Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context.

Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions.

Audace typeface family

The typeface family comprising 5 weights + one italic. The glyph set follow Typofonderie scheme: large glyph set including small caps, full latin language support, superiors, alternates, dingbats and so on. OpenType features includes: Fancy stylistic set, formal stylistic set and many others. The idea was to provide graphic designers and art directors different nuances, creating atmospheres adapted to their needs as users of Audace.

• Audace, between geometry and shapes inspired by nature