Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

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.

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

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.

For use in titles, Louize is available in a Display version. This sharp and clear variant is inspired by letters engraved in stone. It brings a new contemporary freshness to this timeless typeface. The Display variants also offer, in the roman styles, a series of ligatures inspired by that of concise engravings.

Yorick is based on a monospace typewriter font (model 3402U) found in the Campionario caratteri e fregi tipografici (specimen book) of the Nebiolo typefoundry, dated 1920 – but the font might probably be older. The source is a slab serif form very common in typewriter fonts (Pica, according to Olivetti naming system) with a little touch of classical flavour from the Imperial style (i.e. with thick and thin contrasts). Start in 2016, Yorick keeps the essence of the original design, and avoid to make it look too digital or constructed. It’s a gentle industrial font: a font of engineers in Oxford shirt and tweed suits, not in white blouse. A precision tool with eleganza torinese, not showing off. Its italic is a proper one, not a slanted roman. It comes in a simple family of 4 styles, but with a large character set which includes bot Latin and Cyrillic scripts — each completed by localised alternates for Romanian, Moldovan, Serbian, Macedonian and Bulgarian.

With the Henry typeface, Matthieu Cortat provides a personal interpretation of the Deberny & Peignot foundry's Garamond, engraved by Henri Parmentier between 1914 and 1926 under the direction of Georges Peignot.
Its authors sought to recover the grace of the typefaces of Claude Garamont, while at the same time taking into account the reality of the modern paper industry, that uses wood based papers and not cloth based ones, as was the case in the 16th century. Henry is based on medium type sizes (9 to 14) of Parmentier's engraving. It is a quite slim Garalde, a little narrow, lean and slender. We feel an inspiration that is almost “Art Nouveau” in its z that leans towards the left, its winding a and J, the lower loop of its heavily curved t, the ample loop of its Q… These features are still visible in the italic with its changing rhythm and it s joyous ligatures.
Henry is a delicate typeface. Its design precise if not a little dated.

This typeface takes its inspiration from the characters that one can find on the nameplates of French streets. For a long time, Damien Gauthier 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 Plaak conserve the independent designs in a certain number of details (accents, the specific forms of a few letters: G, K, M, Q, R, etc.)
This typeface is composed of 24 styles that display the typographic wealth of this source of inspiration.
“Plaak 1 – Sathonay”: very narrow characters;
“Plaak 2 – Griffon” and “Plaak 3 – Pradel”: narrow characters;
“Plaak 4 – Terme” and “Plaak 5 – Foch”: wide characters;
“Plaak 6 – Ney”: extra-wide characters.
Each serie (from 1 to 6) contains a number of weights and a set of capital and small capitals (because the lowercase letters were almost completely missing from French street signs). 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.
An enhanced version of lowercase letters is currently being studied. Its launch is planned for 2018.

With the efficient and precious help of Roxane Gataud.

Sarah Kremer’s Bartok redefines the very notion of a type family. Its four styles with their singular designs break with the principle of formal unity usually sought after in such families. Each variant stands out for its expressivity, contributing to the creation of a contrasted whole.
The development of Bartok was undertaken in the context of editorial design in order to propose a multifaceted typeface with only four styles. It has been designed to be used for long or short passages of straight text as well as for titles.
With the aim of proposing complementary typographic colors, the four styles of Bartok (Regular, Italic, Highlight and Poster) have been designed with different structures and possess distinct weights. Each variant develops formal specificities taken from different moments in the history of typography.

Inspired by Humanist typefaces, Bartok Regular is based on the proportions of typefaces derived from incunabula. Its asymmetrical serifs and slanted stems are characteristic of calligraphic script. Its squat counterforms combined with its stability give compositions both pace and balance.
Bartok Italic explores the calligraphic model of the chancery hand, to offer strong cursivity combined with a supple design, changes in direction and pronounced lines and angles.
The archetype of the early grotesques is visible in the Bartok Highlight: an assumed density, varying contrasts and non-orthogonal terminals.
The details of Bartok Poster, with its irregularities of alignment and varying angles, can be fully appreciated in large sizes. Its heavy weight, changing contrasts and roundness infuse it with a certain bonhomie.

Though these formal differences are quite pronounced, certain curves and details are echoed from one style to another. The general proportions of the typefaces (x-heights and cap heights) have been harmonized so that they can be combined easily and naturally.

A display version – particularly black – of the well-knowned font Maax was designed, leading to sometimes surprising choices. This version conserves a number of sets of characters and a certain number of alternative letters.

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.

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Immortel, designed by Clément Le Tulle-Neyret, is a type family with four variants developed according to the Hippocratic theory of humors that explains these latter through the presence of one of the four principal fluids. Each one is the cause behind the development of a character trait: phlegm represents a lymphatic, sluggish, slow character (Immortel Infra); yellow bile, an angry and prideful character (Immortel Colera); blood, a jovial and warm character (Immortel Vena); and black bile provokes hopelessness and melancholy (Immortel Acedia).

This type family is envisaged like a human being, able to reveal different temperaments through the forms that it adopts. Each variant can be substituted for another without causing any change in the bulkiness of the text, as the metric system, which provides a structural link between the variants—set width, x-heights, the length of ascenders and descenders, height of capitals—is constant.

Typographically, each variant is inspired by the work of type designers, following the course of history:
— Immortel Infra finds its source in the work of Robert Granjon, a typeface engraver from the 16th century;
— Immortel Colera in the work of Jean Jannon, an engraver from the 17th century;
— Immortel Vena is influenced by the work of Jacques-François Rosart, an engraver from the 18th century;
— Immortel Acedia takes its inspiration from the engraving Melencolia I by Albrecht Dürer (1514) and attempts a synthesis between two traces of a priori opposing tools, one made by the flat tip and the other by the narrow point. In this sense it is closer to a 21st century typeface.

Immortel Infra and Vena, variants intended to be used with running text, possess two italics: the first, called “Median”, slightly slanted, is ideal for composing long text; the second, called “Italic”, with its very sharp angle and ornate instrokes and terminals, is ideal for emphasis.

To best serve running text, the Infra and Vena variants possess two grades: this signifies that these two variants have two slightly different weights that conserve the same set width so as to have a more or less dark text color according to the page layout and/or the sensitivity of the user. Grade 2 can also be used to compose knocked out text on a dark background.

This type family began life in October 2016 in the Atelier national de recherche typographique (ANRT, Nancy – France). It development was pursued thanks to the support of the Centre national des arts plastiques (CNAP) in 2018.

The Clifton is a reinterpretation of the Athenian typeface that was distributed around 1896 by the British Type Foundry. It is also close to the Fantail typeface proposed by the American Type Founders. This typeface, with its inverted contrast compensates for the finesse of its stems through its imposing serifs that draw a black dot in the letter, thus providing a particular sparkle to a composition. Less contrasted than the drawing of reference and with its very important x-height, the Clifton has been designed as a body text typeface.
The italic is not a simple slanting of the roman but has its own design, very slender and mobile. It has nonetheless been designed as a duo, marking the difference and allowing for a strong contrast with the roman within a text.
Its style, located somewhere between Italians and Westerns, gives this typeface the American flavour of the latter but with a rawer touch, as if it had come straight from the Bayou. As a tip of the hat to this reference, its name pays tribute to musician Clifton Chenier, father of Zydeco, the style of black music from French Louisiana of the nineteen thirties.

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

The Chrysaora typeface was originally commissioned by the architects of group8 and the artist John Armleder, for a piece entitled, “Les Plates-formes de la porte dorée”, inspired by the story of the Golden door. It is part of the Parisian landscape, echoing the engravings made by the great names of the wall of the Cité nationale de l'histoire de l'immigration, originally the Museum of the Colonies, a showroom for French colonialism. Chrysaora revisits the general features of these engravings, solely in capitals, and is used to engrave texts presented in John Armleder's work. Chrysaor (literally “golden sword”) was the son of Poseidon and Medusa, the brother of Pegasus. His mother was transformed into a gorgon by the goddess Athena as punishment for having desecrated her temple. A statue of Athena, incarnating a triumphant France, decorates the Palais de la Porte dorée.
The Chrysaora typeface is available in three weights, and can be used to compose more than 105 languages, including Vietnamese with its many accented characters. It also contains numerous ligatures.

Maax is a sans-serif typeface whose design possesses few optical corrections so as to give it a certain obviousness and authenticity. Consequently, certain counterforms are relatively small, and can even become clogged when its size is reduced, or when the medium upon which the typeface is printed makes for an imprecise result.
As its name indicates, Maax Micro is a variant of the Maax typeface, specially designed for use with small and very small sizes. Inktraps, invisible to the naked eye at sizes below 8 points result in more open counterforms. These traps are designed to function by “absorbing” the ink that would otherwise build up, clogging the counterforms.
The spirit of the original typeface remains intact. Maax Micro possesses exactly the same palette of signs as Maax, including the many alternative signs that make it so original. However, some will appreciate these surprising, sometimes extravagant forms, caused by the addition of these ink traps, modifying the principal function of this Micro version and setting the typeface in large sizes, using it as an original titling typeface.

The Andersen typeface was born out of the lack of typefaces adapted to children’s stories and the fact that they are often written to be read aloud. The major innovation was the creation of a complementary punctuation system. Indeed, in addition to classic glyphs, Andersen has 11 totally new punctuation marks that can be used to express feelings. As with Spanish punctuation, these glyphs are placed at the beginning and end of a sentence to help the reader to find the right tone. Also, the forms of the letters have been designed in such a way as to make it easier for dyslexic children to read them, by working on the distinction between similar forms such as b, d, p, q, 9, and 6 . Its design comes from the synthesis of the Humanes model and contemporary elements for the purposes of bringing a softness to the letterforms. The contrast is mostly low so that the typeface works just as well in titles, text, and captions. Andersen's versatility makes it possible to use it for both children’s literature and other media such as posters, as well as publishing in general.

The Kelvin typeface is the culmination of a sensitive thinking around a modern aesthetic in typography. It is expressed through two stylistic axes — with and without serifs — with both being based on two historical ideas of modernity. Even though their designs are not based on the same skeleton, Kelvin Avec and Kelvin Sans are tied together by a common philosophy, that of building as opposed to plotting or drawing. Each one is accompanied by an italic and a titling version in which their inherent characteristics find themselves exacerbated.
Kelvin Avec takes its inspiration from typefaces which appeared at the beginning of the 18th century, attached to the family of traditional serifs. Its main reference is the Romain du Roi whose creative process is divided into two stages: a conceptual study which is then followed by an adaptation of the designs during the engraving of different sizes.
The Kelvin Sans pays tribute to the typefaces which appeared at the beginning of the 20th century and that we connect to the family of geometrical sans serifs. The observation of typefaces created by Jakob Erbar, Rudolf Koch, Edward Johnston and Paul Renner along with typefaces from promotional advertising documents from the epoch, came to nourish the design process of the Kelvin Sans.

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.

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand

Anacharsis​ is a modernist geometrical lineal, that follows in the footsteps of the Futura, Simplex or Semplicità typefaces. Its design and proportions are based on the gothic Rotunda letters, round, soft and meridional, like those used in the 14th and 15th centuries in southern Europe.
A solid, black character, it possesses two series of alternative signs: certain capital letters that recapture traces of the “turned” letters (​E F H I J M N P S T V W Y) of medieval copyists; for the lowercase letters, archaic forms may be called upon (a​ d h l s v w y). These variants, accessible through OpenType functions, are deactivated in the default settings. Anacharsis can in this way be used as a classic and elegant lineal.
Anacharsis is available in regular, bold and black versions with their corresponding italics.

After the success of Louize and Louize Display, Matthieu Cortat completes the elegant Louize Family with Louize Display Condensed available in three weights: Regular, Medium and Bold.
In 1846, Lyonnese printer, Louis Perrin commissioned founder Francisque Rey to cut a series of capitals inspired by monumental roman inscriptions. They have been used to compose “Les Inscriptions antiques de Lyon”, a book by Alphonse de Boissieu. In 1855, the typeface was completed by series of lowercase, some coming from the printshop of Rey, others designed by Perrin himself. His “Augustaux”, one of the first “revivals” in the history of typography, became rapidly successful, launching the “Renouveau Elzévirien” movement.

With Louize Family, Matthieu Cortat provides a contemporary reinterpretation of the Augustaux. It retains a wise and serene tone, a clear grey of text, the soft roundness of the curves. Louize is discreet, calm, harmonious.

For use in titles, Louize is available in a Display version. This sharp and clear variant is inspired by letters carved in stone. It brings a new contemporary freshness to this timeless typeface. The Display variants also offer, in the roman styles, a series of ligatures inspired by stone cutters traditions. Those features also appear in the condensed cuts.

Cardone, developed between 2016 and 2021 is a singular interpretation of early so-called Scottish modern faces, later called Scotch Roman. Specifically created for editorial design, this serif typeface seeks an ideal balance between elegance and robustness: its ample curves contrast with the brutality of its lines and the verticality of its axis.
The five weights of Cardone ranging from Thin to Bold each with its own italic have been designed separately so as to emphasize the uniqueness of their design. Without sacrificing the elegance of Scottish modern faces, each style is pushed to the point of extreme simplicity and efficiency, both in their structure and in every formal detail.
Functional and legible, the typeface has been designed mainly for use with running text. Nevertheless the constant thickness of Thin or, inversely, the stark contrast of Bold allows Cardone to stand out when used in titles.

To extend its efficiency to multiple uses, the Cardone type family is also available in a Micro version (Regular and Italic) intended for settings in smaller than eight points. The design displays forms that are radical, mechanical and straightforward.
For more unconventional applications, Cardone Micro has also been designed to be spectacular when used in large sizes.

This concise typeface was originally designed for the eponymous city in Bourgogne, in 1995. Ultimately it was never used as planned for the signage in the municipal buildings.
In 2011, Damien Gautier completely overhauled this typeface to make it more lively. Its design has become simplified and stated. A number of details reveal surprising choices for this typeface that nonetheless retains its engraved origins. The numerous ligatures are a clear sign of this.

With the efficient and precious help of Roxane Gataud.

This character is composed only of points whose diameter creates an optical effect It is developed in three weights: light, regular and bold. Contrary to what we might think, the Beretta is not a modular character. The points are placed in an optical fashion so as to optimise the regularity and legibility of each sign.
As if to affirm its originality, this character is developed in two styles: sans serif and serif. This character, a priori used for titles, reveals itself to function particularly well when it is used in small bodies.

With the efficient and precious help of Roxane Gataud and Corentin Moyer.

This dingbats typeface responds efficiently to what a lot of designers seek: choose a series of arrows that adapt themselves precisely to any character that has previously been retained. Up to now this kind of typeface has not been enough and has rapidly revealed itself to be insufficient: the number of arrows proposed is ultimately quite limited.
This typeface proposes a much greater number, thanks to a misuse of OpenType technology. In effect, it is not a new typeface that proposes a renewed batch of arrows. It is not in fact a tool that allows the designer to compose an infinite number of arrows. Through a logical set that uses the keys on the keyboard, the designer could/can choose the different elements that make up an arrow: tail, body and point.
The arrows are automatically composed thanks to more than 5,000 kerning pairs. The user can not only choose the style of an arrow but also its length (by composing a number of successive elements) and its direction (towards the left or the right using capitals and lowercase characters).
Though there may be a certain learning curve associated with the use of this typeface, the result ultimately reveals itself to be well worth the time and effort!

In 1846, Lyonnais printer, Louis Perrin commissioned founder Francisque Rey to engrave a series of capitals inspired by monumental roman inscriptions. They would go on to be used in the composition of work on the Antique inscriptions of Lyon, by Alphonse de Boissieu. In 1855, the typeface was completed by a number of lowercase fonts; certain bodies came from the stocks of Rey, others were drawn by Perrin himself. His “Augustaux”, one of the first “revivals” in the history of typography, became rapidly successful, launching the “Renouveau Elzévirien” (Old-style Renewal) movement. With Louize, Matthieu Cortat provides a contemporary reinterpretation of the Augustaux. It retains a wise and serene tone, the grey of clear text, the soft roundness of the curves. Louize is discreet, calm, harmonious.
Available in three weights, Louize has a number of small capitals (for the roman styles) and ornamental capitals (for the italics).

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.

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.

Justus Erich Walbaum (1768-1837), a confectioner by trade, carved his own cake molds. Quite gifted, he became a specialist, developing an activity as a punch-cutter, and eventually bought Ernst Wilhelm Kirschner’s type foundry. Considered to be one of the foremost creators of his time, he engraved gothic letters and Antiqua type, similar to those of Didot and Bodoni. But his romans had a different flavor, and for some, they contain the origins of the Grotesques that followed.
In 2010, Thomas Huot-Marchand and SPMillot were asked to develop the typographic identity of the Musée d’Orsay that had been based on Berthold Walbaum since its very beginnings. They proposed adding distant “cousins” in later typographic styles: a bold grotesque and a thin slab serif, but these typefaces would ultimately remain unused.
In 2020, Thomas Huot-Marchand decided to redesign them while developing an extended family. Album is a subtraction of Walbaum: with no serifs for Album Sans and with no contrast for Album Slab. Its silhouette retains some memory of the particular proportions and slightly flattened curves of Walbaum.
Album Slab has almost no contrast. The thicknesses of the stems correspond to the three lightest weights of the Sans version. The ball terminals, accentuated in the thinnest versions, recall typewritten letters, but with proportional tracking. An informal rereading of Walbaum, Album Slab can be perfectly combined with Sans and its italics.

This typeface is based on the Maax, designed by Damien Gautier in 2012. It is a typeface with more convivial, naturally rounded terminations. Like the Maax, this typeface contains a number of sets of characters that give each one a rhythm and a particular colour to text.
The Maax Rounded is available in 3 weights and their italics: regular and italic, medium and medium italic, bold and bold italic.

With the efficient and precious help of Roxane Gataud and Corentin Moyer.

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.