Synthese
Specimen
Synthese In Use
Penninghen is a private school of art direction and interior design located in the center of Paris. The school is situated in the former building of the Académie Julian, created in 1868, where famous artists such as Félix Vallotton, Henri Matisse, or Marcel Duchamp studied painting. Interested by this legacy, Jacques d’Andon and Penninghen created a new school in this location in 1958. This, through different names changes, led to the current Penninghen school – which makes it one of the oldest private schools still in operation. The last name change to Penninghen, without any addition like “school” or an acronym, was accompanied by a change in identity conceived by Etienne Robial and developed by Jules Banide. The identity is built around a logotype by Robial set in Synthese from Production Type, designed by Gilles Poplin and Jean-Baptiste Levée. The different weights of Synthèse are combined in the same word in order to give an idea of motion, as if the letters were flashing, and as if the actual logotype was only a snapshot or a still image in this dynamic. This evokes the energy of an art school and the processes of creation at work: a continuous experimentation that takes inspiration from different places, to finally create a whole. Jules Banide elaborates on the concept: Using a different weight for each letter depicts diversity and multidisciplinary teaching. Furthermore, the nine lowercase letters embody the school’s teachers and all their different courses and fields of expertise. They are placed around the bold central letter i, representing the student and the organisation around each. The mobility expressed by the logotype is also made visible through the conception of animated posters for web and social media: this gives life to printed matter and adapts the contents smartly to the possibilities of screen. As most of the research and documentation process about schools are made through the internet, it is therefore relevant to question such traditionally printed objects and make them sensually accessible as much on screen as on paper. Synthese has also the quality of being a versatile font with the rigor of emblematic sans-serif typefaces such as Univers, with a relative “neutrality”. This makes it ideal for signs inside the school, as much as for publications and text on screen: optimized for digital display, the typeface reveals all its facets in this identity.
Synthese Bold
Penninghen schoolSince 2013, Lyon Metropolis and the City of Lyon, France, have initiated a renovation project of the area of the Lyon Part-Dieu train station. Initially designed and constructed in order to welcome 35,000 passengers per day, the train station is now the primary European connecting station, with 125,000 travelers each day. This change in density required an architectural restructuration of the station, as well as a new wayfinding system to regulate the flux of passengers. The whole project is carried out by urban planning and architecture studio AUC Paris. For the graphic design, they reached out to studio Encore, led by Quentin Brachet. Encore designed three different types of signs for the wayfinding. First, metal signs directly embedded in the ground of the station. These level with the surrounding stone slabs, and at the same time stand out through the change of material. Then, sign posts with the indication of places put vertically; and finally, bigger poles including maps and directions. For all these supports, Encore chose to work with Synthese, designed by Gilles Poplin and Jean-Baptiste Levée from Production Type. Synthese combines different aspects of famous sans serifs from the 20th century, making it an Univers-like typeface from our time. However, its design is rounder and shows more personality than its predecessors: it is more welcoming, less impersonal, and thus more adapted to the design problems of our time, where the density of population paradoxically makes people lonelier. See also Synthese in use for the Lyon Part-Dieu business area.
Synthese Bold
Lyon Part-Dieu train station
Information
Design
Team
Version
2.002Awards & distinctions
About this font
The Synthese project combines various influences from landmark sans serifs of the 20th century into a unique typeface family. Equally functional in screen interfaces as in signage, the family also features all the tools necessary for demanding publication design. At first sight, Synthese imbues a basic, almost blatant solidity and strength, but that feeling is soon tempered by gentle curves and subtle detail. This rational and rigorous approach to its shaping produces a neutral yet welcoming voice.
The Ultra weight is a departure. This very dark series reveals its full potential in display sizes, whilst other cuts, including Light, will perform well at all sizes. It represents an “exercise in style”, questioning concepts of blackness and extremes in typeface design. In its alternate glyphs one can find German, Anglo-saxon, and even Latin influences. Following Grotesk custom, Synthese does not have italics but obliques. The alternate shapes of ‘a’, ‘g’, and ‘l’, available in both upright and oblique styles, offer choice of personality.
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, 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, 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, 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, Manx, Maore Comorian, Maori, Mapudungun, 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, Orma, Oroqen, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pohnpeian, Polish, Portuguese, Potawatomi, 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), 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, Zulu, Záparo
About the designers
Gilles Poplin
Designer
Gilles Poplin is an art director and graphic designer, with a strong background in broadcast design. He currently serves as director of the Penninghen design school in Paris.Jean-Baptiste Levée is a type designer with a strong focus on corporate and bespoke typefaces.
Jean-Baptiste Levée
CEO, founder
Jean-Baptiste Levée (1981) has designed over a hundred typefaces for industry, moving pictures, fashion and media. He is the founder of the independent foundry Production Type.
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
offOldstyle Figures
H0123456789
offProportional Figures
H0123456789
offTabular Figures
H0123456789
offSuperscript
H012345679
offScientific Inferiors
H012345679
offNumerators
H012345679
offDenominators
H012345679
offFractions
1/4 1/2 3/4
offOrdinals
2a 2o No.
offOrnaments
abcdefghijklmnopqrstuvwxy
offStylistic Set 1
abcdefghijklmnopqrstuvwxy
offStylistic Set 2
Jolly Jumper
offStylistic Set 3
BOOGIE WOOGIE
offStylistic Set 4
NASDAQ
offStylistic Set 5
Walter
offStylistic Set 6
alphabetica
offStylistic Set 7
cactus attack
offStylistic Set 8
big guy, tough guy
offStylistic Set 9
long lick lollipop
offStylistic Set 10
agl
offPair well with Synthese
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Synthese Ultra Proto Slab ExtraLightUseful type with an edge.
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Synthese Regular Gothic Lab Gecko LDUseful type with an edge.
Creates versatile, expressive, and functional fonts
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