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205tf
205TF
205TF is a French type foundry that brings together the work of independent typeface designers. New release: Alcalá Xtra by Damien Gautier
Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël
—
#typedesign #graphicdesign #typedesigner #designer #type #typeface #graphicdesigner #design #typefacedesign #font #typography #graphic #creative #designinspiration #205tf #federicoparra #exposure @federicoparrabarrios @indiamuel @clairemuel @lenamuel_photographe
Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël
—
#typedesign #graphicdesign #typedesigner #designer #type #typeface #graphicdesigner #design #typefacedesign #font #typography #graphic #creative #designinspiration #205tf #federicoparra #exposure @federicoparrabarrios @indiamuel @clairemuel @lenamuel_photographe
Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël
—
#typedesign #graphicdesign #typedesigner #designer #type #typeface #graphicdesigner #design #typefacedesign #font #typography #graphic #creative #designinspiration #205tf #federicoparra #exposure @federicoparrabarrios @indiamuel @clairemuel @lenamuel_photographe
Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël
—
#typedesign #graphicdesign #typedesigner #designer #type #typeface #graphicdesigner #design #typefacedesign #font #typography #graphic #creative #designinspiration #205tf #federicoparra #exposure @federicoparrabarrios @indiamuel @clairemuel @lenamuel_photographe
Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël
—
#typedesign #graphicdesign #typedesigner #designer #type #typeface #graphicdesigner #design #typefacedesign #font #typography #graphic #creative #designinspiration #205tf #federicoparra #exposure @federicoparrabarrios @indiamuel @clairemuel @lenamuel_photographe
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Case study: Plaak by Damien Gautier
Originally written for the first issue of our magazine Irregular, Damien Gautier offers an in-depth look at the creation process behind his Plaak typeface.
Inspired by the lettering found on French street nameplates, this typeface explores the overlooked diversity of these everyday alphabets through simple, robust, and highly functional forms.
Read it on 205.tf
—
#typography #graphicdesign #typedesign #typeface #article #205tf #damiengautier #plaak @damien_gautier_205
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART
—
#typedesigner #typedesign #designer #graphic #graphicdesigner #typefacedesign #identity #typeface #identitydesign #corporateidentity #type #designinspiration #creative #brandidentity #branding #graphicdesign #font #visualidentity #typography #design #205tf #romanseban #bertin @romanseban @part___no
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci
—
#typeface #design #editorial #designer #bookdesigner #type #designinspiration #book #bookdesign #creative #font #graphic #printedmatter #typefacedesign #typedesigner #typedesign #print #graphicdesign #editorialdesign #graphicdesigner #typography #205tf #clementletulleneyret #immortel @cltn_office @lisa_sturacci @manuella_editions @camille_de_toledo
Project: Galerie Les Étages
Typeface: Louize Display (Matthieu Cortat, 205TF)
Graphic Design: Studio fouinzanardi
—
#graphicdesign #graphic #designer #typedesigner #graphicdesigner #typefacedesign #typedesign #typography #creative #typeface #type #designinspiration #design #font #205tf #matthieucortat #louizedisplay @mcnonpareille @fouinzanardi
Project: Galerie Les Étages
Typeface: Louize Display (Matthieu Cortat, 205TF)
Graphic Design: Studio fouinzanardi
—
#graphicdesign #graphic #designer #typedesigner #graphicdesigner #typefacedesign #typedesign #typography #creative #typeface #type #designinspiration #design #font #205tf #matthieucortat #louizedisplay @mcnonpareille @fouinzanardi
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
—
#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
—
#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel
—
#graphicdesigner #designer #type #designinspiration #typeface #typography #typefacedesign #typedesign #typedesigner #graphic #creative #graphicdesign #design #font #205tf #federicoparra #exposure @federicoparrabarrios @knoppkniel
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
The images featured here come from the journal “Faire école… de la résilience”, designed by Éditions 205 and published in April 2026.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205 @editions_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
New Release: Alcalá Xtra by Damien Gautier
Alcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota Complutense), the first polyglot edition of the entire Bible, published in 1520.
Damien Gautier has developed this typeface over the long term. Initiated in 1995, the project reached a new stage in 2011 with the introduction of three styles—roman, italic, and bold. In 2018, a Display variant extending the original design—both robust and understated—for more assertive uses.
Since 2024, a new phase of development has been underway. In 2026, Alcalá Xtra is released in five styles.
Alcalá Xtra retains the family’s core qualities—robustness, clarity, and economy—while enhancing legibility at small and very small sizes through a more generous x-height. At the same point size, it appears noticeably larger than most text typefaces and offers an optimized balance between use of space and reading comfort. This makes it particularly well suited to editorial applications, especially in the press.
Rather than multiplying variants, Damien Gautier favors a structured family conceived as a set of complementary tools. Each style addresses specific demands of editorial design.
Two variants have been added to the original styles: Mono and Stencil.
The Mono version introduces a fixed width that accentuates the rhythm and distinctive features of the original design. It asserts a sharper personality and produces a typographic color that dialogues with the rest of the family.
The Stencil variant extends this text typeface to more demonstrative applications and a range of scales—from visual identity to signage—while preserving its essential characteristics.
In 2026, Alcalá and Alcalá Xtra form an extended family in which each member asserts its singularity while remaining cohesive as a whole.
—
#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #alcala #damiengautier #205tf @damien_gautier_205
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Livre(s). Graphisme en France 2026
Typefaces: Louize (Matthieu Cortat, 205TF); Venus Acier (Jonas A. Renaud); Hiragino (Jiyukobo Ltd)
Graphic Design: Sarah Fenrich
—
#typography #typefacedesign #designer #typedesign #font #graphic #designinspiration #graphicdesign #design #creative #typeface #typedesigner #type #graphicdesigner #205tf #matthieucortat #louize @mcnonpareille @sarahfrch @cnapfr
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: Festival Poesia no Centro [Poetry in the center festival]
Typefaces: Plaak (Damien Gautier, 205TF); FF More (FontFont); Acumin (Adobe)
Graphic Design: ALLES BLAU
Invited Artist: Mauro Restiffe
Pictures: Helena Wolfenson
—
#type #typography #typedesigner #typefacedesign #graphic #graphicdesign #creative #graphicdesigner #design #font #designer #typedesign #typeface #designinspiration #205tf #damiengautier #plaak @damien_gautier_205 @allesblau.studio
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Project: La commande artistique
Typeface: Muoto (Matthieu Cortat, 205TF)
Graphic Design: Fanette Mellier
—
#font #graphicdesign #creative #designer #typography #typeface #typedesigner #typefacedesign #type #typedesign #graphic #design #graphicdesigner #designinspiration #205tf #matthieucortat #muoto @mcnonpareille @fanettemellier
Ver Historias de Instagram en Secreto
El Instagram Story Viewer es una herramienta sencilla que te permite ver y guardar en secreto historias, videos, fotos o IGTV de Instagram. Con este servicio, puedes descargar contenido y disfrutarlo sin conexión cuando lo desees. Si encuentras algo interesante en Instagram que quieras revisar más tarde o si prefieres ver historias de forma anónima, nuestro visor es perfecto para ti. Anonstories ofrece una excelente solución para mantener tu identidad oculta. Instagram lanzó la función de Historias en agosto de 2023, adoptada rápidamente por otras plataformas debido a su formato dinámico y temporal. Las Historias permiten a los usuarios compartir actualizaciones rápidas, como fotos, videos o selfies, mejoradas con texto, emojis o filtros, y son visibles por solo 24 horas. Este marco de tiempo limitado genera un alto compromiso en comparación con las publicaciones regulares. En el mundo actual, las Historias son una de las formas más populares de conectar y comunicarse en redes sociales. Sin embargo, al ver una Historia, el creador puede ver tu nombre en su lista de visualizaciones, lo cual puede ser una preocupación de privacidad. ¿Qué hacer si deseas explorar Historias sin ser detectado? Aquí es donde Anonstories resulta útil. Te permite ver contenido público de Instagram sin revelar tu identidad. Simplemente ingresa el nombre de usuario del perfil que te interesa, y la herramienta mostrará sus Historias más recientes. Funciones de Anonstories Viewer: - Navegación anónima: Mira Historias sin aparecer en la lista de visualizaciones. - Sin cuenta requerida: Ve contenido público sin necesidad de registrarte en Instagram. - Descarga de contenido: Guarda cualquier Historia directamente en tu dispositivo para usarla sin conexión. - Ver Destacados: Accede a Destacados de Instagram, incluso fuera del período de 24 horas. - Monitoreo de reposts: Rastrea reposts o niveles de compromiso en Historias de perfiles personales. Limitaciones: - Esta herramienta solo funciona con cuentas públicas; las cuentas privadas permanecen inaccesibles. Beneficios: - Amigable con la privacidad: Mira cualquier contenido de Instagram sin ser detectado. - Fácil y sencillo: Sin instalación de aplicaciones ni registro necesario. - Herramientas exclusivas: Descarga y gestiona contenido de formas que Instagram no ofrece.