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.

Anacharsis​ is a modernist geometrical lineal, that follows in the footsteps of the Futura, Simplex or Semplicità typefaces. Its design and proportions are based on the gothic Rotunda letters, round, soft and meridional, like those used in the 14th and 15th centuries in southern Europe.
A solid, black character, it possesses two series of alternative signs: certain capital letters that recapture traces of the “turned” letters (​E F H I J M N P S T V W Y) of medieval copyists; for the lowercase letters, archaic forms may be called upon (a​ d h l s v w y). These variants, accessible through OpenType functions, are deactivated in the default settings. Anacharsis can in this way be used as a classic and elegant lineal.
Anacharsis is available in regular, bold and black versions with their corresponding italics.

Sarah Kremer’s Bartok redefines the very notion of a type family. Its four styles with their singular designs break with the principle of formal unity usually sought after in such families. Each variant stands out for its expressivity, contributing to the creation of a contrasted whole.
The development of Bartok was undertaken in the context of editorial design in order to propose a multifaceted typeface with only four styles. It has been designed to be used for long or short passages of straight text as well as for titles.
With the aim of proposing complementary typographic colors, the four styles of Bartok (Regular, Italic, Highlight and Poster) have been designed with different structures and possess distinct weights. Each variant develops formal specificities taken from different moments in the history of typography.

Inspired by Humanist typefaces, Bartok Regular is based on the proportions of typefaces derived from incunabula. Its asymmetrical serifs and slanted stems are characteristic of calligraphic script. Its squat counterforms combined with its stability give compositions both pace and balance.
Bartok Italic explores the calligraphic model of the chancery hand, to offer strong cursivity combined with a supple design, changes in direction and pronounced lines and angles.
The archetype of the early grotesques is visible in the Bartok Highlight: an assumed density, varying contrasts and non-orthogonal terminals.
The details of Bartok Poster, with its irregularities of alignment and varying angles, can be fully appreciated in large sizes. Its heavy weight, changing contrasts and roundness infuse it with a certain bonhomie.

Though these formal differences are quite pronounced, certain curves and details are echoed from one style to another. The general proportions of the typefaces (x-heights and cap heights) have been harmonized so that they can be combined easily and naturally.

Matthieu Cortat created Basetica for the studio GVA (Geneva), in the context of the Open Switzerland project, on the occasion of its attachment to the Base group, bringing together 3 agencies in Europe (Brussels) and America (New York). GVA wished to show its attachment to “Swiss Graphic Design” and what it carries in terms of quality, precision and rigour, while at the same time presenting a Switzerland quite different to the usual stereotypes that one can imagine.
Basetica is then, a "contemporary Helvetica", open and with no frills. Raw at times, but always clean and discreet, it revisits the International Swiss Style” with a certain irony.

Battling is a geometrical lineal, inspired by the “Universals” that were distributed by the Dutreix foundry in Limoges in the 1930s, and that were probably intended to compete with the Europe (the French name given to Paul Renner's Futura) in the field of the “modernist” sans serifs. Battling is a robust typeface that conserves the awkwardness of its original model. It possesses a sort of “adolescent vigour”, frustrated and rowdy.
Matthieu Cortat has produced Battling in four weights (light, regular, medium, bold) with their corresponding italics. In medium and bold, it avails of a series of uppercase titling characters, decorated with a thin thread of light. It also possesses a series of roman numerals in small capitals.

This character is composed only of points whose diameter creates an optical effect It is developed in three weights: light, regular and bold. Contrary to what we might think, the Beretta is not a modular character. The points are placed in an optical fashion so as to optimise the regularity and legibility of each sign.
As if to affirm its originality, this character is developed in two styles: sans serif and serif. This character, a priori used for titles, reveals itself to function particularly well when it is used in small bodies.

With the efficient and precious help of Roxane Gataud and Corentin Moyer.

Humanist Sans have sometimes a tendency to be over-roundish, slender, mannered,
mimicking the calligraphy. With Cosimo, Matthieu Cortat proposes a font in the spirit of Gill Sans, with strong shoulders, few contrast, a certain darkness in print, which gives it strength and serenity. Contrarily to many font of this style, its italic remains simple and quiet. With its clear and defined range of weights it possesses a versatility which makes it suitable for many purposes, book, titling, magazines, websites…
Nice light, straightforward Regular, virile Bold and peppy Black, each weight has a slightly different personality, but they match each others, making Cosimo a well grounded font for every-day use as well as dressed-up layouts.

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.

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.

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 the Futura and the Nobel; “Grotesk”: here, more designed/drawn forms close to the intentions that were at the origin of characters such as Helvetica or the Akzidenz Grotesk. Four typefaces in one to some extent, accessible thanks to the “Stylistic set” function of the OpenType format.
Finally, the demonstration is made: with a single typeface, we can indeed have many possibilities!

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; “Géométrique”: a set of characters with elementary forms that bring to mind the first typographic experiments of the Bauhaus; “Moderne”: domesticated forms that refer more to characters such as the Futura and the Nobel; “Grotesk”: here, more designed/drawn forms close to the intentions that were at the origin of characters such as Helvetica or the Akzidenz Grotesk. Four typefaces in one to some extent, accessible thanks to the “Stylistic set” function of the OpenType format.
Finally, the demonstration is made: with a single typeface, we can indeed have many possibilities!

In order to further extend the possibi-lities of use of the Maax typeface, we have added an IPA (International Phonetic Alphabet) phonetic version, useful for the composition of linguistic works. Like all IPA typefaces, this version of Maax only exists in Regular style.
This phonetic version adds to the fact that the Maax typeface is appreciated by graphic designers and publishers for its great versatility. On its own, it can be used for many purposes and situations. There is no need to change the typeface or combine it with a second one when specific characters are needed. Maax IPA completes the Maax type family, which already possessed a number of different variants.

Maax Mono is a variant of Maax “with a fixed set-width”. In order to emphasize its mechanical character, Damien Gautier has chosen to “harden” the strokes while intentionally, but not systematically, creating black “stains” in some areas, as if to recall the origins of typewritten typefaces. In addition to a particular rhythm specific to such typefaces, texts composed with Maax Mono possess a highly original color. Developed in direct relation with Maax, it could provide a variation when the latter is already being used. Their identical vertical proportions simplify the simultaneous use of the two typefaces.
Maax Mono is a type family originally composed of four styles—Regular, Italic, Bold and Bold Italic—more than enough for this intentionally rough typeface.
In 2021, Damien Gautier added two styles – Stencil and Semi-Stencil – increasing the range of use and scope of this typeface. In addition to developing a strong personality, these two new variants allow one to consider using the typeface as reversed type, or with stencils. With the arrival of these two new styles, Maax Mono could easily be used as a typeface for titles or for signage.

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; “Géométrique”: a set of characters with elementary forms that bring to mind the first typographic experiments of the Bauhaus; “Moderne”: domesticated forms that refer more to characters such as the Futura and the Nobel; “Grotesk”: here, more designed/drawn forms close to the intentions that were at the origin of characters such as Helvetica or the Akzidenz Grotesk. Four typefaces in one to some extent, accessible thanks to the “Stylistic set” function of the OpenType format.
Finally, the demonstration is made: with a single typeface, we can indeed have many possibilities!

Maax Raw is a new variation of the Maax typeface that from the very beginning has had the ambition of questioning the status of sans serif typefaces and the importance that has been accorded to them. Each instance (Maax with its three style sets, Maax Mono, Maax Rounded and Maax Display) plays with the idea that a single sans serif character can not be enough if it doesn’t “reinvent” itself.
Maax Raw is a “crude” version of the typeface Maax. Its design is intentionally more stripped back, the optical corrections inherent to this type of character are almost completely absent, with the forms being even more closed. The font is blacker, more mechanic. Nevertheless, upon closer inspection, certain letters reveal a boldness that gives the character its particular rhythm. Certain forms are brought together even though they might seem a little foreign. The influences are many and sometimes bring to mind a vernacular drawing found on a plaque of the subway in Berlin or a strange Swiss signpost. Maax Raw exists in seven styles (regular, italic, rotalic, bold, bold italic, bold rotalic and stencil bold). A unique family to be used in projects of visual identity or communication that will stand out.

Maax Unicase is a new extension of the Maax type family. It is clearly a titling variant that asserts a certain originality by having only capital letters which occasionally borrow from the forms of minuscule letters. Available in two weights – Bold and Black – this version presents a design which is particular in a number of areas, and its use will not go unnoticed. Damien Gautier has for example made the choice to emphasize certain details present in the original typeface and to emphasize its originality when compared to other available sans-serif typefaces.
Like the Maax typeface, this Unicase version also has alternative characters. Although fewer in number, they allow for a large number of variations and to adjust the silhouette of words. This typeface will clearly be suitable for the composition of titles and the creation of logotypes.
To distinguish it even further, the accents and all of the diacritical marks have a particular design. Particularly thin and not very cumbersome, they make it possible to reduce line-spacing and to obtain a dense composition which is appropriate to the spirit of this typeface with its intentionally reduced letter-spacing.

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.

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.

İbrahim Kaçtıoğlu designed the extremely thick unicase typeface Seamus with humor, drawing his inspiration from the earliest American comics. The design of Seamus is exuberant, exaggerated, and caricatural. Its generous forms balloon out like Popeye’s biceps. Its massive strokes contrast with its particularly thin crossbars, and the “overinflated” curves are enhanced by tiny counters. Yet its particularly expressive letters fit together perfectly, making Seamus a display typeface with a particularly distinct style.