Alcalá is based on the “Biblia poliglota complutense” (Polyglot Bible of Alcalá). It was the first edition of a complete polyglot Bible, as well as the first printed version of the New Testament in Greek (Septuagint) with gloss. Conceived between 1502 and 1517, it was produced under the patronage of Cardinal Francisco Jiménez de Cisneros.
The first drawings of Alcalá go back to 1995. A second version started in 2011, commissioned by a publisher for a French
and Malagasy edition of the Bible by J.N. Darby. Alcalá was developped in three styles: roman, italic and bold. Today, a new cut is added: Alcalá Black Display, its intended to compose titles and headings.
Alcalá has all requested qualities for editorial design, especally newspaper and magazine layouts. Its sharp design guarantes high readability, space saving and smart printed rendering in small sizes, as well as a great look in bigger uses. Look at its alternative punctuation! For book design, Alcalá Roman contains titling capitals and its Italic contains a serie of special ligatures.
While other characters has extended families, Damien Gautier decided to develop a reduced one. Alcalá has the only the cuts you need!

As every 205TF typefaces, Alcalá has an extented Latin glyphset which allows to compose many languages.

Romain 20 is a well-rounded and clear-cut interpretation of a French elzevir, revisited to suit twenty-first century taste. Designed by Alice Savoie, the family is released in 2020 after 8 years in the making.
Romain 20 is a contemporary adaptation of a metal typeface originally named “Romain Vingtième siècle”, distributed by the French Fonderie Allainguillaume at the very beginning of the twentieth century. Savoie stumbled across the typeface in a 1902 edition of the journal La fonderie typographique and was immediately seduced by its texture on the page.
The typeface features a unique combination of flavours, with some attributes that are very much reminiscent of French publishing and jobbing work of the period. Soft bowl terminals are balanced by sharp bracketed serifs. The typeface combines a certain idea of French elegance with a hint of Art Nouveau frivolity.
The typeface was initiated as a revival of the text cuts of the roman and italic styles. A bold and a bold italic were later added to the family for greater versatility. The generous and sturdy proportions of the regular and italic styles have been fine-tuned to be optimal at text size, while the bold variant can prove particularly efficient in display. The italic retains generous proportions, making it fairly comfortable to read in continuous settings. The bold is particularly dark.

Type design: Alice Savoie
Typeface development: Fátima Lázaro
Font mastering: Roxane Gataud

The Stuart typeface possesses the general forms and proportions of a 15th century Venetian kind. Matthieu Cortat designed it with a calligraphic reference in mind giving it a classic, regular sobriety. Its general appearance is nonetheless resolutely contemporary. Its italic is inspired by the first italics of Alde Manuce and Francesco Griffo: barely slanted, its axis of inclination varies only slightly. Stuart is available in three weights, along with their corresponding italics.
A bookish body type, it is available in a number of optical bodies for increased legibility. Stuart Titling (for sizes larger than 14 points) is narrower, its downstrokes and upstrokes are more stated. As for Stuart Text it suits mid sized bodies between 9 and 14 points. Stuart Caption, larger and of solid build, is for use with bodies of 9 points and under.