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.
Seeking to pursue the research that had begun with the Maax, Damien Gautier, assisted by Hugo Marucco, designed this typeface with its fixed pitch. Its design is intentionally stripped of optical connections. The usual ink traps are replaced here by connections that seem on the contrary to reinforce the black zones. Result: a typeface that stands out for its efficacy.
This typeface is available in two weights and their italics: regular and italic, bold and bold italic.
With the efficient and precious help of Roxane Gataud and Hugo Marucco.
Lining 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.
- 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
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Superiors/Inferiors
Ordinals
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.
- 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
- Mono 1803 Light
- Mono 1803 Book
- Mono 1803 Medium
- Mono 1803 Bold
- Mono 1803 Black
- Mono 1803 Variable
- Mono 1903 Light
- Mono 1903 Book
- Mono 1903 Medium
- Mono 1903 Bold
- Mono 1903 Black
- Mono 1903 Variable
- Mono 2003 Light
- Mono 2003 Book
- Mono 2003 Medium
- Mono 2003 Bold
- Mono 2003 Black
- Mono 2003 Variable
- Mono 2103 Light
- Mono 2103 Book
- Mono 2103 Medium
- Mono 2103 Bold
- Mono 2103 Black
- Mono 2103 Variable
- Mono 2203 Light
- Mono 2203 Book
- Mono 2203 Medium
- Mono 2203 Bold
- Mono 2203 Black
- Mono 2203 Variable
- Mono 2303 Light
- Mono 2303 Book
- Mono 2303 Medium
- Mono 2303 Bold
- Mono 2303 Black
- Mono 2303 Variable
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Inferiors/Superiors
Ordinals
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.
- 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
- Mono 0510 Light
- Mono 0510 Book
- Mono 0510 Medium
- Mono 0510 Bold
- Mono 0510 Black
- Mono 0511 Light
- Mono 0511 Book
- Mono 0511 Medium
- Mono 0511 Bold
- Mono 0511 Black
- Mono 0512 Light
- Mono 0512 Book
- Mono 0512 Medium
- Mono 0512 Bold
- Mono 0512 Black
- Mono 0513 Light
- Mono 0513 Book
- Mono 0513 Medium
- Mono 0513 Bold
- Mono 0513 Black
- Mono 0514 Light
- Mono 0514 Book
- Mono 0514 Medium
- Mono 0514 Bold
- Mono 0514 Black
- Mono 0515 Light
- Mono 0515 Book
- Mono 0515 Medium
- Mono 0515 Bold
- Mono 0515 Black
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
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.
- 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
- Mono 2403 Light
- Mono 2403 Book
- Mono 2403 Medium
- Mono 2403 Bold
- Mono 2403 Black
- Mono 2503 Light
- Mono 2503 Book
- Mono 2503 Medium
- Mono 2503 Bold
- Mono 2503 Black
- Mono 2603 Light
- Mono 2603 Book
- Mono 2603 Medium
- Mono 2603 Bold
- Mono 2603 Black
- Mono 2703 Light
- Mono 2703 Book
- Mono 2703 Medium
- Mono 2703 Bold
- Mono 2703 Black
- Mono 2803 Light
- Mono 2803 Book
- Mono 2803 Medium
- Mono 2803 Bold
- Mono 2803 Black
- Mono 2903 Light
- Mono 2903 Book
- Mono 2903 Medium
- Mono 2903 Bold
- Mono 2903 Black
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Inferiors/Superiors
Ordinals
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.
- 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
- Mono 3003 Light
- Mono 3003 Book
- Mono 3003 Medium
- Mono 3003 Bold
- Mono 3003 Black
- Mono 3103 Light
- Mono 3103 Book
- Mono 3103 Medium
- Mono 3103 Bold
- Mono 3103 Black
- Mono 3203 Light
- Mono 3203 Book
- Mono 3203 Medium
- Mono 3203 Bold
- Mono 3203 Black
- Mono 3303 Light
- Mono 3303 Book
- Mono 3303 Medium
- Mono 3303 Bold
- Mono 3303 Black
- Mono 3403 Light
- Mono 3403 Book
- Mono 3403 Medium
- Mono 3403 Bold
- Mono 3403 Black
- Mono 3503 Light
- Mono 3503 Book
- Mono 3503 Medium
- Mono 3503 Bold
- Mono 3503 Black
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Inferiors/Superiors
Ordinals
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.
Yorick is based on a monospace typewriter font (model 3402U) found in the Campionario caratteri e fregi tipografici (specimen book) of the Nebiolo typefoundry, dated 1920 – but the font might probably be older. The source is a slab serif form very common in typewriter fonts (Pica, according to Olivetti naming system) with a little touch of classical flavour from the Imperial style (i.e. with thick and thin contrasts). Start in 2016, Yorick keeps the essence of the original design, and avoid to make it look too digital or constructed. It’s a gentle industrial font: a font of engineers in Oxford shirt and tweed suits, not in white blouse. A precision tool with eleganza torinese, not showing off. Its italic is a proper one, not a slanted roman. It comes in a simple family of 4 styles, but with a large character set which includes bot Latin and Cyrillic scripts — each completed by localised alternates for Romanian, Moldovan, Serbian, Macedonian and Bulgarian.
Tabular Lining Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Arrows
Yorick contains a complete range of Cyrillic glyphs:
– Cyrillic Uppercases extended set
– Cyrillic Lowercases extended set
– Cyrillic localised alternates
Yorick has alternative semi-mono glyphs:
– Half width punctuation
– One-and-a-half width punctuation
– Latin half width glyphs
– Latin one-and-a-half width glyphs
– Cyrillic half width glyphs
– Cyrillic one-and-a-half width glyphs
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.
- 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
- Mono 0505 Light
- Mono 0505 Book
- Mono 0505 Medium
- Mono 0505 Bold
- Mono 0505 Black
- Mono 0506 Light
- Mono 0506 Book
- Mono 0506 Medium
- Mono 0506 Bold
- Mono 0506 Black
- Mono 0507 Light
- Mono 0507 Book
- Mono 0507 Medium
- Mono 0507 Bold
- Mono 0507 Black
- Mono 0508 Light
- Mono 0508 Book
- Mono 0508 Medium
- Mono 0508 Bold
- Mono 0508 Black
- Mono 0509 Light
- Mono 0509 Book
- Mono 0509 Medium
- Mono 0509 Bold
- Mono 0509 Black
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
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.
- 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
- Mono 1203 Light
- Mono 1203 Book
- Mono 1203 Medium
- Mono 1203 Bold
- Mono 1203 Black
- Mono 1203 Variable
- Mono 1303 Light
- Mono 1303 Book
- Mono 1303 Medium
- Mono 1303 Bold
- Mono 1303 Black
- Mono 1303 Variable
- Mono 1403 Light
- Mono 1403 Book
- Mono 1403 Medium
- Mono 1403 Bold
- Mono 1403 Black
- Mono 1403 Variable
- Mono 1503 Light
- Mono 1503 Book
- Mono 1503 Medium
- Mono 1503 Bold
- Mono 1503 Black
- Mono 1503 Variable
- Mono 1603 Light
- Mono 1603 Book
- Mono 1603 Medium
- Mono 1603 Bold
- Mono 1603 Black
- Mono 1603 Variable
- Mono 1703 Light
- Mono 1703 Book
- Mono 1703 Medium
- Mono 1703 Bold
- Mono 1703 Black
- Mono 1703 Variable
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Inferiors/Superiors
Ordinals
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.
- 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
- Mono 0703 Light
- Mono 0703 Book
- Mono 0703 Medium
- Mono 0703 Bold
- Mono 0703 Black
- Mono 0703 Variable
- Mono 0803 Light
- Mono 0803 Book
- Mono 0803 Medium
- Mono 0803 Bold
- Mono 0803 Black
- Mono 0803 Variable
- Mono 0903 Light
- Mono 0903 Book
- Mono 0903 Medium
- Mono 0903 Bold
- Mono 0903 Black
- Mono 0903 Variable
- Mono 1003 Light
- Mono 1003 Book
- Mono 1003 Medium
- Mono 1003 Bold
- Mono 1003 Black
- Mono 1003 Variable
- Mono 1103 Light
- Mono 1103 Book
- Mono 1103 Medium
- Mono 1103 Bold
- Mono 1103 Black
- Mono 1103 Variable
Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: Type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong.
“For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly large forms, all built from the same modules. Today it is a complete system, available in 44 widths, 5 weights, 445 fonts, hundreds of thousands of glyphs, and no contrast. Resulting in a typeface which is at the same time brutal and playful, rational and naïve.” Thomas Huot-Marchand
Uppercases
Inferiors/Superiors
Ordinals
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.