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

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.

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.

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.

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

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.

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 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.

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

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.

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

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.

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.

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.

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.