoyed drawing letters. Graffiti was my first obsession when I was 12. Later came computer graphics, web design, industrial design and some more. I started university with a product design course and I had a couple of graphic design courses. I enjoyed these very much and my favorite element was type. I had a chance to study in the US 3 years ago. And that was my turning point, spent my time mostly on my graphic design courses and doing work for my friends, started designing and developing fonts and so on.
Sensaway is your second release since we released the Ogaki family in our foundry. What distinguished the work on the new family compare to the last one?
This new family is larger containing 6 weights; has more Opentype features: swashes, stylistic alternates, small caps, old style numerals, standard ligatures and contextual alternates; and features a wider character set including 420 characters. And has a stronger relation classic type design.
Was there any main inspiration that helped bring you to the letter forms of Sensaway, or was there an origin where the letters derived their shape from? It looks like a photographic effect from superimposing. How did you come to these results? Was it just a formality thing, or was it your intent to work with something pictorially in your typeface?
Sensaway is based on a discarded logo for a web/graphic design studio called Senses. Later I decided to add 2 more weights and italics as well. The forms are a result of playing with infinite contrast in stroke width and making the invisible lines feel visible. The zero line spacing was another result of the infinite contrast idea.
Sensaway is a display typeface which plays with the charism and perception of a text font. Was there a main focus for usage or is it multifunctional?
I think it has a wider functionality compared to my previous font. But it wasn’t designed for a function, so I say just play with it!
Sensaway appears very trendy. Can you imagine it for fashion magazines, or was there a different vision for the font?
That could be one area that goes well with this font. The concept makes it elegant and traditional in a modern way, great for headlines, logos, posters, and even small bodies of text. I can see it in an art magazine, as a logo for jewelry or fashion brand, or even as a corporate typeface for the above; or on a music cover, party flyers and many more.
The zero line spacing of the capitals result in a carpet or textile like texture, so I could imagine it for company manufacturing or selling these
The simple, geometric elements of the letters make it great for decomposing and recomposing letters, experimenting further with this face.
Does the reaction to your last font shape how you want to build your new font?
It’s an independent concept, but I learned new things since finishing Ogaki, so wanted to build a larger and more usable family.
What do you think the blank areas of the individual characters in Sensaway say about how we visually are train to read letters, or how we process visual information?
Sensaway has traditional serif features; the only real difference is the contrast in stroke width. This makes the thinner lines of a letter to have a width of zero. If you look at a large sized Bodoni, you can see the thin lines are hairlines; their widths are almost zero compared to the stems. So I took this idea further achieving disappearing hairlines. What makes it legible is that we see the weights and see the directions of missing lines.
What is your next font project? Already any ideas? Since your last font Ogaki, your font developing is getting deeper into typography, in text typography. Are you going to draw a "real" text typeface the next time, or is your interest a different one?
I have a lot of different ideas and not sure what’s going to be next, but I think it will be another display font. The areas I experiment in are calligraphy, modernism, graffiti and minimalism, so the next one will be a child of these. I’ve got to learn more to be able to create a real good text face, but I’m on it, it will come a day I promise. So I’m learning by experimenting with display typefaces, lettering and calligraphy.
Ogaki and Sensaway are both stencil fonts. Is this a coincidence or do you have a special relation? Stencil fonts are marked as visual strong typefaces, more in a graphical way. Do you feel more as a type designer or as a graphic designer?
It’s a coincidence, Ogaki is sliced and based on the idea of high contrast between stems and negative spaces, so it’s similar but came from another idea. So I have no special relation to stencil and my sketches of possibly future typefaces are not stencil.
I consider myself a designer who loves type, but also like to work on graphics and even industrial design. Any kind of design requires the same kind of thinking and understanding, my interest pushed me towards learning type design and experimenting with type in the last 3 years, but we’ll see what future brings.