NotCourierSans is a re-interpretation of Nimbus Mono whose design began in Wroclaw at the occasion of the Libre Graphics Meeting 2008.

For more detailed information explore the files included in the font package (FONTLOG.txt) or go through the Font Info section (FONTLOG and Comment) in the font (open the font file in FontForge and go to Font Info in the Element menu).

A schoolbook version of the Work Sans font.

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.

The Libertinage font-set we developed for the FLOSS+Art book. It was built by copying and pasting parts of Linux Libertine glyphs or simply by all-turning glyphs. There are 27 variations, one for each letter of the Latin alphabet and the ‘Full’ version, containing all modifications.

The Publi Fluor shop was situated in the northern part of Brussels, Schaerbeek, and founded by the father of Madame Christelle Crickx who was a trained letter painter. Starting to cut letters with the rounded and skilled cardboard templates drawn by her father, Madame Crickx slowly morphs the shapes by analysing how typographic niceties confuse her non-trained clients and leads to bad letters placement. She progressively removes the optical compensation of rounded tops and bottoms, straightens sides, and attaches accents for less floating parts. Those moves add a very specific orientation to this otherwise quite common bold italic sans serif display typeface.

The first cut of OSP-DIN was drawn for the festival Cinema du réel 2009, when we were invited to work on a cartographic version of the programme. We drew the first cut of the open source DIN from grid based drawings similar to the original 1932 drawings of the DIN we saw during our investigative trip to Berlin in February 2008.

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.

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.

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

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

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

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

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.

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.

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

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.

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.

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

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.

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.

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