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.
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.
Caps Punctuation
Small Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Arrows
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.
Zénith is a typeface intended for editorial design. Thanks to the possibilities offered by Variable Fonts format, Graphic designers can modulate both weight and optical size, transforming Zénith from a typeface designed for small sizes of body text into a particularly elegant and contrasted display typeface.
Here Matthieu Cortat delivers his personal interpretation of Zeno, a typeface cut by Charles Malin in 1936 for the German-Italian publisher Giovanni Mardersteig, that he discovered in the Sanctum Evangelium, printed in 1963 by the Officina Bodoni. He adds a Cyrillic character set absent from the original model.
The relatively sizable width an taut curves of Zénith give it a generous and jittery appearance that permeates the different styles. The axis is heavily slanted, giving the C a characteristic silhouette. With its wide serifs, it already has the makings of a “classic”. The heaviest weights appear intentionally stocky while never veering into caricature. The italics are calm and balanced and only slightly slanted, and they discreetly allow a particular word to stand out, or on the contrary, an entire paragraph to be read with ease.
The rhythm is stable, ample and regular in the Text styles, but its true character asserts itself in the Display styles. The contrast between wide and narrow letters grows as the thin strokes become even thinner and the x-height is reduced.
Zénith Text could be compared to a swimmer before a race: well built, flexible, warmed up but calm, breathing deeply and regularly. Zénith Display would be closer to a marathon runner, skin tightly stretched over lean and jittery muscles.
A typeface clearly designed for reading that also gradually reveals a stark personality as its optical size is increased.
Caps Punctuation
Small Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Arrows
This standard corresponds to the Standard set to which are added specific signs depending on each typeface (alternative signs, stylistic signs, etc.) The detail of the available characters for each typeface is presented in the typeface specimen that you can download from our website.
Zénith is a typeface intended for editorial design. Thanks to the possibilities offered by Variable Fonts format, Graphic designers can modulate both weight and optical size, transforming Zénith from a typeface designed for small sizes of body text into a particularly elegant and contrasted display typeface.
Here Matthieu Cortat delivers his personal interpretation of Zeno, a typeface cut by Charles Malin in 1936 for the German-Italian publisher Giovanni Mardersteig, that he discovered in the Sanctum Evangelium, printed in 1963 by the Officina Bodoni. He adds a Cyrillic character set absent from the original model.
The relatively sizable width an taut curves of Zénith give it a generous and jittery appearance that permeates the different styles. The axis is heavily slanted, giving the C a characteristic silhouette. With its wide serifs, it already has the makings of a “classic”. The heaviest weights appear intentionally stocky while never veering into caricature. The italics are calm and balanced and only slightly slanted, and they discreetly allow a particular word to stand out, or on the contrary, an entire paragraph to be read with ease.
The rhythm is stable, ample and regular in the Text styles, but its true character asserts itself in the Display styles. The contrast between wide and narrow letters grows as the thin strokes become even thinner and the x-height is reduced.
Zénith Text could be compared to a swimmer before a race: well built, flexible, warmed up but calm, breathing deeply and regularly. Zénith Display would be closer to a marathon runner, skin tightly stretched over lean and jittery muscles.
A typeface clearly designed for reading that also gradually reveals a stark personality as its optical size is increased.
Caps Punctuation
Small Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Arrows
This standard corresponds to the Standard set to which are added specific signs depending on each typeface (alternative signs, stylistic signs, etc.) The detail of the available characters for each typeface is presented in the typeface specimen that you can download from our website.
Romain 20 is a well-rounded and clear-cut interpretation of a French elzevir, revisited to suit twenty-first century taste. Designed by Alice Savoie, the family is released in 2020 after 8 years in the making.
Romain 20 is a contemporary adaptation of a metal typeface originally named “Romain Vingtième siècle”, distributed by the French Fonderie Allainguillaume at the very beginning of the twentieth century. Savoie stumbled across the typeface in a 1902 edition of the journal La fonderie typographique and was immediately seduced by its texture on the page.
The typeface features a unique combination of flavours, with some attributes that are very much reminiscent of French publishing and jobbing work of the period. Soft bowl terminals are balanced by sharp bracketed serifs. The typeface combines a certain idea of French elegance with a hint of Art Nouveau frivolity.
The typeface was initiated as a revival of the text cuts of the roman and italic styles. A bold and a bold italic were later added to the family for greater versatility. The generous and sturdy proportions of the regular and italic styles have been fine-tuned to be optimal at text size, while the bold variant can prove particularly efficient in display. The italic retains generous proportions, making it fairly comfortable to read in continuous settings. The bold is particularly dark.
Type design: Alice Savoie
Typeface development: Fátima Lázaro
Font mastering: Roxane Gataud
Lowercases
Small Caps (only for Regular and Bold)
Standard Punctuation
Caps Punctuation
Small Caps Punctuation (only for Regular and Bold)
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Small Caps Figures (only for Regular and Bold)
Prebuild And Automatic Fractions
Superiors/Inferiors
Ordinals
Symbols & Mathematical Signs
Standard Ligatures
Discretionary Ligatures
Accented Uppercases
Accented Lowercases
Accented Small Caps (only for Regular and Bold)
Stylistic Alternates
Arrows
Ornaments
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.
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.
Caps Punctuation
Alternative punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Stylistic alternates
Arrows
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.