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.

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.

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.

Le François is a unique typeface for several reasons.
Firstly, it only contains capital letters, in three distinct series: uppercase, “high” and “low” small caps. However, the capitals are in strong contrast to ancient historical engravings. With its geometrical form, Le François echoes French characters such as Peignot, and its contrast between thick and thin strokes evokes the elegance of letterings such as Yves Saint-Laurent, also created by Cassandre.
Secondly, thanks to several ligatures and its specific spacing, you can compose distinctive words and titles. Just as Avant Garde Gothic, it plays with the strong contrast in lighting created by the capital letters, resulting in a dynamic graphic rhythm.
The synergy created between classic French and more modern references give this typeface a strong personality. Le François can therefore be an alternate typeface in many historical and patrimonial contexts. It is also perfectly adapted to fashion, luxe and gastronomy, as it distinguishes itself not only by its elegance, but also its bold audacity.

For the Petit Serif typeface, Matthieu Cortat was inspired by lettering created by Percy J. Delf Smith for the building located at 55 Broadway, s.W. 1, London, that he reproduced in his book, “Civic and Memorial Lettering*.
This typeface is a lineal of monumental roman capitals with classical proportions, that possesses very slight serifs due to the use of brushes in its creation. A character used for titles and shopfronts, it does not possess a lowercase, but is available in Greek and Cyrillic alphabets. The letters A and I have variants available for Basque.
Percy J. Delf smith R.D.I., ​Civic and Memorial Lettering, Adam & Charles Black, London, 1946.

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.

Plaax (with an x) is an extension of the typeface Plaak (with a k) completed with lowercase letters. Plaax is a large family of 20 cuts.
This typeface takes its inspiration from the characters that one can find on the nameplates of French streets. For a long time, Damien Gautier 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 Plaax conserve the independent designs in a certain number of details (accents, the specific forms of a few letters: f, g, j, k, r, t, y, etc.)
This typeface is composed of 20 styles that display the typographic wealth of this source of inspiration. “Plaax 1 – Sathonay”: very narrow characters; “Plaax 2 – Griffon” and “Plaax 3 – Pradel”: narrow characters; “Plaax 4 – Terme” and “Plaax 5 – Foch”: wide characters; “Plaax 6 – Ney”: extra-wide characters.
Each series (from 1 to 6) contains a number of weights. 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.

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.