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.

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.

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.

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

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.

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.

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.

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.

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

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.

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

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

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.

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.

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.

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.