The Amiral character emerged from the discovery of the vestiges of a few letters painted on the ground. They seem to have resisted surprisingly well to time and the repeated passing of vehicles. We can still make out the rudimentary design of the letters, doubtlessly cut out of a metal plate.
This stencil typeface stands out for the robust nature of its letters that bring to mind markings on the side of cargo containers. However, this character is also used for punctuation.
Though this typeface may only be composed of capital letters, it does however contain a certain number of alternative signs.

With the efficient and precious help of Roxane Gataud.

This stencil type typeface stands out for its geometrical structure and its elementary forms. However, a number of details seem to show what Damien Gautier was by characters of body type to determine his choices. Rare indeed are characters of this type that possess oldstyle numbers and ligatures that are usually reserved for historical characters!

With the efficient and precious help of Roxane Gataud.

This stencil type character is developed in 3 “Capital” series that stand out for their terminations. “Cut”: beveled edges, “Rounded”: rounded edges; “Sharp”: sharp edges.
The accents on the capitals were studied to allow a dense composition that suits this typeface. "Lowercase” is a 4th series that proposes a complete typeface with lowercase letters.
It is a relatively black typeface that best suits the composition of titles or the design of visual identities.

With the efficient and precious help of Roxane Gataud.

Maax Mono is a variant of Maax “with a fixed set-width”. In order to emphasize its mechanical character, Damien Gautier has chosen to “harden” the strokes while intentionally, but not systematically, creating black “stains” in some areas, as if to recall the origins of typewritten typefaces. In addition to a particular rhythm specific to such typefaces, texts composed with Maax Mono possess a highly original color. Developed in direct relation with Maax, it could provide a variation when the latter is already being used. Their identical vertical proportions simplify the simultaneous use of the two typefaces.
Maax Mono is a type family originally composed of four styles—Regular, Italic, Bold and Bold Italic—more than enough for this intentionally rough typeface.
In 2021, Damien Gautier added two styles – Stencil and Semi-Stencil – increasing the range of use and scope of this typeface. In addition to developing a strong personality, these two new variants allow one to consider using the typeface as reversed type, or with stencils. With the arrival of these two new styles, Maax Mono could easily be used as a typeface for titles or for signage.

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.

Tifo takes its inspiration from the lettering that can be found on the banners brandished by the most fervent tifosi (supporters) during football matches.
Emerging in Italian stadiums in the early days of the Years of Lead, these supporters showed their support for their favorite team using banners, chants, and smoke bombs.
Initiated by Roman Tronchin in 2021 as part of the ECAL’s Master’s degree in Type Design, the Tifo typeface comes in five styles: Roma, Venezia, Bologna, Palermo, and Milano.

Romain Tronchin developed this typeface by carefully examining tifosi fanzines from the 1970s and 1980s, with each variant corresponding to a different style of lettering.
Some “oddities” visible in these vernacular sources–which could rightly be considered as typographic errors–were intentionally conserved. They provide Tifo with a singular and authentic character that is part of a long-standing tradition of typically Italian public lettering.

The five styles of Tifo share the same underlying frame, but each one “wears its own colors”!
With a geometrical construction, and a design reduced to elementary forms, the Roma (with square counterforms), Venezia (with its rectangular outlines and circular counterforms), Bologna (outline), and Palermo (stencil) styles are four versions clearly intended for titling, designed to be used in large sizes.
The Milano style, whose design is closest to the type family’s frame, is a polyvalent version that can be adapted for use as both titling and running text.

All of the styles share the same proportions, thus allowing graphic designers to easily combine the five versions in their compositions.