Fontlog

Here is a journal of the changes added to all of typefaces. Our typefaces are open-source. As such, they are modified over the time and you can see here the different major versions they went by and the people working on these versions. You also can have access to the older versions of the files if you are a nostalgic person.

      • The 2.1 version of Backout presents improved spacing and kerning, some new ligatures and some subtle optical adjustments.

      • 5 October 2022
      • A bit more than a year after its original release, Keussel adds a new sharp thinner weight to the pre-existing soft bold weight of Basteleur. Welcome Basteleur Moonlight!!!

      • Ukrainian design Maksym Kobuzan added the Cyrillic to Pilowlava, allowing speakers of Russian, Bulgarian, Ukrainian and Serbian languages to play with the typeface. The unicase approach of Pilowlava particularly suits the Cyrillic script and Maksym made a good use of his playful mind to offer a truly original Cyrillic.

      • After discovering Ange Degheest’s archives at the Rennes School of Fine Arts, we decided to put together an exhibition that attempted to finally give the designer the full recognition she deserves. In this exhibition, visitors learnt about Degheest’s life story and professional achievements, and discovered many original archival documents that had never previously been presented to the public. In addition to this historical research, we revived some of Ange Degheest’s most remarkable typefaces and lettering work, which are now available in digital format under an Open Source license on Velvetyne Type Foundry’s website.

      • Initial version of Façade as released on the Velvetyne website. It was started in 2020 during the 4th year Visual Graphic Design course of ÉSAD Orléans, then expanded during 2021 for the release on Velvetyne.

      • Outward V1.0 Outward is a display font family coming in three cuts: Block (regular), Round (italic) and Borders (bold). Outward Block was initially designed in capitals only with the intent of getting rid of white spaces to reach a black type color, as opposed to the ideal grey sought after by typographers. The extended set of characters and families was developped following this root.

      • Vincent Wagner of Studio Brot created a 3D model for a wide selection of latin glyphs of the Pilowlava font! Note that this work is not like a simple automatic extrusion. Vincent carefully sculpted every glyph, achieving the rounder and puffier rendering you could get. Note how the z-thickness of the strokes is not uniform, increasing and decreasing with the width of the strokes, but not linearly. The achieved effect is such as the one you would get by bending a metal tube. This work brings Pilowlava into the haptic world.

        Those 3D glyphs have been modeled for subdivision. Each single glyph is made from 76 to 786 polygons. This work is released under the Free Art License, meaning that it's freely usable for any personal or commercial use as long as you credit its author, and modifiable as long as you share the modifications under the same license.

        Files are available under the .blend .c4d .fbx and .obj formats.

      • This is the long waited version 1.0 of Cantique by Sébastien Hayez with some decisive contributions from Ariel Martín Pérez. Cantique is the fruit of years of work and has had different faces which we will show in a dedicated blog post soon.

      • 12 August 2020
      • The 2019 update of Ouroboros, called Protean, contains several new features. The font now fully supports Vietnamese. It also has a basic Cyrillic set, with additional Ukrainian, Serbian and Macedonian support, and some historical forms (as suggested by Cyrillic users). The alchemical set has been completed and fully reviewed for improved contrast, proportions and kerning. Some other symbols have been added, such as a full zodiac set. Spacing and kerning has been improved, making it subtly more relaxed. More than one hundred ligatures have been set as default (they were previously discretionary ligatures), making Ouroboros more versatile and changing than ever.

      • This first version of Typefesse is made of 3 styles with a minimal character set. Future releases will expand the character set ( with emojis? symbols?) and explore other styles.

      • BackOut 2.0 (code name: Abomey) was created by Ariel Martín Pérez during the very hot summer of 2019. The 2.0 version of BackOut is a faithful review of Frank's original with improved spacing and kerning, corrected contrast, new lowercase letters and extended language support and functionalities.

      • Alex Slobzheninov added a carefully designed Cyrillic set to the basic latin set already supported by the typeface. This addition was awarded one of the best Cyrillic typefaces of 2019 by the Modern Cyrillic Award.

        In this version, Jérémy chose to make the numbers aligned by default. The other set of old style numerals can be accessed with the corresponding opentype feature.

      • TINY 5x3 first version comes as a variable font with a size axis to modify dot size from 0—300, as well as 15 separate instances (each increasing the dot size by 20 units). Future releases will include more widths (up to at least 5x13) and variable axes.

      • First release of the family with a common effort on each style. Later update might not be on the whole family.

      • 3 October 2018
      • This is the version of the font that has be commissioned by and delivered to Agence Murmure for them to use for their identity and website. It has been created between the summer and fall of the year of 2017.

      • Combat comes from an early XXth century anarchist newspaper published in Limoges, France, called "Le combat social". Only the 10 letters of the title were created for printing. 100 years later, the font exists on its own.

      • Terminal Grotesque is a font that I started in December 2010 while working for a game project, on a pixel font called Modulicon. The characters of Modulicon are not alpha-numeric but a series of icons designed to be displayed in small sizes. After some time spent completing this font, working with pixels made me want to start another drawing that could be used for titles within higher sizes. This side project, was given the temporary name of Junkette and then became Terminal Grotesque: a pixel font inspired by Paul Renner's Futura and some features of Radim Peško's grotesque drawings.

        The first versions of Terminal Grotesque were designed using the online app Fontstruct. Later, the project migrated to the open source software Fontforge.