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.

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.

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.