Karrik is rooted in vernacular typography. The weight disadjustments, the lack of optical corrections, the uneven width of the letters are some of the features of early sans serif typefaces that inspired us in this boundless “reinterpretation.” We kept these features noticeable at display font sizes — but with the constraint that the typeface remains legible at body copy size. A set of random, chaotic uppercase letters—accessible with the stylistic set “SS01”–has been added as tribute to the roots of Karrik; uneven garage letterings, nameless fonts of obscure and discontinued foundries.

Karrik by Jean-Baptiste Morizot, Lucas Le Bihan. Distributed by velvetyne.fr

Mourier is a geometric alphabet designed by Eric Mourier in 1971 following a strict set of rules. The font is based on a square of 7 x 7 units and made of unclosed lines. The first and only use of the lead-cast font was on the booklet 'The Myth about Bird B', a leporello design by Mourier and written by Knud Holten (a poet).

In 2002, Sébastien Hayez adapted the typeface as a digital font, with the approval of its original designer (thanks to him), which was afterwards published as part of the Velvetyne Type Foundry collection in 2011. Then, in 2020, Ukraininan designer Alex Ash (Alexander Kondratenko) proposed a Cyrillic alphabet expansion of the font, of which he had imagined the capitals. Ariel Martín Perez took this opportunity and developped lowercase letters for Latin and Cyrillic scripts (with feedback from Alex Ash for the Cyrillic), added diacritics and symbols, mastered the font and also created several sets of alternates.

Mourier by Eric Mourier, with the contribution of Sébastien Hayez, Ariel Martín Pérez, Alexander Kondratenko. Distributed by velvetyne.fr.

BianZhiDai is a font inspired by shading characters in ASCII art and 编织袋 (woven plastic bag in Simple Chinese). BianZhiDai is good with colors, especially in combination with different fill/stroke colors. Try it, and play it. Besides, the whole font is modular based, so you can customize it in Glyphs any way you like.

Font created using Glyphr Studio by the students of ENSAD Paris at La Générale, with the help of the F/LOS foundry Velvetyne.

Creators: Pauline Cormault, Esther Michaud, Claire Mucchieli, Merlin Andreae, Raphaël Maman, Pedro Gomes-Cardoso, Juliette Nier, Gabrielle Meistretty, Damien Bauza.

Résistance by A collective. Distributed by velvetyne.fr

In 2022, Hato press invited Raphaël Bastide to do a publication part of the zine series. In a wish to revive the “fan” part of fanzine, Raphaël Bastide decided to pay tribute to Wikipedia, a surviving, precious, unequaled place on the open WWW. The 16 pages riso print zine shows the encyclopedia’s interface as a post-human vestige, an artifact invaded by biomorphic figures and spreading typography. Through the pages of the zine, the reader discovers how the graphic elements are spreading like mycelium, creating an ornamental graphic network.

The Fungal font is a close collaboration between Jérémy Landes and Raphaël Bastide, so the characters of the zine can grow and spread thanks to their variable design. Fungal is a fork of DejaVu Sans, a libre font, popular on Linux systems.

The hypæ of the mycelium growing from each glyphs can be controlled in their length (the Grow axis) and in their thickness (the Thickness axis) allowing to fine tune the density of the rhizome growing on the page and the legibility of the text in the same move.

Fungal by Raphaël Bastide, Jérémy Landes. Distributed by velvetyne.fr

Outward is a display font family coming in three cuts: Block (regular), Round (italic) and Borders (bold). Outward Block was initially designed in capitals only with the intent of getting rid of white spaces to reach a black type color, as opposed to the ideal grey sought after by typographers. The extended set of characters and families was developed following this root.

Outward by Raoul Audouin. Distributed by velvetyne.fr

Typefesse is a playful butt-shaped typeface in which the letters are rendered in such a way that the reading is done through the folds of the body.

The design of Typefesse is motivated by the surprising combination of two vocabularies, that of the body and that of the alphabet. The drawn alphabet reveals contortionist and playful creatures that either hide inside of it or that expose themselves to it. Is it the letter that defines the bodies' shapes, or is it the other way around? These creatures play with the viewer's gaze and fight against the lettershapes by disturbing their readability with their exuberance. The alphabet is laid bare and readers become spectator-voyeurs in spite of themselves. Typefesse is a typeface that generates a confusion between reading, seeing and spying. It's a titling font, although it has a surprising readability at small body sizes. Its three styles have been named in reference to the moon and its mysteries

Typefesse by Océane Juvin. Distributed by velvetyne.fr.

Pilowlava (sic) was born as an intuitive, fast-paced creative feedback loop in which its creators tried to surprise one another. The result is a typeface that recalls cooled lava flows drawn with a compass. Striving to please both of its parents, Pilowlava seeks a balance between viscous energy and controlled geometry. This geometric approach lies on the shoulders of researches conducted by Swiss designer Armin Hofmann in his Graphic Design Manual edited in 1965. The structures of its glyphs are mostly derived from hand-written dynamics, that feed from both calligraphic and graffiti references. All these sweet inconsistencies produce a vacillating, fluctuating typographic colour, embodied by the almost-mathematical tension of its curves. Under a hardened crust, Pilowlava awaits the smallest temperature rise to recover its viscosity. The alternate shapes of certain letters play out these thermic accidents and raise the temperature of the text.

It takes its name from lava pillows, a natural phenomenon that is produced when lava is expelled by an underwater volcano, or when the lava flows of an emerged volcano encounter a body of water. In contact with the water, the lava flow is so hot that it's coated in a glass film. As it isn't totally cooled down, it transforms into smooth pillows that continue to slowly grow. This way, lava creates tubes and viscous balls that pile up and shape one another, and then they aggregate in puffy clusters that can measure several meters.

Pilowlava by Anton Moglia, Jérémy Landes, with the contribution of Maksym Kobuzan. Distributed by velvetyne.fr.

Lineal is a Libre Family initiated by Frank Adebiaye and updated by the Velvetyne Team.

According to Frank, Lineal was originally inspired by the song called 2870 by Gérard Manset. It ended-up looking like a sort of Futura built with modules, without any optical corrections. Its first version was drawn in 2010 with FontForge 2.0. and published on Velvetyne on February 2011.

Since 2019, Anton Moglia worked on enhancing the character set, to fit his own needs (with Glyphs App). It was largely developed by Anton Moglia, who reviewed all the capitals, added lowercase letters and other symbols and gave it a more stable structure. He extended the family by adding weights, from Thin to Heavy and cleaned up the entire character set of superfluous curve points.

During 2023, Ariel Martín Pérez helped Anton Moglia publish this substantial update of Lineal, developing the character set for other languages and helping build the repository for publication. Ariel Martín Pérez expanded language support and improved spacing and kerning.

Lineal by Frank Adebiaye, with the contribution of Anton Moglia, Ariel Martín Pérez. Distributed by velvetyne.fr

Amdal is a Tifinagh typeface designed by Walid Bouchouchi - Akakir Studio. Tifinagh is the alphabet used to write Tamazight, a language common to several North African countries and an official language in Algeria and Morocco. This alphabet finds its origin in antiquity, it has long fallen into disrepair, and reintroduced thanks to the committed work of linguists and historians of the region.

Amdal is a titling font, born out of a lettering project for Korean fashion brand Merely Made, which was developing a collection inspired by the Sahara (North African desert) with the keyphrase “a better world”. From there began the development of a font with a limited glyphset intended to write a particular sentence. Then the rest of the glyphs followed until the glyphsets for Basic-IRCAM, Extended, Neo-Tifinagh and Touareg were completed.

“Amdal” means “World” in Tamazight (Berber language).

Amdal by Walid Bouchouchi. Distributed by velvetyne.fr

The TINY font family was originally created over the summer of 2018 as the visual identity for an experimental retail pop-up shop in Chinatown, New York City called “Today in New York”, or TINY for short. The shop was the result of an intern project at Verdes, a creative agency, between Jack Halten Fahnestock and Théïa Flynn, where they sold T-shirts and tote bags customized on the spot. TINY is based on the smallest type size (using only 5 of the 16 available print heads) of the HandJet EBS-250, the tool used in the shop for immediate printing on textiles. Its variable dot size comes from the HandJet’s adjustable ink output.

TINY 5x3 comes as a variable font with a size axis to modify dot size from 0—300, as well as 15 separate instances (each increasing the dot size by 20 units).

TINY by Jack Halten Fahnestock. Distributed by velvetyne.fr.

Avara is a libre transitional serif curveless type family. The placement of its nodes is exclusively based on a rough square grid. The original reason of this design choice was to facilitate collaboration on the font, and it now results in the radical and highly constrained shapes of this type family. It was started and first released in November 2011 by Raphaël Bastide; it has been updated since then and finally published here. It might be updated again in the future, tho. Maybe by you.

The Bold style was initiated by Raphaël Bastide and continued by Wei Huang and Lucas Le Bihan; the Bold Italic by Lucas Le Bihan; the Black was started by Walid Bouchouchi and Jérémy Landes, then it was boldened again and finished by Lucas Le Bihan.

Avara by Raphaël Bastide, with the contribution of Wei Huang, Lucas Le Bihan, Walid Bouchouchi, Jérémy Landes. Distributed by velvetyne.fr.

Format 1452 is a Din-like typeface built with modules, without any optical corrections.

Format 1452 by Frank Adebiaye, with the contribution of Anton Moglia. Distributed by velvetyne.fr.

CirrusCumulus was designed without using curves. it's made-up of different modules inspired by scientific diagrams. CirrusCumulus is also a hybridization of two styles: it has a lineal-style lowercase set, as well as a script-like uppercase set, while some glyphs adopt italic forms which produce unusual combinations, arabesques and ligatures. CirrusCumulus includes a large panel of characters that can be used to draw figures, shapes or patterns, a variable ligature system, and many non-binary and inclusive glyphs.

CirrusCumulus by Clara Sambot. Distributed by velvetyne.fr.

This typeface was designed with the Tarot de Marseille in mind. This led to a funny blend of medieval-ish and cooperblack-ish typeface. An anniversary update of June 2022 adds a lighter and sharper weight to the original bold and soft one.

The Basteleur Arcana represents a lot of things a designer can experience: new beginnings, having fun, crafting, but also a lack of confidence and having hard time to finish projects

Basteleur by Keussel. Distributed by velvetyne.fr.

Sans-serif, but with calligraphic influence and strong contrast, Trickster borrows shapes from Merovingian writing, Blackletters construction and contemporean drawing. Trickster is a display typeface in one bold weight. Its unusual shapes, tight spacing and various alternates allow designers to create quickly strong headlines and beautiful titling.

According to Wikipedia, in mythology, and in the study of folklore and religion, a trickster is a character in a story (god, goddess, spirit, man, woman, or anthropomorphic creature), which exhibits a great degree of intellect or secret knowledge, and which uses it to play tricks or otherwise disobey normal rules and conventional behaviour. So that's the origin of the name of this typeface.

Trickster by Jean-Baptiste Morizot. Distributed by velvetyne.fr.

The VG5000 takes its name from the homonymous computer manufactured by Phillips, released in 1984. Its video processor displays bitmap characters built in a common matrix of 8x10 dots. The modern VG5000 is built on a grid 4 times more detailed, allowing more freedom and imagination of curves, where there were only right angles. The superposition of the new drawing onto the starting matrix sometimes reveals unexpected mixtures. Some right angles have been deliberately preserved as vestiges of the first digital fonts, offering a hybrid final shape. One of the inherited features is the accents that are always placed at the same height, forcing some letters to crash. Many glyphs and pictograms complete the VG5000's original set, including references to VG5000 games and the history of emoji.

VG5000 by Justin Bihan. Distributed by velvetyne.fr.

Anthony is a typeface designed by Sun Young Oh and inspired by the artworks of British sculptor Anthony Caro. The form of this typeface comes from his sculptures that are leaning against each other.

The typeface is packed with alternates for most letters that are pseudo-randomly picked when you write some text.

Anthony by Sun Young Oh. Distributed by velvetyne.fr.

The Monaspace type system is a monospaced type superfamily with some modern tricks up its sleeve. It consists of five variable axis typefaces. Each one has a distinct voice, but they are all metrics-compatible with one another, allowing you to mix and match them for a more expressive typographical palette.

Paragon is a serif font family, a revival of the typeface designed in 1935 by Chauncey H. Griffith for Linotype. A set of characters intended to be printed in small size on newspapers and to remain legible despite poor quality printing. The Paragon was intended to be lighter in order to compensate for the over-inking of the newspapers during printing.

The a.c.r version was designed taking as its origins the work of Phil Baines on his 'You Can Read Me' type. It seeks to establish a border where the character resists machine reading (OCR) while being readable by humans on short texts.

Designed by Cédric Rossignol Brunet

Show information about hardware, BIOS, CPU and kernel version.

Gephi is the leading visualization and exploration software for all kinds of graphs and networks. The goal is to help data analysts to make hypothesis, intuitively discover patterns, isolate structure singularities or faults during data sourcing. It is a complementary tool to traditional statistics, as visual thinking with interactive interfaces is now recognized to facilitate reasoning.

Gephi is the leading visualization and exploration software for all kinds of graphs and networks. The goal is to help data analysts to make hypothesis, intuitively discover patterns, isolate structure singularities or faults during data sourcing. It is a complementary tool to traditional statistics, as visual thinking with interactive interfaces is now recognized to facilitate reasoning.

Ghostty is a terminal emulator that differentiates itself by being fast, feature-rich, and native. While there are many excellent terminal emulators available, they all force you to choose between speed, features, or native UIs. Ghostty provides all three.