РУEN
type.today
2 families,
2020

Tesseract Collection

Production Type, Jean-Baptiste Levée, Marion Sendral

  • Desktop
    $700
  • Web
    $700
  • App
    $1,050
New
Tesseract10 styles
from $83
72px
Tesseract
Regular
Вместе получается: «Неделима наша доля. Наша ноша нелегка».Вместе получается: «Неделима наша доля. Наша ноша нелегка».
24px
Tesseract
Italic
Der Herausgeber versprach, sein Bestes zu tun für den schriftstellerischen Kollegen. Etwas verwunderlich wollt es ihm nun wohl bedünken, als sein Freund ihm gestand, daß das Manuskript von einem Kater, Murr geheißen, herrühre, und dessen Lebensansichten enthalte; das Wort war jedoch gegeben, und da der Eingang der Historie ihm ziemlich gut stilisiert schien, so lief er sofort, mit dem Manuskript in der Tasche.Der Herausgeber versprach, sein Bestes zu tun für den schriftstellerischen Kollegen. Etwas verwunderlich wollt es ihm nun wohl bedünken, als sein Freund ihm gestand, daß das Manuskript von einem Kater, Murr geheißen, herrühre, und dessen Lebensansichten enthalte; das Wort war jedoch gegeben, und da der Eingang der Historie ihm ziemlich gut stilisiert schien, so lief er sofort, mit dem Manuskript in der Tasche.
New
Tesseract Display10 styles
from $83
72px
Tesseract Display
Regular
А это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мнойА это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мной
24px
Tesseract Display
Italic
Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.
About

Crisp and serrated, Tesseract is a study in modernity and restraint. As Tesseract plunged into classical references, it earned its contemporaneity through whetted endings and constrained curves, lending a focused aspect to texts and titles. With optical sizes for text and a display, Tesseract shimmers across media. The Display size plays the wide aperture and x-height card, with chiseled terminals and see-through counterspace. The Text size is quieter, with a firm and sturdy structure for immersive reading. The matching italics dance a vibrant staccato and complete the family. The crucible for Tesseract is made of many; and not unlike Walt Whitman’s multitudes, it contains paradoxes. Where round turns give affability and amplitude to the design, abrupt endings and spiky details grant some grave austerity to an otherwise delicate design. For adventurous users, Tesseract contains multiple dimensions. Dive in.

Features

Standard ligatures, case sensitive forms, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, ten stylistic sets

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Norwegian, Polish, Portuguese, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Production Type

Based in Paris, Production Type is a digital type design agency founded in 2014 by Jean-Baptiste Levée. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors. Production Type’s collection is well known for gathering talented and innovative designers, and strives to release contemporary, unique typefaces for demanding designers. Through numerous awards (D&AD, Type Directors Club, Tokyo TDC…), the agency has also been acclaimed for its projects for Renault, Vanity Fair or Courrèges.

Jean-Baptiste Levée

Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. He manufactures functional, yet versatile digital platforms for designers to build upon.

Levée has designed over a hundred typefaces for industry, moving pictures, fashion and media. He is the founder of the independent foundry Production Type, and a partner in tech startup Prototypo. His work has won multiple awards and has been shown internationally in group and solo shows. It is featured in the permanent collections of the French national library (BnF), the Decorative Arts museum of Paris and the National Center of arts (Cnap); of the Newberry Library in Chicago, and several printing museums in Europe. He is a board member at ATypI (Association Typographique Internationale) and consults as a design expert advisor for the French Public Investment Bank (BPI) where he is contributing to the spread of design in innovative businesses.

Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design and at the University of Corte. He is a typography columnist and editor on Pointypo.com.

Marion Sendral

Marion Sendral graduated from École Estienne in 2016, specializing in ”Design Typographique.” She works with Production Type since 2019. She has co-developed such fonts as WNBA Typeface, Kessler, Signal, and Tesseract.

Font in use