A manufacturer of writing instrument needs its own typeface.
Collaboration with Anthony Franklin, Design Director, and Matteo Venet, for Base Design Geneva.
© All the pictures of the typeface shown here in situation are provided by courtesy of Base Design Geneva.
The Caran d’Ache font family covers a wide range of uses, with its Serif and Sans cuts available in many weights. The sensitivity of writing and humanistic feeling has been turned into typographic stabilised forms. The Serif cuts are highly legible with their traditional forms, low contrast, and a distinctive small x-height which makes it particularly ‘bookish’. The italics are of fifteenth-century Aldine feeling: slight angle, smooth rhythm, soberness. In Sans, the typeface keeps the humanistic style of the Serif cuts throughout four weights, from Light to Black. Discreet swashes can be seen at the end of some letters, as well as many ‘natural’ ligature one would do when writing by hand. The whole family includes accents for all European languages using Latin script, superiors, inferiors, precomposed roman numerals and, for the upright cuts, small capitals. An ‘Office’ version has also been made for the everyday use of the brand.
Throughout its 8 Sans and 4 Serif styles, the Caran d’Ache family contains 12 styles, 9242 characters, more than 120,000 vector anchor points.
Several ampersands are available.
Some alternate forms appears automatically when a product of the brand is composed.
The logotype of Caran d’Ache has been redesigned as well, bringing the essence of its predecessor into a contemporary feeling.