• 2020
  • The Evolution of Typographic Species

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  • 2020
  • The Evolution of Typographic Species

About typography, paleontology, evolutionism, fixism, interpolation and miscegenation. Seminar given online during the Covid-19 confinement, on May 7, 2020. With Georges Cuvier, Jean-

  • 2020
  • Gutenberg Vs Dr. Infinity

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  • 2020
  • Gutenberg Vs Dr. Infinity

On typography, pornography and infinity. Seminar given online during the Covid-19 confinement, on May 1st, 2020. With Johannes Gutenberg, Johannes Fust, Peter Schoeffer, George D. Widener, Vito Aras AKA Dr. Infinity AKA Vytautas Kerbelis, Lem & John Amaro. ANRTABCD, Letter X

  • Atelier national de recherche typographique, Nancy
  • Typeface:
  • ANRT
  • 2020
  • Typographes à façon

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  • 2020
  • Typographes à façon

Some Clubs du Livre of my collection. Seminar given online during the Covid-19 confinement, on April 27, 2020. With Pierre Faucheux, Jacques Darche, Jacques Daniel et Massin. ANRTABCD, Letter T

  • Atelier national de recherche typographique, Nancy
  • Typeface:
  • ANRT
  • 2020
  • Confinement, Santa Corona, Saint- Colomban, Cassiodore

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  • 2020
  • Confinement, Santa Corona, Saint- Colomban, Cassiodore

On the transcription of ancient scripts, monks and confinement. Seminar given online during the Covid-19 confinement, on March 28, 2020. Featuring extracts from talks given at the Rencontres de Lure 2014, with Claude- Laurent François, and in Luxeuil, in october 2015. ANRTABCD, Letter C

  • Atelier national de recherche typographique, Nancy
  • Typeface: Luxeuil
  • ANRT
  • 2020
  • Agence Adelfo Scaranello — MBAA 2

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  • 2020
  • Agence Adelfo Scaranello — MBAA 2

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 2nd volume shows the scenography of the Museum. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

  • 2020
  • Garaje Condensed

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  • 2020
  • Garaje Condensed

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 Condensed subfamily goes from 0703 (7 on 3 grid) to 3503 (35 on 3), and includes 145 fonts, + one variable font. Its construction allows to compose in many sizes without changing the stem weight. Specimen made with DrawBot by Rémi Forte.
Available at 205TF.
Online specimen

  • 2020
  • Garaje Mid

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  • 2020
  • Garaje Mid

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

  • 2020
  • Garaje Monospace

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  • 2020
  • Garaje Monospace

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

  • 2020
  • Garaje Multi

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  • 2020
  • Garaje Multi

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

  • 2020
  • Garaje Wide

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  • 2020
  • Garaje Wide

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 Wide subfamily goes from 0505 (5 on 5 grid) to 05015 (5 on 15 grid) and includes 55 fonts + 1 variable font. Its construction allows to compose in many widths without changing the stem weight.
Available at 205TF.
Online specimen

  • 2020
  • Les 2 Scènes — Cinéma 2020

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  • 2020
  • Les 2 Scènes — Cinéma 2020

Posters for the Cinema monthly programme of Les 2 Scènes, Besançon

  • 2019
  • La Fabrike

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  • 2019
  • La Fabrike

Visual identity and custom typeface for La Fabrike, architecture studio based in Besançon. In collaboration with Baptiste Plantin. Photos by Nicolas Waltefaugle, website by Thomas Bouville.

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