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.
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).
Caps Punctuation
Small Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Roman Numerals
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Smash Capitals (Italic only)
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.
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.
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.
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 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.
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.
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.
Caps Punctuation
Feeling signs
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 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.
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.
Caps Punctuation
Small Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Roman Numerals
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Swash Capitals (Italic only)
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.