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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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

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.

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

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

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

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.

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.

Inkscape is a vector graphics editor. What sets Inkscape apart is its use of Scalable Vector Graphics (SVG), an XML-based W3C standard, as the native format.

Julia is a high-level, high-performance dynamic programming language for technical computing, with syntax that is familiar to users of other technical computing environments. It provides a sophisticated compiler, distributed parallel execution, numerical accuracy, and an extensive mathematical function library.

Julia is a high-level, high-performance dynamic programming language for technical computing, with syntax that is familiar to users of other technical computing environments. It provides a sophisticated compiler, distributed parallel execution, numerical accuracy, and an extensive mathematical function library.