The typeface was designed by Sabina Chipară and Diana Ovezea. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. The font’s numerals are proportional lining figures these have the same height as Bega’s uppercase letters. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The strokes of Bega’s letterforms all appear to be monolinear that doesn’t mean that Bega is without contrast, however.
Bega’s italics are obliques their letterforms are slanted. Each weight has two fonts on offer: An upright font, and an italic. The Bega family includes eight weights, which range from Thin through Black. The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’.
This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. Formal reduction plays a strong role in its design. It uses a little OpenType trickery to replace all text with blah blah blah, helping the user get some distance from messaging apps (like Slack) and unwind a bit, while still remaining. Bega is a simplified sans serif typeface. The x-height got larger, the letterspacing opened up, and thus, the idea for Gimlet Sans Optical Sizes was born.
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