Introducing Nespresso typeface

The bespoke Nespresso alphabet can be definited as geometric mono-linear typeface. Some of its details come from vernacular italian lettering style, when other elements are typical from Art-déco style. Nespresso use typical Italian vocabulary for its products, following the same path, Nespresso typeface aim is to strenghten Italian typographic style, even as a delicate, subtile homage to the home of the best coffee in the world.


Jean Mallon et le ductus

Jean Mallon est un paléographe qui a participé aux recherches qui ont abouties à la création du Peignot, créé par Cassandre pour la fonderie Deberny & Peignot. Peut-être encore plus que la pratique même de la calligraphie, le ductus est un point fondamental dans la compréhension des formes typographiques, du placement des empattements, de la suppression de certains d’entre-eux.


Not every typeface designers do that

There is a lot of images on the web, but rarely about a critical subject as typeface designer on a bed with his fiancée…


Illinois Illustrator 1011

For sure, it happen all the time. Even on the métro in Paris, all signs are set with such glyphs in every stations. Direction are much more clear with this text set everyday, at least the typeface is legible.


Language of angles, curve, shapes

“Angles, curves, shapes: the language of architecture is the language of art.”

This quote by Zaha Hadid apply so well to typography and just prove again the connection between the two fields in a sense like architecture, typography plays two roles at the same time.


Historical references in typeface design

Few weeks ago Thomas Jockin asked why in a good interaction at Dribbble.

I replied that the quality of typeface shapes will gain a lot by looking carefully to historical sources, even not their contemporary interpretation: So rather than looking (as example) at the beautiful Austin by Paul Barnes it can be better to review the sources such type specimen and books set by Richard Austin and John Bell.
The best way to find our way as typeface designer is to built our own unique history, roots, unique references, based on a melting pot of elements. Avoiding looking too deeply today typefaces is a fundamental attitude to keep a certain fresh eye and vision. References should be always indirect and built from an internal maturation.

Seattle 12: Seattle typeface workshop

Seattle workshop alphabets 2012

In 2009, when we’ve discussed the idea of this workshop planned middle for February 2012 with Karen Cheng, I never figured it out how this week in Seattle will be a great, from the first to the last minute. Organizing such thing is complex and take time. Karen accomplished a very good job!


Seattle 12: few images from the workshop

In February 2012, 21 students have worked hard to design five typefaces. Here after images from the workshop that I have conducted.

Seattle Typeworkshop 01
Seattle Typeworkshop 02
Seattle Typeworkshop 03
Seattle Typeworkshop 04
Seattle Typeworkshop 05

Lisez la suite...

Seattle 12: Bakery

Bakery 01

Typeface designed during a 5 days typeface design workshop in Seattle, at the University of Washington.


Seattle 12: Caswell

Caswell 01

Typeface designed during a 5 days typeface design workshop in Seattle, at the University of Washington.


Seattle 12: Dulce

Dulce 01

Typeface designed during a 5 days typeface design workshop in Seattle, at the University of Washington.


Seattle 12: Vetta

Vetta 01

Typeface designed during a 5 days typeface design workshop in Seattle, at the University of Washington.


Seattle 12: Rille

Rille 01

Typeface designed during a 5 days typeface design workshop in Seattle, at the University of Washington.



Fondateur de Typofonderie, directeur typographique chez ZeCraft, Jean François Porchez est l’un des pionniers de la typographie numérique. Transmetteur de savoir et découvreur de talents, le travail en équipe est au cœur de ses préoccupations. C’est aussi pour ces raisons qu’il a lancé TypeParis en 2015.



Typofonderie retail collection [+]

ZeCraft bespoke typefaces [+]



See Workshops and teaching.

Workshop: Type design: projetando letras, DiaTipo, São Paulo, Brazil. 12-2015.

Guest critic (typeface design): Type Critique com Pablo Cosgaya, Marcela Romero and Jean François Porchez, DiaTipo, São Paulo, Brazil. 12-2015.

Workshop: Jean François Porchez international guest, 6th Diplomado en Tipografía, Santiago, Chile. 08-2015.

Founder, Instructor: Type@Paris Paris, France. 06-07-2015.

Workshop: typeface design, Otis College, Los Angeles, United States. 06-2013.

Instructor: CooperType, Condensed program summer 2012, along with Stéphane Elbaz, at Cooper Union, New York, 06-07-2012.

Guest critic (typeface design): CooperType, Extended Program, at Cooper Union, New York, 02-2012.

Workshop: typeface design, Otis College, Los Angeles, United States. 02-2012. Guest critic of the Greg Lindy’s typeface design course.

Workshop: typeface design, University of Washington, Seattle, United States. In collaboration with Karen Cheng, 02-2012. Guest critic of the Karen Cheng’s typeface design course.

Typographic design master: Programme Director at École de communication visuelle, Paris. Organisation & teaching. Since 2012.

Workshop: typeface design, BITS, Bangkok, Thailand. 10-2010.

Workshop: typeface design, HEAD, Geneva, Switzerland. 05-2010.

Workshop: typeface design, ECV, École communication visuelle, Paris, France. 10-2009.

Workshop: typeface design, Ecal, Lausanne, Switzerland. 12-2005.

Visiting lecturer, MA typeface design. Reading University, United Kingdom. 2002-05.

Workshop: typeface design, American University of Dubai, AEU, 12-2004.

Professor for typeface design, École nationale supérieure des arts décoratifs, Paris, France. 1997-2004.

Workshop: typeface design, Uqam, Montréal, Canada. 05-2004.

Workshop: typeface design, Geneva, Switzerland. 03-2003.

Professor of typography, IntuitLab, Paris, France. 2001.

Workshop: typeface design, Uiah, Helsinki, Finland. 11–1999.

Workshop: typeface spacing in Fontographer, ATypI conference, Boston, USA. 9–1999.

Professor of typography, ECV, École communication visuelle, Paris, France. 1995-99.

Professor of typography, EMSAT, École professionnelle supérieure d’art & d’architecture de la Ville de Paris, France. 1991-97.

Visiting lecturer, Atelier national de recherche typographique, Paris, France. 1996.

Workshop: École supérieur d’arts & de design d’Amiens, France. 1996.

How to draw a typeface?

Letterfountain is a good and valuable resource for designers with interest into typography. Available in several languages, the website companion propose a good page about some basics for typeface designs… Who can recognise a Typofonderie typeface on the examples?


Livres et Publications autour de la typographie

Quelques livres dédiés à l’apprentissage de la typographie et création de caractères, et les sites web qui proposent des sélections d’ouvrages sur la typographie.

Dernière mise à jour: 6 mai 2014


Design studentships in Typography

A message from the Occasional dispatches from the MATD and TDi Panopticon: We are looking for exceptional candidates for full-time postgraduate study in the Department of Typography at Reading.


Manuale tipografico, 2010 reprint

Manualetipografico _bodoni_01.jpg

This 1208 pages reprint of the famous Manuale tipografico, should be in any typeface designer library!


Adapting existing typeface design

In recent months, I have seen some adaptation of existing well know designs made by inexperienced typeface designers…


Un caractère, une fonte

Je disais à notre ami Cuisinier sur Facebook

“Une nouvelle Frutiger” (aie aie…)

C’est sympa ces news typo, mais juste un détail: Frutiger comme tous les autres caractères typographiques (typeface en anglais) sont des mots au masculin. le Frutiger, le Garamond, le Retiro…

Employer le mot fonte lorsqu’il s’agit de parler du Garamond Regular ou Optima ExtraLight, car il s’agit du logiciel. Une fonte, des fontes, jamais fonte au singulier pour parler d’une famille de caractères typographiques!

Les leçons de chefs

Vous êtes passés par de très belles maisons, vos chefs vous ont tout appris, mais ici c’est pas la technique de vos chefs que nous attendons, mais votre créativité et personnalité. (retranscription approximative)


Apolline drawings

In my early days of typeface design (1989), I learnt to design on tracing paper, based on calligraphy stabilisation. Later, after several years at a design agency (Dragon Rouge) as Type director, I developed faster method to draw letterings, logotypes, small alphabets.



Founder of Typofonderie, type director of ZeCraft, Jean François Porchez is one of the pioneers of digital typography. Transmitter of knowledge and discoverer of talents, teamwork is at the heart of his concerns. It is also for these reasons that he launched TypeParis in 2015.