Maax Raw is a new variation of the Maax typeface that from the very beginning has had the ambition of questioning the status of sans serif typefaces and the importance that has been accorded to them. Each instance (Maax with its three style sets, Maax Mono, Maax Rounded and Maax Display) plays with the idea that a single sans serif character can not be enough if it doesn’t “reinvent” itself.
Maax Raw is a “crude” version of the typeface Maax. Its design is intentionally more stripped back, the optical corrections inherent to this type of character are almost completely absent, with the forms being even more closed. The font is blacker, more mechanic. Nevertheless, upon closer inspection, certain letters reveal a boldness that gives the character its particular rhythm. Certain forms are brought together even though they might seem a little foreign. The influences are many and sometimes bring to mind a vernacular drawing found on a plaque of the subway in Berlin or a strange Swiss signpost. Maax Raw exists in seven styles (regular, italic, rotalic, bold, bold italic, bold rotalic and stencil bold). A unique family to be used in projects of visual identity or communication that will stand out.

Maax Unicase is a new extension of the Maax type family. It is clearly a titling variant that asserts a certain originality by having only capital letters which occasionally borrow from the forms of minuscule letters. Available in two weights – Bold and Black – this version presents a design which is particular in a number of areas, and its use will not go unnoticed. Damien Gautier has for example made the choice to emphasize certain details present in the original typeface and to emphasize its originality when compared to other available sans-serif typefaces.
Like the Maax typeface, this Unicase version also has alternative characters. Although fewer in number, they allow for a large number of variations and to adjust the silhouette of words. This typeface will clearly be suitable for the composition of titles and the creation of logotypes.
To distinguish it even further, the accents and all of the diacritical marks have a particular design. Particularly thin and not very cumbersome, they make it possible to reduce line-spacing and to obtain a dense composition which is appropriate to the spirit of this typeface with its intentionally reduced letter-spacing.

Salmanazar is a typeface which has its roots in nineteenth century French type design, and in particular, the specimen of Antique Warnery no.1, published in 1922. Originally intended to be used for the composition of titles (the smallest body size being 20pt), its undecided yet vigorous strokes have been updated for contemporary use, while retaining its typically strong details from the belle-époque typefaces. Indeed, Salmanazar has a distinctly crafted look, with its own unique characteristics such as its vertical proportions, and its increasingly unusual contrast in the grotesque landscape. Its asymmetrical counters, and slightly heavy weights impose a certain darkness and a particular flavor in continuous reading, bringing to mind American Gothics, such as Franklin Gothic or the German humanistic sans serif Ludwig. Industrial in style, this typeface features a range of 4 weights, along with their corresponding italics. Each weight reveals a subtly different behavior, and this makes it suitable for different purposes.