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 wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Multi embeds 13 different widths in each font, from 0503 (5 on 3 grid) to 05015 (5 on 15 grid). The default set is a mix of 0503, 0504 and 0505. The subfamily includes 5 fonts (2352 glyphs each) + 1 variable font. Its construction allows to compose in many widths without changing the stem weight. Letters on the lowercase set go wider and wider when repeated, and it’s fun.
Available at 205TF.
Online specimen

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 wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Monospace subfamily goes from 05015 (5 on 15 grid) to 3503 (35 on 3), and includes 215 fonts + 5 variable fonts. Its construction allows to compose in many sizes without changing the stem weight, and/or the pitch.
Available at 205TF.
Online specimen

Park MGM is the new name of the famous Hotel Montecarlo, on the Las Vegas Strip (Nevada). It is owned by MGM Resorts. The agency be-poles (Paris / New York) commissioned me to design the exclusive typeface of the hotel, Alder, used for its interior and exterior signage, and all of its communication.
Rather than the excessive and often caricatured image of the hotels in the city, the visual identity of the Park MGM chooses elegance, with a very refined interior design. Likewise, Alder is inspired by the proportions of classic Roman capitals, with a more contemporary design. It comes in 4 weights : Regular, Bold, Italic and Condensed. Exclusive use

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 wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Mid subfamily goes from 0503 (5 on 3 grid) to 0504 (5 on 4 grid) and 0603 (6 on 3 grid), and includes 15 fonts + 3 variable fonts. Its construction allows to compose in many widths without changing the stem weight.
Available at 205TF.
Online specimen