TF, 2 letters that signify at the same time Type Foundry and Typographie Française (French Typography). 205TF is a type foundry that brings together the work of independent typeface designers, some of them well known, others closer to the beginning of their career, all highly talented. Each of them developing characters where a certain French spirit can be felt. 205TF is a foundry on a human scale, and beyond the distribution of their work, it supports typeface designers by making their creations available to a wider audience, allowing for greater recognition of their work.
205TF makes a choice of quality: a small number of creators, a precise selection of characters. The number is of little importance, the quality however is essential.
All of the characters are developed according to common standards (set standard, set pro and set spécial). The typefaces have – at a minimum – an extended set of characters (Latin extended) and this allows them to be used for compositions in a wide range of languages. With an Opentype format, they provide access to specific characters such as small capitals (according to the characters), different series of figures (aligned, old style, proportional and tabular), ligatures, fractions, etc.
This format allows access to specific typographic settings according to the characters. - For the group of characters – functions “All caps”, “Case sensitive punctuation”, “Tabular lining figures”, “Tabular old-style figures”, “Proportional old-style figures”, “Ligatures”, “Fractions”, “Ordinals”, “Contextual alternates”, “Localized forms”, etc.
For certain characters — “Small capitals”, “Capitals to Small Capitals”.
The presentation and interest of each function are detailed in the typeface specimens that can be downloaded for each typeface.
The groups of characters function with both MacOs and Windows platforms and have been tested for Office and Adobe applications. They can then be easily installed on the vast majority of computers and the direct transfer of a file that uses 205TF typefaces from one platform to another and from a Macintosh version of software to a Windows version of software is a process which is seamless.
For cases involving a specific and/or proprietary operating system or specific software, please contact us directly.
Minérale is a typeface that has been designed around unusual stems, whose sides intersect. This design was originally imagined as a geometrical exaggeration of the structure on the serifs, where the central part of the vertical stems are thinned. Here this phenomenon is pushed to the extreme: rather than a flared rectangle, the stem becomes two triangles joined at the tips, creating a clear, almost luminous zone at the centre of the typeface.
Quite sober in its thinnest versions, the typeface becomes more exuberant in its thicker versions: The axis of the thicker and thinner strokes is tilted, resulting in a silhouette close to the “italians”, with their reversed contrast. All of the weights are duplexed: with the lighter and heavier versions occupying exactly the same space, all of the permutations are possible.
This standard corresponds to a set of characters that respond to the Extended Latin standard. It allows for the composition of a large majority of Western European languages. To do this, signs have been added to the standard latin alphabet, either through use of diacritic signs, or through construction of specific signs. The Extended Latin standard does not contain specific Cyrillic or Greek characters. The detail of the characters available for each typeface is presented in the typeface specimen that you can download from our website.
The list of languages in which it is possible to compose is in the specimen.
Miniscule is a typeface designed for very small sizes. Its creation was inspired by the theories of ophthalmologist Emile Javal and his “theory of compact prints” (Physiologie de la lecture et de l’écriture /Physiology of reading and writing, Paris, Alcan, 1905). Thomas Huot-Marchand initiated this project at the Atelier national de recherche typographique in 2001-2002, and completed it, designing the italics in 2006–2007 during a residency in the Académie de France in Rome – Villa Médicis.
The font comes in five versions, all optimised for 6, 5, 4, 3 and 2 points. The design evolves progressively as "the size decreases": the spacing and the "x-height" increase, the contrast decreases, "inktraps appear" and the design is simplified. The MinUscule 2 is the strangest: “at this size, said Javal, we pay more particular attention to the difference between the letters”. As a consequence, the particularities of each sign are exaggerated, and the secondary details eliminated.
The contrast of the italics is not found in the spacing, almost identical to the roman, but by a more rhythmic design, progressively more lively and broken.
The Minuscule has received a number of awards: from the Type Collectors Club in New York in 2005 (Certificate of excellence in type design); Erik Spiekermann declared it to be the Favourite Font of 2007 in Typographica (http://typographica.org/typeface-reviews/minuscule/ ), and Paul Shaw described it as one of the typefaces of the decade in Print magazine (http://www.printmag.com/imprint/ten-typefaces-of-the-decade/ ). In 2016, a group of more than 256 original drawings of the Minuscule were acquired by the Centre national des arts plastiques.
“A historically inspired face that is stranger than either ITC Bodoni or ITC Founder’s Caslon is Minuscule (2005), a typeface designed by Thomas Huot-Marchand to test the ‘theory of compact printings’ pronounced by Louis-Emile Javal, a nineteenth-century French ophthalmologist. The font comes in five versions, all optimised for small sizes: Minuscule Six (6 pt), Minuscule Cinq (5 pt), Minuscule Quatre (4 pt), Minuscule Trois (3 pt), and – a true micro-font – Minuscule Deux (2 pt). This last item is as bizarre as anything created during the heyday of grunge type back in the 1990’s.”
Paul Shaw, Scale and spirit (size-specific fonts) in Eye 71 Vol.18, spring 2009
With the efficient and precious help of Roxane Gataud.
(Minuscule 3, 4, 5, 6)
Small Caps Punctuation
Proportional Lining Figures
Tabular Lining Figures
Stylistic Alternates (Italic only)
This standard corresponds to the standard set to which is added a significant quantity of signs decided by the designer as a function of the typeface itself: small capitals, series of complete inferior and superior letters and numbers, titling capitals, etc. The detail of the characters available for each typeface is presented in the typeface specimen that you can download from our website.