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205tf
205TF
205TF is a French type foundry that brings together the work of independent typeface designers. New release: Alcalá Xtra by Damien Gautier
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
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#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
—
#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
—
#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
Project: Comme une forme commune
Typefaces: Immortel (Clément Le Tulle-Neyret, 205TF); Modale Antique (Formagari); ASM (Extratype)
Graphic Design: Théo Miller
Photographs: Collectif Hors Format, comprising Victorine Alisse, Philémon Barbier, Audrey Delaporte, Léo Keler, Paul Lemaire, Camille Nivollet, Juliette Pavy and Robin Tutenges
Edition: Collectif Hors Format (self-published)
—
#typedesign #typography #font #type #bookdesign #graphic #designer #typeface #graphicdesign #bookdesigner #print #creative #book #printedmatter #typefacedesign #editorialdesign #design #designinspiration #editorial #graphicdesigner #typedesigner #205tf #clementletulleneyret #immortel @cltn_office @collectifhorsformat @victorine_alisse_ @philemon.barbier @audrey.delaporte leo_keler @paullemaire__ @camillenivollet @juliettepavy @robin_tutenges @theomiller__
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
205TF est très heureux de soutenir l’édition 2026 du festival ROOM SERVICE!
Festival dédié aux pratiques du design graphique, ROOM SERVICE porte un projet que nous apprécions particulièrement pour son exigence, sa sensibilité et son ancrage local. Pour 205TF, il est important d’accompagner des initiatives qui participent activement à la vitalité de la scène graphique.
Parce qu’il n’y a pas de design graphique sans typographie, plusieurs caractères de 205TF ont été utilisés dans l’identité et les supports du festival, parmi lesquels Milling, Pinokio, Beretta ou encore Basetica.
Merci à @alexandrakaraolanov Karaolanov, @chez.agathee et @alain.papazian pour leur confiance.
@205tf
Project: Mehl Wasser Salz
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: Nonot Studio
—
#designer #font #typefacedesign #creative #typography #graphicdesign #corporateidentity #identity #type #graphicdesigner #brandidentity #branding #design #visualidentity #typedesign #typeface #identitydesign #graphic #designinspiration #typedesigner #205tf #federicoparra #exposure @federicoparrabarrios @mehlwassersalz @nonot.studio
Project: Mehl Wasser Salz
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: Nonot Studio
—
#designer #font #typefacedesign #creative #typography #graphicdesign #corporateidentity #identity #type #graphicdesigner #brandidentity #branding #design #visualidentity #typedesign #typeface #identitydesign #graphic #designinspiration #typedesigner #205tf #federicoparra #exposure @federicoparrabarrios @mehlwassersalz @nonot.studio
Project: Mehl Wasser Salz
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: Nonot Studio
—
#designer #font #typefacedesign #creative #typography #graphicdesign #corporateidentity #identity #type #graphicdesigner #brandidentity #branding #design #visualidentity #typedesign #typeface #identitydesign #graphic #designinspiration #typedesigner #205tf #federicoparra #exposure @federicoparrabarrios @mehlwassersalz @nonot.studio
Project: Mehl Wasser Salz
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: Nonot Studio
—
#designer #font #typefacedesign #creative #typography #graphicdesign #corporateidentity #identity #type #graphicdesigner #brandidentity #branding #design #visualidentity #typedesign #typeface #identitydesign #graphic #designinspiration #typedesigner #205tf #federicoparra #exposure @federicoparrabarrios @mehlwassersalz @nonot.studio
Project: Made in Ancient Egypt. Exhibition at the Fitzwilliam Museum, Cambridge, UK
Typefaces: Injurial (Sandrine Nugue, 205TF); Arizona Sans (Dinamo)
Graphic Design: LG–HM (Luke Gould and Hannah Montague)
—
#typedesign #font #creative #graphicdesign #designinspiration #designer #typeface #typedesigner #design #graphicdesigner #type #typefacedesign #typography #graphic #205tf #sandrinenugue #injurial @sndrnng @lukegould.studio @studio_h.m
Project: Made in Ancient Egypt. Exhibition at the Fitzwilliam Museum, Cambridge, UK
Typefaces: Injurial (Sandrine Nugue, 205TF); Arizona Sans (Dinamo)
Graphic Design: LG–HM (Luke Gould and Hannah Montague)
—
#typedesign #font #creative #graphicdesign #designinspiration #designer #typeface #typedesigner #design #graphicdesigner #type #typefacedesign #typography #graphic #205tf #sandrinenugue #injurial @sndrnng @lukegould.studio @studio_h.m
Project: Made in Ancient Egypt. Exhibition at the Fitzwilliam Museum, Cambridge, UK
Typefaces: Injurial (Sandrine Nugue, 205TF); Arizona Sans (Dinamo)
Graphic Design: LG–HM (Luke Gould and Hannah Montague)
—
#typedesign #font #creative #graphicdesign #designinspiration #designer #typeface #typedesigner #design #graphicdesigner #type #typefacedesign #typography #graphic #205tf #sandrinenugue #injurial @sndrnng @lukegould.studio @studio_h.m
Project: Made in Ancient Egypt. Exhibition at the Fitzwilliam Museum, Cambridge, UK
Typefaces: Injurial (Sandrine Nugue, 205TF); Arizona Sans (Dinamo)
Graphic Design: LG–HM (Luke Gould and Hannah Montague)
—
#typedesign #font #creative #graphicdesign #designinspiration #designer #typeface #typedesigner #design #graphicdesigner #type #typefacedesign #typography #graphic #205tf #sandrinenugue #injurial @sndrnng @lukegould.studio @studio_h.m
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
New article: “What Went Into the Machine and What Came Out” by Tanguy Vanlaeys
In this article, Tanguy Vanlaeys revisits the genesis of Milling, a typeface developed at the intersection of typographic design and digital machining. Borrowing its title from type designer Matthew Carter, the text engages with a central question in type design history: what happens between a drawing and its reproduction.
With Milling, the focus goes beyond simply addressing technical constraints. The article explores how machining technologies, toolpaths, and single-line formats led the designer to redefine his type design methods and the way letterforms are conceived and produced.
Read it on 205.tf
Btw, the typeface used for the first slide and captions is Milling Mono (WIP).
—
#typography #graphicdesign #typedesign #typeface #article #205tf #tanguyvanlaeys #milling @cnc_type
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