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
- 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
- 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
- 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
- Minuscule
- 1803 Light
- 1803 Book
- 1803 Medium
- 1803 Bold
- 1803 Black
- 1903 Light
- 1903 Book
- 1903 Medium
- 1903 Bold
- 1903 Black
- 2003 Light
- 2003 Book
- 2003 Medium
- 2003 Bold
- 2003 Black
- 2103 Light
- 2103 Book
- 2103 Medium
- 2103 Bold
- 2103 Black
- 2203 Light
- 2203 Book
- 2203 Medium
- 2203 Bold
- 2203 Black
- 2303 Light
- 2303 Book
- 2303 Medium
- 2303 Bold
- 2303 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
- 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.
- 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
- 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
- Minuscule
- 1203 Light
- 1203 Book
- 1203 Medium
- 1203 Bold
- 1203 Black
- 1303 Light
- 1303 Book
- 1303 Medium
- 1303 Bold
- 1303 Black
- 1403 Light
- 1403 Book
- 1403 Medium
- 1403 Bold
- 1403 Black
- 1503 Light
- 1503 Book
- 1503 Medium
- 1503 Bold
- 1503 Black
- 1603 Light
- 1603 Book
- 1603 Medium
- 1603 Bold
- 1603 Black
- 1703 Light
- 1703 Book
- 1703 Medium
- 1703 Bold
- 1703 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
- Minuscule
- 2403 Light
- 2403 Book
- 2403 Medium
- 2403 Bold
- 2403 Black
- 2503 Light
- 2503 Book
- 2503 Medium
- 2503 Bold
- 2503 Black
- 2603 Light
- 2603 Book
- 2603 Medium
- 2603 Bold
- 2603 Black
- 2703 Light
- 2703 Book
- 2703 Medium
- 2703 Bold
- 2703 Black
- 2803 Light
- 2803 Book
- 2803 Medium
- 2803 Bold
- 2803 Black
- 2903 Light
- 2903 Book
- 2903 Medium
- 2903 Bold
- 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.
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.
- 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
- 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 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.
- 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
- 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
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
- 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
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
- 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
- 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
- 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.
Heliuum (with two u), designed by Damien Gautier in 2021, is not just a single font, it’s a playful typographic program. Indeed, behind simple but strong and determined shapes, this typeface contains seven different character sets.
Three ranges of uppercases evolve on three different heights. Four ranges of small capitals are standing on four different baselines aligned from the bottom to the
top of the taller uppercases.
A close look allows us to identify a precise goal from the type designer. Letters are not optically corrected, but many details give delicacy to its rugged shapes. Heliuum stands voluntarily between the mechanical and the sophisticated.
Thanks to OpenType ligature function, all combinations are directly accessible on the keyboard and the users compose texts as if they were playing the piano.
With a constant stroke thickness between the seven series and a similar width between uppercases and small capitals, letters align easily vertically and the designer immediately obtains dynamic compositions.
Heliuum is obviously a display type, conceived especially for magazines and their headings. Its seven series come with specific ranges of punctuation, creating infinite combinations. With its two weights (ExtraLight and Regular), art directors will love this font to compose dynamic and innovative typographic layouts.
Because of its strong identity and the originality of its letter arrangement, what if Heliuum could also be useful for creating brand identities?
Heliuum is also developed as a variable font. Web designers will appreciate the ability to dynamically vary the weight of the letters in order to bring movement to their compositions.
Lowercases
Punctuation
Caps Punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Prebuild Fractions
Superiors/Inferiors
Ordinals
Symbols & Mathematical Signs
Standard Ligatures
Accented Uppercases
Accented Lowercases
Ornaments
Arrows (ss01)
Height 1 (ss02)
Height 2 (ss03)
Height 3 (ss04)
Double Letters (ss05)
Alternate Letters (ss06)
Alternate Punctuation (ss07)
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
- Minuscule
- 3003 Light
- 3003 Book
- 3003 Medium
- 3003 Bold
- 3003 Black
- 3103 Light
- 3103 Book
- 3103 Medium
- 3103 Bold
- 3103 Black
- 3203 Light
- 3203 Book
- 3203 Medium
- 3203 Bold
- 3203 Black
- 3303 Light
- 3303 Book
- 3303 Medium
- 3303 Bold
- 3303 Black
- 3403 Light
- 3403 Book
- 3403 Medium
- 3403 Bold
- 3403 Black
- 3503 Light
- 3503 Book
- 3503 Medium
- 3503 Bold
- 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.
- 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
- Minuscule
- 0510 Light
- 0510 Book
- 0510 Medium
- 0510 Bold
- 0510 Black
- 0511 Light
- 0511 Book
- 0511 Medium
- 0511 Bold
- 0511 Black
- 0512 Light
- 0512 Book
- 0512 Medium
- 0512 Bold
- 0512 Black
- 0513 Light
- 0513 Book
- 0513 Medium
- 0513 Bold
- 0513 Black
- 0514 Light
- 0514 Book
- 0514 Medium
- 0514 Bold
- 0514 Black
- 0515 Light
- 0515 Book
- 0515 Medium
- 0515 Bold
- 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
- Minuscule
- 0603 Light
- 0603 Book
- 0603 Medium
- 0603 Bold
- 0603 Black
- 0503 Light
- 0503 Book
- 0503 Medium
- 0503 Bold
- 0503 Black
- 0504 Light
- 0504 Book
- 0504 Medium
- 0504 Bold
- 0504 Black
- Mono 0603 Light
- Mono 0603 Book
- Mono 0603 Medium
- Mono 0603 Bold
- Mono 0603 Black
- Mono 0503 Light
- Mono 0503 Book
- Mono 0503 Medium
- Mono 0503 Bold
- Mono 0503 Black
- Mono 0504 Light
- Mono 0504 Book
- Mono 0504 Medium
- Mono 0504 Bold
- Mono 0504 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
Inferiors/Superiors
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.