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 stencil type typeface stands out for its geometrical structure and its elementary forms. However, a number of details seem to show what Damien Gautier was by characters of body type to determine his choices. Rare indeed are characters of this type that possess oldstyle numbers and ligatures that are usually reserved for historical characters!
With the efficient and precious help of Roxane Gataud.
Superiors/Inferiors
Discretionary Ligatures
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.
This concise typeface was originally designed for the eponymous city in Bourgogne, in 1995. Ultimately it was never used as planned for the signage in the municipal buildings.
In 2011, Damien Gautier completely overhauled this typeface to make it more lively. Its design has become simplified and stated. A number of details reveal surprising choices for this typeface that nonetheless retains its engraved origins. The numerous ligatures are a clear sign of this.
With the efficient and precious help of Roxane Gataud.
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Stylistic Alternates
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.
This typeface is based on the principle – apparently simple but ultimately quite complex – of layering of letters. Each letter is effectively layered upon the previous one and this systematically creates encounters that are automatically corrected by more than 1,200 ligatures. The addition of alternative letters allows the result to be perfected. The Opentype format and the associated functions render the use of this typeface almost child's play.
With this typeface, Damien Gautier was awarded the “Bukva:raz !”, ATypI 2002 prize for excellence.
With the efficient and precious help of Roxane Gataud.
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.
Alcalá is based on the “Biblia poliglota complutense” (Polyglot Bible of Alcalá). It was the first edition of a complete polyglot Bible, as well as the first printed version of the New Testament in Greek (Septuagint) with gloss. Conceived between 1502 and 1517, it was produced under the patronage of Cardinal Francisco Jiménez de Cisneros.
The first drawings of Alcalá go back to 1995. A second version started in 2011, commissioned by a publisher for a French
and Malagasy edition of the Bible by J.N. Darby. Alcalá was developped in three styles: roman, italic and bold. Today, a new cut is added: Alcalá Black Display, its intended to compose titles and headings.
Alcalá has all requested qualities for editorial design, especally newspaper and magazine layouts. Its sharp design guarantes high readability, space saving and smart printed rendering in small sizes, as well as a great look in bigger uses. Look at its alternative punctuation! For book design, Alcalá Roman contains titling capitals and its Italic contains a serie of special ligatures.
While other characters has extended families, Damien Gautier decided to develop a reduced one. Alcalá has the only the cuts you need!
As every 205TF typefaces, Alcalá has an extented Latin glyphset which allows to compose many languages.
Caps Punctuation
Alternative punctuation
Proportional Lining Figures
Proportional Old Style Figures
Tabular Lining Figures
Tabular Old Style Figures
Automatic Fractions
Superiors/Inferiors
Ordinals
Discretionary Ligatures
Stylistic alternates
Arrows
This standard corresponds to the standard set to which is added a significant quantity of signs decided by the designer as a function of the typeface itself: small capitals, series of complete inferior and superior letters and numbers, titling capitals, etc. The detail of the characters available 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.
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.
This stencil type character is developed in 3 “Capital” series that stand out for their terminations. “Cut”: beveled edges, “Rounded”: rounded edges; “Sharp”: sharp edges.
The accents on the capitals were studied to allow a dense composition that suits this typeface. "Lowercase” is a 4th series that proposes a complete typeface with lowercase letters.
It is a relatively black typeface that best suits the composition of titles or the design of visual identities.
With the efficient and precious help of Roxane Gataud.
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.
A display version – particularly black – of the well-knowned font Maax was designed, leading to sometimes surprising choices. This version conserves a number of sets of characters and a certain number of alternative letters.
(geometric, modern, grotesk)
Stylistic Alternates
Caps Punctuation
Proportional Lining Figures
Superiors/Inferiors
Ordinals
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.
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.
- 21A-Sathonay-LightA
- 21B-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
- 34A-Terme-RegularA
- 34B-Terme-RegularB
- 44A-Terme-BoldA
- 44B-Terme-BoldB
- 25-Foch-Light
- 35A-Foch-RegularA
- 35B-Foch-RegularB
- 45A-Foch-BoldA
- 45B-Foch-BoldB
- 26-Ney-Light
- 36-Ney-Regular
- 46-Ney-Bold
- 56-Ney-Heavy
This typeface takes its inspiration from the characters that one can find on the nameplates of French streets. For a long time, Damien Gauthier 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 Plaak conserve the independent designs in a certain number of details (accents, the specific forms of a few letters: G, K, M, Q, R, etc.)
This typeface is composed of 24 styles that display the typographic wealth of this source of inspiration.
“Plaak 1 – Sathonay”: very narrow characters;
“Plaak 2 – Griffon” and “Plaak 3 – Pradel”: narrow characters;
“Plaak 4 – Terme” and “Plaak 5 – Foch”: wide characters;
“Plaak 6 – Ney”: extra-wide characters.
Each serie (from 1 to 6) contains a number of weights and a set of capital and small capitals (because the lowercase letters were almost completely missing from French street signs). 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.
An enhanced version of lowercase letters is currently being studied. Its launch is planned for 2018.
With the efficient and precious help of Roxane Gataud.
Proportional Lining Figures
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.
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. 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 character
is blacker, more mechanic. Nevertheless, upon closer inspection, certain letters reveal a certain 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 five styles: regular and bold along with a stencil version and two rotalics.
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.
Le François is a unique typeface for several reasons.
Firstly, it only contains capital letters, in three distinct series: uppercase, “high” and “low” small caps. However, the capitals are in strong contrast to ancient historical engravings. With its geometrical form, Le François echoes French characters such as Peignot, and its contrast between thick and thin strokes evokes the elegance of letterings such as Yves Saint-Laurent, also created by Cassandre.
Secondly, thanks to several ligatures and its specific spacing, you can compose distinctive words and titles. Just as Avant Garde Gothic, it plays with the strong contrast in lighting created by the capital letters, resulting in a dynamic graphic rhythm.
The synergy created between classic French and more modern references give this typeface a strong personality. Le François can therefore be an alternate typeface in many historical and patrimonial contexts. It is also perfectly adapted to fashion, luxe and gastronomy, as it distinguishes itself not only by its elegance, but also its bold audacity.
2 series of small caps
Ligatures
Superiors/Inferiors
Proportional Lining Figures
Proportional Old Style Figures
Ordinals
Discretionary Ligatures
Stylistic Alternates
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.
Seeking to pursue the research that had begun with the Maax, Damien Gautier, assisted by Hugo Marucco, designed this typeface with its fixed pitch. Its design is intentionally stripped of optical connections. The usual ink traps are replaced here by connections that seem on the contrary to reinforce the black zones. Result: a typeface that stands out for its efficacy.
This typeface is available in two weights and their italics: regular and italic, bold and bold italic.
With the efficient and precious help of Roxane Gataud and Hugo Marucco.
Lining Figures
Superiors/Inferiors
Ordinals
Arrows
This standard corresponds to a set of characters that respond to the Extended Latin standard. It allows for the composition of a large majority of Western European languages. To do this, signs have been added to the standard latin alphabet, either through use of diacritic signs, or through construction of specific signs. The Extended Latin standard does not contain specific Cyrillic or Greek characters. The detail of the characters available for each typeface is presented in the typeface specimen that you can download from our website.
The list of languages in which it is possible to compose is in the specimen.
This typeface is based on the Maax, designed by Damien Gautier in 2012. It is a typeface with more convivial, naturally rounded terminations. Like the Maax, this typeface contains a number of sets of characters that give each one a rhythm and a particular colour to text.
The Maax Rounded is available in 3 weights and their italics: regular and italic, medium and medium italic, bold and bold italic.
With the efficient and precious help of Roxane Gataud and Corentin Moyer.
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 Amiral character emerged from the discovery of the vestiges of a few letters painted on the ground. They seem to have resisted surprisingly well to time and the repeated passing of vehicles. We can still make out the rudimentary design of the letters, doubtlessly cut out of a metal plate.
This stencil typeface stands out for the robust nature of its letters that bring to mind markings on the side of cargo containers. However, this character is also used for punctuation.
Though this typeface may only be composed of capital letters, it does however contain a certain number of alternative signs.
With the efficient and precious help of Roxane Gataud.
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.
This dingbats typeface responds efficiently to what a lot of designers seek: choose a series of arrows that adapt themselves precisely to any character that has previously been retained. Up to now this kind of typeface has not been enough and has rapidly revealed itself to be insufficient: the number of arrows proposed is ultimately quite limited.
This typeface proposes a much greater number, thanks to a misuse of OpenType technology. In effect, it is not a new typeface that proposes a renewed batch of arrows. It is not in fact a tool that allows the designer to compose an infinite number of arrows. Through a logical set that uses the keys on the keyboard, the designer could/can choose the different elements that make up an arrow: tail, body and point.
The arrows are automatically composed thanks to more than 5,000 kerning pairs. The user can not only choose the style of an arrow but also its length (by composing a number of successive elements) and its direction (towards the left or the right using capitals and lowercase characters).
Though there may be a certain learning curve associated with the use of this typeface, the result ultimately reveals itself to be well worth the time and effort!
thanks to more than 5000 kerning pairs
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.