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10 years ago: 1 person, 3 type families, no plan besides creating fonts.

Today: 50+ designers, 100+ families, 5000+ fonts, custom typefaces for H&M, FFF, BVB Dortmund and more — deployed in Latin, Cyrillic, Greek, Georgian, Japanese.

We just launched a completely rebuilt blazetype.eu and a new film that shows what Blaze Type actually is now. Thanks to our fam @uxoagency and their amazing team who made this happen

A lot happened in between. Some of it was scary (OVH fire, anyone?). Most of it was just work. The kind you do when you love what you're building.

Thank you to everyone who's been part of this — designers, clients, readers.

We are legion.

→ blazetype.eu

@qaninestudio video @leon.hugues @morula_type @sandro.bonomo @bigtype.co @fredsfonts @ines__dv @tim_van_hill_ @yann_esnault @nkh.otf @inaritype @giuseppe_tangaro @guidoferreyra @internetdevelopmentstudio @http.jimmyl.ee @antoniodelisiis @_bouk_ra_ @uxoagency @ducxcao @elsadrevous @hugojourdan @jad.otf @formal.settings @malohff @malouverlomme @simonhelmstetter @victormontet.eu @assmirnov @slanted_publishers @thebrandidentity

#TypeDesign #Typography #GraphicDesign #Font #BlazeType

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Très fier de pouvoir vous dire que "La création typographique" est enfin disponible en librairie.

Édité chez @pyramyd_editions Écrit par Matthieu Salvaggio, schémas par @leon.hugues Chapitre Italique par @morula_type

J'ai découvert le métier de dessinateur de caractère lors d'une conférence qui avait été donné pendant mes études et cela a été une véritable révélation pour moi, il fallait que j'en fasse mon métier. N'ayant pas la possibilité d'aller étudier dans des écoles spécialisées sur le sujet, j'ai du apprendre par moi même.

À l'époque il y avait peu de ressources en ligne sur le sujet technique et pratique. Des ouvrages théoriques oui bien entendu mais quelque chose de simple, "droit au but" qui proposait une méthode pour dessiner un a, un K ou un S? Pas du tout. Depuis on trouve plusieurs ouvrages, blog, articles, etc. sur le sujet.

Il me tenait à cœur de pouvoir humblement apporter ma pierre à l'édifice de l'apprentissage typographique. Ce livre c'est un peu le manuel que j'aurais rêvé d'avoir quand j'ai commencé ce chemin. Je l'ai voulu simple et aussi clair que possible. Léon et Valerio ont été d'une grande aide pour mettre cela en lumière et je les en remercie.

Ce manuel c'est 10 ans de pratique résumé en plus de 300 pages.

Chaque lettre pourrait faire l'office d'un ouvrage à part entière, dans ce livre on donne une méthode pour fabriquer des lettres. Il en existe d'autres bien entendu. Mais je pense que la manière dont les choses sont amenées ici permettront d'apprendre facilement.

Publier cela chez Pyramid Editions c'est aussi un clin d'œil à nos études, nous qui utilisions le "livre bleu" de Damien Gautier @editions_205 comme une bible. Merci à toute leur équipe qui a su faire vivre ce projet et lui donner naissance.

Photos par @igo.studio

https://pyramyd-editions.com/products/la-creation-typographique

324 pages
16 x 26 cm
Couverture souple, avec reliure Bodoni
978-2-35017-621-5
Parution 2025
Création graphique: @hicetnuncstudio

#typography #type #typedesign #fontdesign #typelovers #typecommunity #lettering #graphicdesign #bookstagram #designgraphique #editions #pyramydeditions #typographybook #madeinfrance

Type in use by @codeswitchpics
・・・
A #bookcover for the Thresholds of Existence by Jan Söffner. A question of what is real is no longer the no-brainer it once was.
Art direction: Michele Wetherbee @stanfordupress.design

Typeface: Area Inktrap by @blazetype #graphicdesign #academia #philosophy graphicdesigncommunity

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

🌷Amsterdam Serif is now on @blazetype 🌷
Variable font available in 18 styles.

Amsterdam Serif is a wood type revival from Brussels. It reinterprets the early 20th-century wood typeface with a calligraphic sensibility. Designed as a versatile workhorse, it balances historical roots with contemporary refinement, resulting in a typeface that is both robust and elegant.

This serif version marks the end of the Amsterdam family’s development !

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Fusion Grotesk in use by @olivergrace.studio’s refresh for @redheads.matches pulls forward the brand’s 60s and 70s designs, when Swiss Modernist thinking had filtered into its packaging.⁠
⁠
The Melbourne-based studio set the new wordmark in Fusion Grotesk from Blaze Type, chosen for the small grotesque quirks in its lowercase ‘l,’ ‘t’ and ‘a.’ Ms Redheads sits alongside it, simplified but unmistakable, her hair reintroduced as a flowing graphic that flickers across the lower half of every pack like a flame.⁠
⁠
A flexible grid holds the system together across formats as different as a slim box of long matches and a four-kilogram bag of charcoal – and absorbs the dense regulatory copy required, even the smallest matchbox.⁠

⁠
———⁠
⁠
CREDITS⁠
Design: @olivergrace.studio⁠
Brand: @redheads.matches⁠
Typography: Fusion by @blazetype

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Cant get enough of Balete available on blazetype.eu

@jad.otf Balete is a typeface evoked by the eerie structure of the native balete tree, infamous in Philippine folklore for being a dwelling place of supernatural beings. Characterized by dangling roots which the hemiepiphytic species uses to strangle and eventually consume its host tree victim, the letterforms feature creeping, slender terminals that emerge from twisting stems, wrought from the illusion of fluid calligraphy without the presence of a single curved line.

Get it now at blazetype.eu/typefaces/balete

#typeface #typography #typedesign #font filipino type63 filipinotype filipino baybayin philippines philippinenativetree balete

Have you marveled at a real-life balete tree yet?

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

Lyst is our latest release by @mkobuzan ❤️

💌 NEW RELEASE 💌 НОВИЙ РЕЛІЗ 💌

I am so excited to present to you my new typeface! Meet LYST! And now you can explore it with the incredible @blazetype 🫰

LYST is a condensed serif shaped by the visual culture of the late 20th century. Rather than reviving a single source, it captures the broader editorial atmosphere of the period — where corporate clarity met magazine sophistication. The initial spark came from a familiar sight: mechanically condensed Times New Roman in everyday print. Instead of treating that compression as a flaw, Lyst takes it as a subtle point of departure.

LYST includes 27 styles across a broad weight range, featuring Roman, true Italic, and Slanted cuts. The Slanted styles are set at a precise 10° angle and carefully adjusted to maintain visual balance. Their presence reflects the original conceptual premise: if mechanical compression can define proportion, mechanical inclination can define movement. An alternative stylistic set with Italic Forms allows users to replace the Roman or Slanted structures with upright italic constructions for a more expressive tone.

And of course, LYST comes with extended Latin and Ukrainian Cyrillic support.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

A selection of type foundries working across different contexts and approaches.

From @abcdinamo to @blazetype , @xyz_displaay , @pangram.pangram , and @fontsfromfolch , each one develops its own way of constructing and distributing type.

Different methods, shared focus on how letterforms work, how they are built, and how they are used.

Heureux de vous partager l’affiche réalisée pour le film « Le Train de Mana » @letraindemanafilm , un documentaire écrit et réalisé par Ophélie Carpentier @opheliecarpentier.oc .

Le film nous plonge dans l’atmosphère électrique du bourg de Mana, en Guyane, au moment du passage à la nouvelle année.

Design graphique par Benjamin Puddu @benjaminpuddu / @supersangplomb . Pour ce projet, nous avons utilisé la typographie Inferi de chez @blazetype . Un grand merci à la fonderie pour leur confiance.

ÉQUIPE TECHNIQUE :
Réalisation, Image & Montage : Ophélie Carpentier @opheliecarpentier.oc
Production : Marie-Clémence Paes — lateritproductions
Prise de son : Matthieu Tournemire
Montage son & Mixage : Titouan Martin @grotouan
Étalonnage : Hélène Robert @helenerobert_diapo

Le film a bénéficié du soutien de la Collectivité Territoriale de Guyane (Service Cinéma Audiovisuel) @ctdeguyane , de l’École du documentaire de Lussas @lussas.ecoledocumentaire , du GREC @grec_info , de Périphérie @peripherie_ , du Studio 34 et de La Clef Revival @laclefrevival .

Partenaires de création : Studio Actarus Marseille, Les films de la Villeneuve @les.films.de.la.villeneuve et le Centre d’art et de Recherche de Mana @che.carma .

Heureux de vous partager l’affiche réalisée pour le film « Le Train de Mana » @letraindemanafilm , un documentaire écrit et réalisé par Ophélie Carpentier @opheliecarpentier.oc .

Le film nous plonge dans l’atmosphère électrique du bourg de Mana, en Guyane, au moment du passage à la nouvelle année.

Design graphique par Benjamin Puddu @benjaminpuddu / @supersangplomb . Pour ce projet, nous avons utilisé la typographie Inferi de chez @blazetype . Un grand merci à la fonderie pour leur confiance.

ÉQUIPE TECHNIQUE :
Réalisation, Image & Montage : Ophélie Carpentier @opheliecarpentier.oc
Production : Marie-Clémence Paes — lateritproductions
Prise de son : Matthieu Tournemire
Montage son & Mixage : Titouan Martin @grotouan
Étalonnage : Hélène Robert @helenerobert_diapo

Le film a bénéficié du soutien de la Collectivité Territoriale de Guyane (Service Cinéma Audiovisuel) @ctdeguyane , de l’École du documentaire de Lussas @lussas.ecoledocumentaire , du GREC @grec_info , de Périphérie @peripherie_ , du Studio 34 et de La Clef Revival @laclefrevival .

Partenaires de création : Studio Actarus Marseille, Les films de la Villeneuve @les.films.de.la.villeneuve et le Centre d’art et de Recherche de Mana @che.carma .

Heureux de vous partager l’affiche réalisée pour le film « Le Train de Mana » @letraindemanafilm , un documentaire écrit et réalisé par Ophélie Carpentier @opheliecarpentier.oc .

Le film nous plonge dans l’atmosphère électrique du bourg de Mana, en Guyane, au moment du passage à la nouvelle année.

Design graphique par Benjamin Puddu @benjaminpuddu / @supersangplomb . Pour ce projet, nous avons utilisé la typographie Inferi de chez @blazetype . Un grand merci à la fonderie pour leur confiance.

ÉQUIPE TECHNIQUE :
Réalisation, Image & Montage : Ophélie Carpentier @opheliecarpentier.oc
Production : Marie-Clémence Paes — lateritproductions
Prise de son : Matthieu Tournemire
Montage son & Mixage : Titouan Martin @grotouan
Étalonnage : Hélène Robert @helenerobert_diapo

Le film a bénéficié du soutien de la Collectivité Territoriale de Guyane (Service Cinéma Audiovisuel) @ctdeguyane , de l’École du documentaire de Lussas @lussas.ecoledocumentaire , du GREC @grec_info , de Périphérie @peripherie_ , du Studio 34 et de La Clef Revival @laclefrevival .

Partenaires de création : Studio Actarus Marseille, Les films de la Villeneuve @les.films.de.la.villeneuve et le Centre d’art et de Recherche de Mana @che.carma .

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

@blazetype has rebuilt its website from the ground up after almost five years.⁠
⁠
The foundry lost its original site in the OVH data centre fire in 2021 – servers and backups were destroyed overnight. Founder Matthieu Salvaggio spent 72 sleepless hours on a Squarespace stopgap before quickly launching a replacement that the foundry then lived with for almost five years.⁠
⁠
The new blazetype.eu introduces a redesigned catalogue experience and a type pairing tool for experimenting with combinations across the foundry’s 100+ typeface families. In our interview, Salvaggio discusses what drove the rebuild, how he taught himself type design with no formal training, and why he curates the catalogue by feeling rather than strategy.⁠
⁠
———⁠
⁠
Read the interview at our link in bio.

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

BIG NEWS!

If you’re studying type design — this one’s for you.

We’re launching the Ignition Award: our annual scholarship for type design students worldwide. Five laureates selected each year. No ranking, no hierarchy — every winner is equal.

✦ €1,000 cash, unrestricted
✦ 6 months mentorship with our team
✦ Option to distribute on blazetype.eu (not mandatory)

You don’t need a commercial release. You don’t need to be at a famous school. You need a typeface worth showing and a clear point of view.

Open call: April 10 → July 31
All nationalities welcome.

https://blazetype.eu/ignition-award

Jury for this year : @paulinefourest @daytonamess.otf @typespecimint
@morula_type @leon.hugues Matthieu Salvaggio

#typedesign #typography #scholarshipalert #fontdesign #typographystudent blazetype

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign

While Yowza sprouted from a fascination with display typography, its expansion into text-focused versions became the project’s most rewarding challenge. The final system resulted in three distinct families: Display, Standard, and Text.

Available at @blazetype 🔥

#typeface #fontdesign #typedesign #typography #displaydesign