Plaax (with an x) is an extension of the typeface Plaak (with a k) completed with lowercase letters. Plaax is a large family of 20 cuts.
This typeface takes its inspiration from the characters that one can find on the nameplates of French streets. For a long time, Damien Gautier has been interested in these letters that everyone sees on a daily basis without really knowing them. No one seems to pay them any attention and yet they reveal themselves to be particularly interesting due to their great diversity. Though we can imagine that it is always a question of the same typeface, a closer study shows that a number of alphabets co-exist. One common point: elementary, robust forms, that seem more to have been traced than drawn by a few industrial draughtsmen, eager to be able to compose names of streets, avenues and boulevards in the restricted space of a standardised enamelled plate (well almost, this is France after all!)
It is definitely not a question of smoothing out and unifying all of the drawings finishing with a slick and homogenous typeface! On the contrary, Damien Gautier wants these typefaces to conserve the disparity of the typographic forms that have been noted.
In an apparent logic of organisation and of design that somewhat amusedly reminds us of the method used by Adrian Frutiger for the Univers typeface, the different series of the Plaax conserve the independent designs in a certain number of details (accents, the specific forms of a few letters: f, g, j, k, r, t, y, etc.)
This typeface is composed of 20 styles that display the typographic wealth of this source of inspiration. “Plaax 1 – Sathonay”: very narrow characters; “Plaax 2 – Griffon” and “Plaax 3 – Pradel”: narrow characters; “Plaax 4 – Terme” and “Plaax 5 – Foch”: wide characters; “Plaax 6 – Ney”: extra-wide characters.
Each series (from 1 to 6) contains a number of weights. By activating the “Ligatures” function, a particular series of ligatures refer to the origin of this typeface…
Thanks to its many variants and its design that is rid of any outdated pastiche, this typeface reveals itself to have a large range of possible uses: press, publishing, signage, visual identity.

Lowercases
Uppercases
Small Capitals
Superiors/Inferiors
Ordinals
Discretionary Ligatures

İbrahim Kaçtıoğlu designed the extremely thick unicase typeface Seamus with humor, drawing his inspiration from the earliest American comics. The design of Seamus is exuberant, exaggerated, and caricatural. Its generous forms balloon out like Popeye’s biceps. Its massive strokes contrast with its particularly thin crossbars, and the “overinflated” curves are enhanced by tiny counters. Yet its particularly expressive letters fit together perfectly, making Seamus a display typeface with a particularly distinct style.

Latin Uppercases
Latin Lowercases
Standard Punctuation
Accented Uppercases
Accented Lowercases
Default Figures
Proportional
Lining Figures
Tabular Lining Figures
Prebuild & Automatic Fractions
Superiors/Inferiors
Nominators/Denominators
Ordinals
Symbols & Mathematical Signs
Standard Ligatures
Ornaments
SS01 (Arrows)
SS02 (A)
SS03 (M N)
SS04 (K)