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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.
Injurial was designed during the editorial design of a novel by Boll, published by Tripode, in 2014. This humorous thriller features many mediums, and specifically some pretty aggressive graffiti. Sandrine Nugue chose to design a sharp, elegant typeface to be used for insults.
The result is Injurial, a typeface made to withstand the worst, while saying it with refinement and eloquence. Its proportions are those of monumental Roman capitals, and it possesses a light weight which reveals only a very slight contrast. Categorized as an incise, or glyphic serif, consisting solely of capitals, it is ideal for setting titles.
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.
After the success of Louize and Louize Display, Matthieu Cortat completes the elegant Louize Family with Louize Display Condensed available in three weights: Regular, Medium and Bold.
In 1846, Lyonnese printer, Louis Perrin commissioned founder Francisque Rey to cut a series of capitals inspired by monumental roman inscriptions. They have been used to compose “Les Inscriptions antiques de Lyon”, a book by Alphonse de Boissieu. In 1855, the typeface was completed by series of lowercase, some coming from the printshop of Rey, others designed by Perrin himself. His “Augustaux”, one of the first “revivals” in the history of typography, became rapidly successful, launching the “Renouveau Elzévirien” movement.
With Louize Family, Matthieu Cortat provides a contemporary reinterpretation of the Augustaux. It retains a wise and serene tone, a clear grey of text, the soft roundness of the curves. Louize is discreet, calm, harmonious.
For use in titles, Louize is available in a Display version. This sharp and clear variant is inspired by letters carved 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 stone cutters traditions. Those features also appear in the condensed cuts.
Minérale is a typeface designed with unusual stems, whose sides intersect. It was originally conceived as a geometrical exaggeration of the structure of traditional serif faces, where the central part of the vertical stems are thinned. Here this phenomenon is pushed to its limits: rather than a flared rectangle, the stem becomes two triangles connected at their tips, creating a clear, almost luminous zone around the central line of the letterforms.
Fairly sober in its thinnest versions, the typeface becomes more exuberant in its heavier weights: the contrast is tilted, resulting in a silhouette close to the old “Italian” typefaces, with horizontal stress.
The italics share a similar structure, but display a design of their own. Their curvy stems turn around a vertical line. Almost upright in the lighter weight (5°), the axis becomes extreme in the heaviest weight (21°).
The whole family is multiplexed: from ExtraLight to Black, in both uprights and italics, all weights share exactly the same widths and kerning tables. This way any variant can be substituted to another, without impacting textflow.
Minérale is also developed as a variable font.
Minérale Variable is the first typeface published by 205TF that explores the new potential of OpenType Font Variations. With this technology, you can choose the exact weight you need or want!
(Available with the complete family font).