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.

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.

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

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.

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.

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.

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.

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

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

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.

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.

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

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.

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.

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

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.

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

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

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.

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.

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.

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.

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.

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