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.
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.
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Superiors/Inferiors
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
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.
- 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.
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.
(Inline)
Proportional Lining Figures
Tabular 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.
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.
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.
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Roman Numerals
Automatic Fractions
Superiors/Inferiors
Ordinals
Contextual Ligatures
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.
Molitor, designed by Matthieu Cortat in 2019, is a modernist yet joyous typeface; a dive into an Art Deco pool, named after the eponymous and emblematic building in Paris. Theatrical and spectacular, Molitor recalls an adventurous, fresh and optimistic modernism, an iridescent wave on the chlorine surface of an olympic pool.
A lineal with barely contrasted and slightly flared lines, Molitor features 12 styles separated into two optical sizes: Text and Display. Each optical size has a roman and an italic in Light, Regular and Bold. In the text version, the proportions of the capitals obey the canons of the imperial roman capital, reinterpreted in the manner of the modernist stone-cut inscriptions of the 1920s and 1930s. The lowercase letters have a traditional structure with a short x-height. In its display version, the proportions of Molitor are exacerbated, approaching the dramatic spontaneity
of French Art Deco.
While the straight and oblique lines only extend in height, the round shapes expand in all directions. With a design different from the wider and much more playful regular, the italic of the Molitor is quite typical. Despite its sharp 16° slant, it retains rigorously circular round shapes. Finally, as Art Deco gave the general public access to the “geometric avant-garde”, Molitor allows users to define their own size and style thanks to variable font technology.
Lowercases
Standard Punctuation
Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Prebuild and Automatic Fractions
Superiors/Inferiors
Ordinals
Symbols and Mathematical Signs
Standard 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.
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.
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.
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.
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.
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.
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.
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Superiors/Inferiors
Ordinals
Stylistic Alternates
Arrows
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.
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.
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.
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
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.