Skip to content

Styles

ExtraLightBuy from €95LightBuy from €95RegularBuy from €95BoldBuy from €95ExtraBoldBuy from €95

Specimen

Magnitude
Lights Atmosphere Polarize
White Green Orange Brown Red
Horizon Symbolism Organic
Cloud-free skies are indicative of fair weather for the near future
In astronomy, stellar classification is the classification of stars based on their spectral characteristics. Electromagnetic radiation from the star is analyzed by splitting it with a prism or diffraction grating into a spectrum exhibiting the rainbow of colors interspersed with spectral lines. Each line indicates a particular chemical element or molecule, with the line strength indicating the abundance of that element. The strengths of the different spectral lines vary mainly due to the temperature of the photosphere, although in some cases there are true abundance differences. The spectral class of a star is a short code primarily summarizing the ionization state, giving an objective measure of the photosphere's temperature.
The sky can turn a multitude of colors such as red, orange, purple, and yellow (especially near sunset or sunrise) when the light must travel a much longer path (or optical depth) through the atmosphere. Scattering effects also partially polarize light from the sky and are most pronounced at an angle 90° from the Sun. Scattered light from the horizon travels through as much as 38 times the air mass as does light from the zenith, causing a blue gradient looking vivid at the zenith and pale near the horizon. Red light is also scattered if there is enough air between the source and the observer, causing parts of the sky to change color as the Sun rises or sets. As the air mass nears infinity, scattered daylight appears whiter and whiter.
The fact that the Harvard classification of a star indicated its surface or photospheric temperature (or more precisely, its effective temperature) was not fully understood until after its development, though by the time the first Hertzsprung–Russell diagram was formulated (by 1914), this was generally suspected to be true. In the 1920s, the Indian physicist Meghnad Saha derived a theory of ionization by extending well-known ideas in physical chemistry pertaining to the dissociation of molecules to the ionization of atoms. His Saha ionisation equation allowed astronomers to accurately relate the spectral classes of stars to their actual temperatures.
sPeCtRaL
Retrograde Ultralight Heliocenter Starquake
NightSky
Since the dawn of time, humans have gazed upon the night sky, captivated by the beauty and mystery of the stars. These celestial bodies have long been a source of wonder and inspiration, and their symbolism has been woven into the fabric of human culture and mythology.
Declination 6h 59m 48.86s +23°37'05.5"
Stars have also been used as symbols of hope and guidance. The North Star, also known as Polaris, has long been a beacon for sailors and travelers, guiding them on their journeys. The star Sirius, the brightest star in the night sky, has been associated with spiritual enlightenment.
03h41m Cassiopeia
−30.7367° Scorpius
CLEAR

Information

Design

Léa Bruneau

Release Date

2025-10-22

Version

1.001

Awards & distinctions

Communication Arts 2026 - Award of excellence
Download PDF Specimen

About this font

Ciel: seen before read
Ciel opens with appearance, a visual tapestry where the outlines overspill the linguistic task. Ciel’s ornamental layer runs thick in three styles of interwoven capitals, knotted into dense monospaced squares.
Ciel sits at the border of word and image. Its regular text-capable set of faces oscillates between control and exuberance, where it can just whisper in weightless hairlines, or assert itself in saturated initials. These lean fully into spectacle: they are not only forms to be read, but stimuli to be seen: charged, graphic presences that transform the space into a stage. Both deciphering and admiring are to be found in Ciel’s interlacing. It is joyous, vivid, and flows smoothly. Ciel insists on being both serious type and ornament in excess.
In Ciel, the bones come from British copperplate pointed nib calligraphy, a structural stance deployed into a five-weight family. Ciel leans with a greatly restrained slant to better carve a sharp toccata word after word. Seemingly free-flowing and exuberant, Ciel can convey an orderly, elegant, and even a tad rigorous mood.
Creating contact
Ciel digs into the ornamental dimension of the calligraphic capital letter by giving more to see than to read: to the spectator-reader, it seeks to create a visual stimulus rather than delivering textual content. That is because in Ciel, the linguistic sign loses some arbitrariness, regaining iconicity; the letter becomes a signifying image through its form alone. This shift activates a semiotics of affect: the Ciel letter does not just transmit meaning, it captures attention, it creates contact. Each interlace becomes a morpheme in itself, expressive before it is functional.
“With Ciel, I wanted to discover where the process of complicating initially simple letters would take me, bringing them to the level of those that were already structurally complicated. All this in a calligraphy style that I particularly like, inspired by what is known as Copperplate calligraphy.” — Léa Bruneau, designer of Ciel.
A customary tendency in flourished letterforms, Ciel proposes a typography where the signifier dominates the signified. It also strives to belong to a tradition that understands writing not as a transparent carrier but as a material presence, or rather, a language of forms that can assert itself, complicate itself, knot itself, and still remain (somewhat) legible. The family’s insistence on monospaced capitals catalyzes this statement: every glyph is confined in the same box, creating an architecture of blocks and interlocks. Yet, within this constraint, complexity proliferates. Ciel asks: What happens when ornament is not decorative excess but the very condition of meaning?
Ciel in practice: Ornament as language
Ciel can move between registers. The base styles sustain graceful headlines, distinguished short paragraphs, or sober editorial design. The initials, in contrast, demand to dominate space — commanding drop caps, titles, posters, book covers, or even architectural inscriptions. They invite to imagine language as a pattern, and messages as a mosaic. Ciel is not a tool of neutrality; it is a system for those willing to let typography speak in its own voice: loud, ornamented, and decidedly visual.

Formats

Static (OTF, TTF, WOFF, WOFF2)

Language support

Acheron, Achinese, Acholi, Afar, Afrikaans, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Balinese, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamorro, Chavacano, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gagauz, Galician, Ganda, Garifuna, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kituba (DRC), Kongo, Konzo, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Mandjak, Mankanya, Manx, Maore Comorian, Maori, Mapudungun, Marshallese, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Ojitlán Chinantec, Orma, Oroqen, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Purepecha, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tonga (Zambia), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tzeltal, Tzotzil, Uab Meto, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zapotec, Zulu, Záparo

About the designers

  • Léa Bruneau

    Type Designer

    Léa Bruneau is a type designer who has perfected her skills in creating both functional text and intricate display typefaces.
    View full profile

Glyphs

Loading...
Loading...

OpenType Features

Production Type ships OpenType fonts with built-in features such as ligatures, alternates, or pictograms. Here are some of the most important features. To view a comprehensive list of features, please refer to the PDF specimen.

Case-Sensitive Forms

(BLUE-RAY) [B·4] ­

off

Discretionary Ligatures

Thunderstorm ­

off

Oldstyle Figures

0123456789 ­

off

Slashed Zero

20.5/30+60% ­

off

Ordinals

6a 8o No.25 ­

off

Fractions

1/5 3/4 20/100 ­

off

Numerators

Rn86 Mn25 Nh113 Ag47 ­

off

Denominators

Rn86 Mn25 Nh113 Ag47 ­

off

Scientific Inferiors

Rn86 Mn25 Nh113 Ag47 ­

off

Superscript

Rn86 Mn25 Nh113 Ag47 ­

off

Stylistic Set 1

012345678910 ­

off

Stylistic Set 2

012345678910 ­

off

Stylistic Set 3

<>+−×÷=± ­

off

Stylistic Set 4

abcdef ­

off

Contextual Alternates

While Slant Ubiquity ­

off

Pair well with Ciel

  • Ciel ExtraBold

    Mass of rock and cumulus heap.

    Europa Prima Bold

    Cloud-free skies are indicative of fair weather for the near future.

  • Ciel ExtraLight

    Mass of rock and cumulus heap.

    Image Future Thin

    Cloud-free skies are indicative of fair weather for the near future.

Recommended fonts

  • Enfantine Regular

    Hydrological cycle

    Enfantine

    4 styles

Discover the Ciel family

  • Ciel Initials

    3 styles: First, Second, Third

    • Subscribe to our newsletter and stay updated with our latest releases, discounts and news.

    Useful type with an edge.

    Useful type with an edge.

    Production Type provide retail as well as dedicated creative services in typeface design for brands.

    Based in Paris and Shanghai, Production Type is a digital type design agency. 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.
    Enquire about custom fonts