Francesco
Specimen
Francesco In Use
Hélène Marian together with Doc Levin redesigned the programs issued by the French National Renaissance Museum since 2014. They are all set with a colored (or reversed) Francesco, which turns out to be inspired by types cut in the Renaissance. The typography is very refined: alternates ‘a’ & ‘e’ are used (with open counterforms rather than obstructed ones). So are discretionary ligatures, oldstyle figures and the rarely seen fleurons. See more pictures on the websites of Hélène Marian and Doc Levin.
Francesco Regular
French National Renaissance Museum programsFrench studio Maison Solide designed this visual identity – and stamps! – for Murs à fleurs, a flower farm in Montreuil (France) that sells seasonal plants. A funny fact is: the material for the communication of the brand is bringing together the Trabis font, designed by Axel Pelletanche-Thévenart, and the Francesco font, designed by his former teacher, Franck Jalleau – reuniting two generations of typeface designers in one identity.
Francesco Regular
Murs à fleurs visual identity
Information
Design
Team
Version
1.002About this font
Franck Jalleau’s flexible and vigorous typeface is inspired by Venetian faces of the Renaissance, especially those cut by Francesco Griffo who lends it his name. Adopting old-style classicism and manual drawing, Francesco is soft and approachable without compromising readability.
Francesco is designed like no other contemporary typeface. With its obstructed counterforms (a, e), it evokes 15th-century prints. Yet this face isn’t mere pastiche; it is informed by traditional techniques. Just as punchcutters did by cutting letters from steel one by one, Jalleau gave each glyph, even similar ones, its own shape, bringing variety to the setting. Likewise, shapes such as serifs that are commonly replicated in current practice, are individually crafted, rendering a vibrant, lively text. Numerous ligatures and alternates further enhance titles and short texts.
Among Francesco’s historical sources is the famous Hypnerotomachia Poliphili printed in 1499 by Aldus Manutius, the greatest printer of the Renaissance. Jalleau carefully studied this mythic book of fine typography to inform his digital work. By learning from classical process, rather than simply replicating a look, Francesco is an unprecedented modern manifestation of the Renaissance.
Formats
Static (OTF, TTF, WOFF, WOFF2)Language support
Abaza, 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, Belarusian, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Bulgarian, Candoshi-Shapra, Caquinte, 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, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Erzya, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Galician, Ganda, 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, Karachay-Balkar, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kituba (DRC), Kongo, Konzo, Kuanyama, Kumyk, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Macedonian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Modern Greek, Mohawk, Moksha, Montenegrin, Munsee, Murrinh-Patha, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nogai, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Orma, Oroqen, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pohnpeian, Polish, Portuguese, Potawatomi, Quechua, Romanian, Romansh, Rotokas, Rundi, Russian, Rusyn, 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), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tzeltal, Tzotzil, Uab Meto, Ukrainian, 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, Zulu, Záparo
About the designers
Franck Jalleau
Designer
Franck Jalleau is a type designer, calligrapher, and stonecutter. A former student of the Scriptorium de Toulouse, and ANCT (Atelier National de Création Typographique), he is a type designer at the French Imprimerie nationale, where he develops a program of exclusive typefaces since 1990. He teaches at École Estienne in Paris.
Glyphs
OpenType Features
Capital Spacing
UPPERCASE
offCase-Sensitive Forms
[CASE-SENSITIVE] !¡?¿-–—()[]{}‹›«»·
offSmall Capitals
Small Capitals
offSmall Capitals From Capitals
SMALL CAPITALS
offStandard Ligatures
fichier flicker affliger
offDiscretionary Ligatures
Thesaurus ct st sp
offHistorical Forms
History
offSlashed Zero
0123456789
offLining Figures
H0123456789
offTabular Figures
H0123456789
offProportional Figures
H0123456789
offOldstyle Figures
H0123456789
offSuperscript
H012345679
offScientific Inferiors
H012345679
offNumerators
H012345679
offDenominators
H012345679
offFractions
1/4 1/2 3/4
offOrdinals
2a 2o No.
offOrnaments
+ − ± × ÷ = < >
offStylistic Set 1
another animal
offStylistic Set 2
another animal
offStylistic Set 3
a b c d e f g h i j k l m n
offStylistic Alternates
a b c d e f g h i j k l m n
offStylistic Set 4
π θ φ
offPair well with Francesco
Francesco Regular Stratos ExtraLightUseful type with an edge.
Creates versatile, expressive, and functional fonts
Francesco Regular Proto Slab LightUseful type with an edge.
Creates versatile, expressive, and functional fonts
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