205TF

205TF TF, 2 letters that signify at the same time Type Foundry and Typographie Française (French Typograp

Project: OUTSIDE/INTypefaces: Dédale (Thomas Bouville, 205TF); Suisse International (Swiss Typefaces)Graphic Design: Stu...
03/06/2026

Project: OUTSIDE/IN
Typefaces: Dédale (Thomas Bouville, 205TF); Suisse International (Swiss Typefaces)
Graphic Design: Studio Loutsis — Andrew Burgess, Kellie Konapelsky, Nana Said, Taylor Loutsis, Alula Valdivia
Clients: Lyle Gallery, Hello Human
Photography: Jonathan Hoklo, Matthew Gordon Studio

Project: Nuit blanche des chercheur•es 2026Typefaces: Milling (Tanguy Vanlaeys, 205TF); Hubot SansGraphic Design: Corent...
01/06/2026

Project: Nuit blanche des chercheur•es 2026
Typefaces: Milling (Tanguy Vanlaeys, 205TF); Hubot Sans
Graphic Design: Corentin Vigneron & Paul Perretti - Minuit Studio

Project: Silences, Claire MuëlTypeface: Exposure (Federico Parra, 205TF)Graphic Design: India Muël Photos: Léna Muël—   ...
29/05/2026

Project: Silences, Claire Muël
Typeface: Exposure (Federico Parra, 205TF)
Graphic Design: India Muël
Photos: Léna Muël

27/05/2026

Case study: Plaak by Damien Gautier
https://www.205.tf/articles/plaak

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

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Project: BIT - Bergen Internasjonale TeaterTypefaces: Bertin (Roman Seban, 205TF); Neue HaasGraphic Design: PART        ...
25/05/2026

Project: BIT - Bergen Internasjonale Teater
Typefaces: Bertin (Roman Seban, 205TF); Neue Haas
Graphic Design: PART

Project: Camille de Toledo, Si Stefan Zweig pouvait parlerTypeface: Immortel (Clément Le Tulle-Neyret, 205TF)Graphic Des...
22/05/2026

Project: Camille de Toledo, Si Stefan Zweig pouvait parler
Typeface: Immortel (Clément Le Tulle-Neyret, 205TF)
Graphic Design: Lisa Sturacci

Project: Galerie Les ÉtagesTypeface: Louize Display (Matthieu Cortat, 205TF)Graphic Design: Studio fouinzanardi         ...
20/05/2026

Project: Galerie Les Étages
Typeface: Louize Display (Matthieu Cortat, 205TF)
Graphic Design: Studio fouinzanardi

Project: Skin Performance Dance FestivalTypefaces: Exposure (Federico Parra, 205TF); Articulat CFGraphic Design: Knopp+K...
18/05/2026

Project: Skin Performance Dance Festival
Typefaces: Exposure (Federico Parra, 205TF); Articulat CF
Graphic Design: Knopp+Kniel GmbH
Organizer: Tanzhaus Basel

New Release: Alcalá Xtra by Damien GautierAlcalá has its origins in the Complutensian Polyglot Bible (Biblia Políglota C...
15/05/2026

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.

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13/05/2026

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.

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