Mencken: An American Scotch typeface remixed à la française in 63 styles

An American Scotch typeface remixed à la française by Jean Francois Porchez

Mencken is a new Typofonderie typeface. The new typeface has sixty-three styles, divided into three widths, three optical sizes, romans, italics, borders and dingbats. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, the Mencken Text is a low-contrast transitional type designed on an oblique axis, asserting horizontal, featuring open counters. On the other side of the spectrum, the Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style.

Aurélien Vret, a multidisciplinary type designer

Interview Aurélien Vret Prosaic

Aurélien Vret is an artist who, for the first time, publishes a typeface. His approach is not usual, it does not fit into the usual patterns of the type designer, graphic designer in parallel. In fact, it seemed interesting to understand his background and to understand the interaction of his different activities. He published Prosaic with Typofonderie in 2017 after a few years of hard work on this project.

Prosaic: A Postmodern vernacular sanserif by Aurélien Vret

Prosaic: A Postmodern vernacular sanserif by Aurélien Vret

Welcome to Prosaic, a new typeface designed by Aurélien Vret. Prosaic is radical, because it comes from a long artistic reflection of its designer, also a multidisciplinary artist. The Prosaic is also a dual tone typeface because it knows how to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Read more about Prosaic, a Postmodern typographic tribute to the french vernacular signs.

Parisine: Introducing narrow and compressed families

Parisine: Narrow and Compressed families by Jean Francois Porchez

We are pleased to announce the publication of Parisine Narrow and Parisine Compressed! Parisine was born as the parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris as the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily uses: ultra-readable, friendly, human while the context is a priori hostile.