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.
- Album Sans
- Album Slab
- Garaje Cond A
- Garaje Cond B
- Garaje Cond C
- Garaje Cond D
- Garaje Cond E
- Garaje Cond Mono A
- Garaje Cond Mono B
- Garaje Cond Mono C
- Garaje Cond Mono D
- Garaje Cond Mono E
- Garaje Mid
- Garaje Multi
- Garaje Total
- Garaje Wide A
- Garaje Wide B
- Garaje Wide Mono A
- Garaje Wide Mono B
- Minérale + Var. font
- Minuscule
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 Sans proposes a new reading of grotesques with an extended range of weights: the horizontal terminations of the R and the a, the binocular g, the junction of the k along with the singular design of the numbers, distinguish it from usual forms. The duplexed italics have a reduced slant. As an informal reinterpretation of Walbaum, Album Sans can be perfectly combined with Slab.
Lowercases
Standard Punctuation
Caps Punctuation
Proportional Lining Figures
Tabular Lining Figures
Prebuild & Automatic Fractions
Superscripts/Subscripts
Nominators/Denominators
Ordinals
Symbols & Mathematical Signs
Standard Ligatures
Accented Uppercases
Accented Lowercases
Ornaments
Arrows (SS01)
Open Digits (SS02)
Closed Digits (SS03)
Straight Q, R, & r (SS04)
Alt. Shequel (SS05)
Single Storey g (SS06)
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.
Salmanazar is a typeface which has its roots in nineteenth century French type design, and in particular, the specimen of Antique Warnery no.1, published in 1922. Originally intended to be used for the composition of titles (the smallest body size being 20pt), its undecided yet vigorous strokes have been updated for contemporary use, while retaining its typically strong details from the belle-époque typefaces. Indeed, Salmanazar has a distinctly crafted look, with its own unique characteristics such as its vertical proportions, and its increasingly unusual contrast in the grotesque landscape. Its asymmetrical counters, and slightly heavy weights impose a certain darkness and a particular flavor in continuous reading, bringing to mind American Gothics, such as Franklin Gothic or the German humanistic sans serif Ludwig. Industrial in style, this typeface features a range of 4 weights, along with their corresponding italics. Each weight reveals a subtly different behavior, and this makes it suitable for different purposes.
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
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.
- 21-Sathonay-LightA
- 21-Sathonay-LightB
- 31-Sathonay-Regular
- 41-Sathonay-Bold
- 22-Griffon-Light
- 32-Griffon-Regular
- 42-Griffon-Bold
- 23-Pradel-Light
- 33-Pradel-Regular
- 43-Pradel-Bold
- 24-Terme-Light
- 34-Terme-Regular
- 44-Terme-Bold
- 25-Foch-Light
- 35-Foch-Regular
- 45-Foch-Bold
- 26-Ney-Light
- 36-Ney-Regular
- 46-Ney-Bold
- 56-Ney-Heavy
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.
Uppercases
Small Capitals
Superiors/Inferiors
Ordinals
Discretionary Ligatures
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.
Dédale, designed by Thomas Bouville in 2020, is a hybrid type family inspired by inscriptions carved into the stone of the underground passages of the Paris Catacombs*.
Identified while exploring underground, the diversity of the inscriptions and their varying states of erasure inspired the designer’s unique approach. Rather than seeking to unearth the original drawings of the stone engravers (in an attempt to “rewind” the flow of time), Thomas Bouville sought to reveal links between the inscriptions and wanted, on the contrary, to give a sense of the passing of time.
The varying structure of the letters, common between styles, skillfully evokes the ossuary. It emphasizes an analogy between the letter and the human body, composed of both a skeleton and a physical envelope. The evolution of the three styles – from lineal to slab serif – shows the effect of time and the passage of life towards death.
The Light version – a slab serif made elegant by the contrast between its refined appearance and the prominent serifs – is designed for composing large sized titles with subtlety. The Regular – an incised typeface with pronounced extremities, is designed for reading long texts. The Bold version – a neo-grotesque sans serif that conserves certain details of the incised form – is useful for its strong lines. Each style has its own italic.
Dédale is also available as a variable font, allowing the design to move freely between the three styles, with the technology seeming to play with time.
*Dédale was originally created for the visual identity of the Paris Catacombs.
Lowercases
Standard punctuation
Caps punctuation
Proportional lining figures
Proportional old style figures
Tabular lining figures
Tabular old style figures
Prebuild & automatic fractions
Superiors/inferiors
Ordinals
Symbols & mathematical signs
Standard ligatures
Discretionary ligatures
Accented uppercases
Accented lowercases
Arrows
Ornaments
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.
Could lone typeface with no serifs be enough for a designer? It is the basis of this seemingly uninteresting question that Damien Gautier really got down to work to develop this typeface with its multiple facets. Thanks to the OpenType format, he first developed 4 series. “Standard”: a set of characters that are intentionally all purpose; “Geometric”: a set of characters with elementary forms that bring to mind the first typographic experiments of the Bauhaus; “Modern”: domesticated forms that refer more to characters such as Futura and Nobel; “Grotesk”: here, more designed/drawn forms close to the intentions that were at the origin of characters such as Helvetica or Akindenz grotesk. Four typefaces in one to some extent, accessible thanks to the “Stylistic set” function of the OpenType format.
Originally this typeface contained 4 weights and 7 styles: regular and italic, medium and medium italic, bold and bold italic, black. A fifth weight has been added with a light version. A display version – particularly black – was designed, leading to sometimes surprising choices. This version conserves a number of sets of characters and a certain number of alternative letters.
Finally, the demonstration is made: with a single typeface, we can indeed have many possibilities!
With the efficient and precious help of Roxane Gataud and Corentin Moyer.
(geometric, modern, grotesk)
Stylistic Alternates
Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Superiors/Inferiors
Ordinals
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.