The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used.

Details of Ysans drawings

Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases.

The Ysans, a typeface between diversity and synthesis

There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.”

The Ysans typeface family

Declined in many weights, Roman and Italic, it offers very delicate styles, such as thin, extra light which set in tight spacing will bring a unique personality to the headlines of fashion magazines and more generally visual identity. The OpenType features for the pointed endings of A, V, N … the variant of a “Futura” will again affirm its radicality in large sizes. Each style of Ysans has two sets of punctuations: the basic punctuation and a set of thin punctuations particularly suited to headlines. The strongest weights, such as extra bold, heavy, black, will boost ads layout, like the Futura Condensed Extra Bold used by Nike successfully in the 1980s. Finally, in normal weights, Ysans’ readability will make this typeface a good tool for text setting in exhibition catalogs or annual reports.

Cherry on the cake: Ysans Mondrian

Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family, allowing the colouring of your headlines. Each layer can be used separately or in addition to the others, this subfamily of Ysans is offered in free version (Desktop license only) with a reduced glyphs set but already sufficient for day to day uses.

• Ysans, fashion style meets typography