A schoolbook version of the Work Sans font.

Stroke fonts with no contrast and capital letters only based on diverse pseudo-generic elements for multi-usages.

Sans Guilt MB: Based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX.

Sans Guilt DB: Based on early sketches by Eric Gill

Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop.

The Alfphabet family is based on the Belgian road signage lettering called ‘Alphabet’ in French and ‘Alfabet’ in Dutch.

A collection of fonts from OSP including; work-avec, sans-guilt, reglo, libertinage, fluxisch-else, din, crickx, belgica-belgika, alfphabet

Reglo is a font so tough that you can seriously mistreat it. The font was designed by Sebastien Sanfilippo in autumn 2009 and is used for Radio Panik identity.

Violet Sans finds harmony in disparate forms, at once sharp and aggressive it can retreat to being gentle and smooth, allowing for different expressions within a single weight and style. Initially designed as an all caps display face with generous counterforms and extended crossbars, this same personality has been extrapolated into the wider character set. As a nod to the long tradition of geometric sans serif typefaces, in particular Eurostile, Violet Sans has been developed for modern applications with a bit of experimentation and haphazard gestures built right in. For daily use, enjoy.

A soft monospace (or proportional!) variable font by Tyler Finck.

Sono was initially only monospace. Sono was released in 2020 and was named for its most obvious characterstics: soft, monospaced. It has a low cap height which I enjoy when typing with THE CAPS LOCK KEY TURNED ON. Sono has been constantly updated and in 2022 received an additional axis called mono which has corresponding proportional styles. Those styles are prefixed with the name “Sans” for the sake of brevity. The name Sono doesn’t make as much sense now, but changing it would upset a precarious balance in the universe. Ok maybe not that severe. But it’d be weird. This is also the final free font I intend to make in the foreseeable future.

Sono comes in static styles for desktop and web as well as a single variable font and has received several updates since its release in August of 2018. It is available on Github and on Google Fonts.

Use & Modify is a personal selection of beautiful, classy, punk, professional, incomplete, weird typefaces. Open source licences make them free to use and modify. This selection is the result of deep search and crushes. This selection is yours.

After discovering Ange Degheest’s archives at the Rennes School of Fine Arts, we decided to put together an exhibition that attempted to finally give the designer the full recognition she deserves. In this exhibition, visitors learnt about Degheest’s life story and professional achievements, and discovered many original archival documents that had never previously been presented to the public. In addition to this historical research, we revived some of Ange Degheest’s most remarkable typefaces and lettering work, which are now available in digital format.

To revive means: to resurrect, to reactivate, to renew; and in many ways our work consisted in a kind of resurrection. We had indeed to reactivate the memory of Ange Degheest by diving in her archives, by exhuming the story of a woman who lived through many ages and locations. Only once we had acquired a good grasp of her life story, were we able to revive her typefaces. Reviving her designs and distributing them widely, free of charge, is our way to honour Ange Degheest’s memory and to give them a new life in the 21st century.

Deheest is a project by Ange Degheest, Eugénie Bidaut, Oriane Charvieux, Mandy Elbé, Luna Delabre, Camille Depalle, Justine Herbel, May Jolivet and Benjamin Gomez, created in Atelier de création typographique from EESAB Rennes.

PicNic is an organic typeface inhabiting a cloud of contextual ligatures and inclusive ligatures, substituting for the midpoint automatically. They are designed mainly for French.

The shapes are inspired by the trajectory of a drop of water on an oilcloth, the shadows of the tree leaves on the fabric lying in the grass, the precise path that the ant takes to the watermelon. They attempt to translate the sensory experience of a picnic among friends.

This typeface will suit for all wild, poetic and bucolic explorers for their most adventurous excursions.

PicNic by Mariel Nils. Distributed by velvetyne.fr.

Lithops is a very display, very unique, very complex semi modular font. Uppercase only, it was originally hand drawn in Procreate, and then processed in Glyphs 3. Its name stems from succulent plants to which it bears a resemblance, and was (loosely) inspired by Art Nouveau, Alzheimer brains and Matisse cutouts. Lithops started in February 2021 as a spontaneous creative outlet and glyph drawing exercise. Though it may not be easy to use and is difficult to categorise, Lithops serves as an exploration of the future of type design, begging the question: how complex can a font be, all while staying cohesive, legible and aesthetically pleasing, and most importantly, fun?

Lithops by Anne-Dauphine Borione. Distributed by velvetyne.fr

Bright colored and blobby shaped patterns of the poison dart frog mixed together with the strangely formed muscles in Japanese woodcuts. Kaeru kaeru combines both inspirations in one typeface.

It was created in a seminar called 'Type – Inspiration elsewhere' led by Jérémy Landes at the HfG Karlsruhe. The idea of the seminar was, to take different inspirations out of nature and illustrations and try to combine them to one typeface.

Kaeru Kaeru by Isabel Motz. Distributed by velvetyne.fr.

Grotesk is one of Velvetyne's first published typefaces. Designed by Frank Adebiaye in 2010 and released on Velvetyne in 2012, Grotesk is a heavily geometric sans serif typeface with an unusually large spacing. The original version of Grotesk is known because it was used on the official website of the city of Paris for many years. Even if the city's visual identity has changed since then, the broken 'S' of Grotesk can still be seen in some of the technical vehicles of the city.

In 2023, a new version of Grotesk developed by Ariel Martín Pérez was released. This new version introduces new weights that are multiplexed, which means that you can change the weight of the font without changing the width of the paragraphs. This new version also presents some subtle optical corrections. Last but not least, it considerably expands the glyphset of the font with a brand new lowercase set as well as language support for Russian, Ukrainian, Tifinagh and many Latin-based languages.

You can use Grotesk to give a relaxed and elegant touch to your texts, its subtle art-déco flavour will enlighten any composition.

Grotesk by Frank Adebiaye, with the contribution of Ariel Martín Pérez. Distributed by velvetyne.fr.

A collection of fonts from Velvetyne including; Anthony, Avara, BackOut, Basteleur, CirrusCumulus, Compagnon, Façade, Grotesk, Jgs font, Kaeru Kaeru, Mourier, Ouroboros, PicNic, Pilowlava, TINY, Typefesse, VG5000, Mess, Format 1452, Trickster, Lithops, Lineal, Amdal, Gulax, BianZhiDai, Degheest, Fungal, Karrik, Le Murmure, Outward, Resistance, Sligoil.

Sligoil is a monospace typeface. It has been designed for the interface of the Unknown Number game, published by Godolphin Games. Sligoil is also the name of an evil fictional company within the game.

The Sligoil typeface has been influenced by the culture of the British isles (the work of Matthew Carter, of course, but also signs on Irish whiskey distilleries) and also by the letters on vintage Space Cadet keyboards (produced by the MIT). It presents wide language support for Latin-based European languages and a collection of symbols and alternate forms (including upright italic letters).

Sligoil by Ariel Martín Pérez. Distributed by velvetyne.fr

Font is something like a corporation. From outside, it is hard for us to see how it works and who is working in it. In metal type era, we were close to glyphs but today we never know how they feels about their treatment. Possibly, glyphs are holding a clandestine meeting at the deep inside of font file and plan a sabotage against users and type engineers. We don't know, but…

Mess by Tezzo Suzuki. Distributed by velvetyne.fr.

Jgs Font is a font family made as a tribute to Joan G. Stark (a.k.a. jgs, Spunk), pioneer of ASCII art.

This font has been specifically designed to draw ASCII art. Its bitmap look and its shapes accentuate the ambiguity between text and drawing. The 'graphic' properties of the characters have been exaggerated depending on the way ASCII artists use them.

The glyphs that make up Jgs Font can be combined from one character to the next in line or from one line to another. It allows, by association of characters, to produce continuous lines, curves, frames, patterns, levels of gray.

In order to be able to change body size while maintaining these pixel-perfect continuity effects, the family is available in three fonts.

Jgs5 for body text sizes that are a multiple of 10 : 10px, 20px, 30px etc. Jgs7 for body text sizes that are a multiple of 14 : 14px, 28px, 42px etc. Jgs9 for body text sizes that are a multiple of 18 : 18px, 36px, 54px etc.

For better results, the body size and the leading need to have exactly the same value and correspond to the multiples cited above.

Jgs font by Adel Faure. Distributed by velvetyne.fr.

Inspired by humanist typefaces such as Albertus, BackOut has a decidely African design. Its name comes from the eponymous song by Bob Marley and The Wailers.

The 2.0 version of BackOut is a faithful review of Frank's original with improved spacing and kerning, corrected contrast, new lowercase letters and extended language support and functionalities. In October 2022, the 2.1 version was released, with revised kerning and some minor modifications.

BackOut by Frank Adebiaye, with the contribution of Ariel Martín Pérez. Distributed by velvetyne.fr.

Façade is a typeface created from the architectural grid of the ÉSAD Orléans facade. This grid is used as a basis for the first sketches, then as a spirit for all the typefaces. The 'sud' (south) version is faithful to the architecture while the other weights are emancipated from it.

Façade by Éléonore Fines. Distributed by velvetyne.fr.

Used as a titling font, its height and the stability of its shapes lend it elegance, whilst details inspired by calligraphy and technique reveal all of Murmure’s notions of experimentation, research and creativity. Le Murmure is a typeface devoid of serifs which combines effectiveness, legibility and singularity. Its highly condensed proportions draw their inspiration from magazine titling fonts and add the editorial dimension the agency wished to endow their new identity with.

This typeface comes with many glyph variations, meaning alternate letters drawn in an even more original way. Here lies infinite potential which the users will take great delight in exploiting through a random opentype function.

Inga Plönnig's Magnet was a great influence on Le Murmure. If you like Le Murmure, you should defintely have a look at the broader family that Magnet has to offer.

Le Murmure by Jérémy Landes. Distributed by velvetyne.fr

Again another 'experimental' monolinear sans. Enjoy or not.

Gulax by Morgan Gilbert, with the contribution of Anton Moglia. Distributed by velvetyne.fr

Compagnon is a typeface family composed of five distinctive styles. It finds its inspiration in the online archives of Typewriter Database specimens and combines different periods of the history of typewriter typefaces. Each weight is based on singular references relating to significant periods aiming to underline the evolution of typewriter characters as they are called.

Compagnon by Juliette Duhé, Léa Pradine, Valentin Papon, Chloé Lozano, Sébastien Riollier. Distributed by velvetyne.fr.

The Ouroboros or uroborus is an ancient symbol depicting a serpent or dragon eating its own tail. Ouroboros is also a font for alchemists, witches, heretics, outsiders and curious people in general. It's inspired by early art-nouveau styles, which were sometimes used in relation with magical themes and symbolism, so it comes together with a set of alchemical and astronomical symbols.

Ouroboros by Ariel Martín Pérez, with the contribution of H·Alix Sanyas. Distributed by velvetyne.fr.