Ambroise
Designed by Jean François Porchez

Collections
Collection | Purchase |
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Ambroise 4Weights – Regular, Italic, Bold, Bold Italic
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Ambroise Family 14 fonts
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Ambroise Firmin Family 7 fonts
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Ambroise François Family 7 fonts
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Ambroise Full Family 28 fonts
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Ambroise Full Family Try-out 28 fonts
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Styles
Style | Purchase |
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Ambroise Light
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Ambroise Light Italic
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Ambroise Regular
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Ambroise Italic
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Ambroise Demi
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Ambroise Demi Italic
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Ambroise Bold
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Ambroise Bold Italic
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Ambroise Extra Bold
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Ambroise Extra Bold Italic
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Ambroise Heavy
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Ambroise Heavy Italic
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Ambroise Black
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Ambroise Black Italic
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Ambroise Firmin Light
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Ambroise Firmin Regular
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Ambroise Firmin Demi
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Ambroise Firmin Bold
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Ambroise Firmin Extra Bold
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Ambroise Firmin Heavy
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Ambroise Firmin Black
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Ambroise François Light
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Ambroise François Regular
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Ambroise François Demi
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Ambroise Std François Bold Self-Hosted
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Ambroise François Bold
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Ambroise François Extra Bold
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Ambroise François Heavy
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Ambroise François Black
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Originally published in 2001, this brand new revision of Ambroise, — including new italics — has taken 15 years! Ambroise Pro now available in 28 fonts & 3 widths is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These unique glyphs are found in Gras Vibert, cut by Michel Vibert. Vibert was the appointed punchcutter of the Didot family during this period. It is the Heavy, whom sources were surest that Jean François Porchez has been used as the basis for the design of the typeface family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s. Obviously the characteristic shapes of g, k, y marking the Ambroise had to be accompanied by more conventional alternatives on the Ambroise Pro. This was achieved with the introduction of variants g, k, more acceptable in certain contexts and uses.
Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appears softer and less straight, particularly in larger sizes.
Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra-condensed is called Ambroise François. Generally, only one set of ornaments are designed for a type family. Each series features the same set of elements, and none of them are similar, they always follow the weight and width of the typeface reference. That way, the Ambroise vignettes and borders are capable of multiple variations. The result is a wonderful tool for the user, as the variations help to create different rhythms and colours to the layout.
→ Gazette: Ambroise Pro brought back to life: Fifteen years in the making!
PRO Open Type Features
Ligatures
Discretionary Ligatures
Small Caps
Case forms
Caps figures
Old Style Figures
Semi Oldstyle figures
Tabular Figures
Proportional Figures
Fractions
Numerators, Denominators
Ordinals/Superior Letters and figures
Contextual ligatures
Stylistic sets or Stylistic Alternates
Historical sorts