2010

Francesco
Franck Jalleau

Francesco
Francesco est une cration de Franck Jalleau. Ce caractre
souple et vigoureux est inspir des caractres vnitiens de la
Renaissance, notamment ceux gravs par Francesco Griffo.
Alliant le classicisme des caractres dits Garaldes et la
subtilit du dessin manuel, Francesco est rond et avenant sans
rien sacrifier la lisibilit.
Francesco nest pas conu comme un caractre habituel. Avec
ses contreformes bouches (a, e), il reproduit une impression
du XVe sicle. Tout comme le graveur taillait ses lettres une
une dans lacier, Francesco possde plusieurs dessins pour
des lettres similaires. Ceci amenant ainsi de la varit dans la
composition. Certaines formes habituellement rationalises (les
empattements) sont ici subtilement ouvrages pour rendre le
texte vibrant.
Francesco contient de nombreuses ligatures et variantes de
lettres pour agrmenter les titres et les textes courts.
Une des sources documentaires historiques privilgie par
Franck Jalleau est le fameux Songe de Poliphile, imprim en
1499 par Alde Manuce, le plus grand imprimeur de la Renaissance.
Ce livre mythique, la typographie raffine et innovante, fut
attentivement tudi. Il donna naissance cette version numri-
que indite, emblmatique de lart de la Renaissance.
2010
2
Francesco has been created by Franck Jalleau. This flexible and
vigorous typeface is inspired by venitian faces of the Renais-
sance, especially those cut by Francesco Griffo. Mixing Old-Style
classicism and manual drawing subtelty, Francesco is soft and
friendly without compromising readability.
Francesco is designed like no other conventionnal typeface. With
its obstructed counterforms (a, e), it evokes the XVth century
prints. Like punchcutters did, by chopping letters from steel one
by one, Francesco has several designs for similar letters, thus
bringing variety in the setting.
Likewise, some usually rationnalized shapes, such as serifs, are
individually crafted and render a vibrant, lively text. Francesco
features numerous ligatures and alternates to enhance titles
and short texts.
Amongst historical sources chosen by Franck Jalleau is the
famous Hypnerotomachia Poliphili printed in 1499 by Alde
Manutius, the greatest printer of the Renaissance.
This mythic book of finest delicate typography was careful
studied. It gave birth to this unprecedented digital version,
emblematic of the Art of the Renaissance.
 2010

+ de 100 langues
JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

100+ languages
JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

Francesco Regular & small caps

Francesco Italic & small caps
Francesco
Francesco
Francesco
Francesco
 2010

jeu de caractres | character set 11pt 4

 2010

composition | text setting 5

Francesco Regular Capitales | Caps 19,5pt

turbot en papillotes au champagne

Francesco Italic
Avec ligatures | With ligatures 23pt
Crme saane aux Saint-Jacques et Langoustines

Francesco Italic 25pt

The Luxury Hotels & Resorts of the World
Francesco Regular 37,5pt
Grand chteau de Bordeaux
Francesco Regular Grec | Greek 46pt

Francesco Italic
Avec ligatures | With ligatures 49pt Antipao di gamberetti
Francesco Regular Cyrillique | Cyrillic 63pt

Francesco Regular Petites capitales | Small caps 66pt

CHAMBRE 378
Francesco Regular & Italic 70pt

Five stars menu

Francesco Regular Petites capitales | Small caps 101pt

PURSANG
 2010

composition | text setting 6

LHistoire
Francesco Italic & regular 73pt

dun caractre
Francesco Regular 73pt Francesco est une cration de Franck Jalleau. Ce caractre souple et vigoureux est in
spir des caractres vnitiens de la Renaissance, notamment ceux gravs par Francesco
Griffo. Alliant le classicisme des caractres dits Garaldes et la subtilit du dessin
manuel, Francesco est rond et avenant sans rien sacrifier la lisibilit.

Francesco regular 8pt Francesco est une cration de Franck Jalleau. Ce caractre Francesco has been created by Franck Jalleau. This flexible and
souple et vigoureux est inspir des caractres vnitiens de la vigorous typeface is inspired by venitian faces of the Renaissance,
Renaissance, notamment ceux gravs par Francesco Griffo. especially those cut by Francesco Griffo. Mixing Old-Style classi-
Alliant le classicisme des caractres dits Garaldes et la sub cism and manual drawing subtelty, Francescois soft and friendly
tilit du dessin manuel, Francesco est rond et avenant sans without compromising readability.
rien sacrifier la lisibilit. Francesco is designed like no other conventionnal typeface. With
Francesco nest pas conu comme un caractre habituel. its obstructed counterforms (a, e), it evokes the xvTH century prints.
Avec ses contreformes bouches (a, e), il reproduit une im Like punchcutters did, by chopping letters from steel one by one,
pression du xvE sicle. Tout comme le graveur taillait ses lettres Francesco has several designs for similar letters, thus bringing va-
une une dans lacier, Francesco possde plusieurs dessins riety in the setting. Likewise, some usually rationnalized shapes, such
pour des lettres similaires. Ceci amenant ainsi de la varit dans as serifs, are individually crafted and render a vibrant, lively text.
la composition. Francesco features numerous ligatures and alternates to enhance
De mme, certaines formes habituellement rationalises (les titles and short texts.
empattements) sont ici subtilement ouvrages pour rendre le
Francesco Italic 8pt
texte vibrant.
Francesco contient de nombreuses ligatures et variantes de
lettres pour agrmenter les titres et les textes courts et, selon
lusage de lpoque, il ny a pas de capitales italiques, celle-ci
sont remplaces par les petites capitales. Effet garanti!
Une des sources documentaires historiques privilgies par
Franck Jalleau est le fameux Songe de Poliphile1, imprim en
1499 par Alde Manuce, le plus grand imprimeur de la Renais
sance. Ce livre mythique, la typographie raffine et innovante,
fut attentivement tudi.
Il donna naissance cette version numrique indite, embl
matique de lart de la Renaissance.

Francesco Regular & Italic 6pt 1 Hypnerotomachia Poliphili, ou Songe de Poliphile, rdig en 1467, est l'un des livres 1 Hypnerotomachia Poliphili, called in English Poliphilo's Strife of Love in a Dream,
les plus beaux, mais aussi lun des plus curieux de la Renaissance? Ce Combat is a romance by Francesco Colonna and a famous example of early printing. First
d'amour en songe eut une grande influence en Italie et en France surtout, dans le published in Venice, 1499, in an elegant page layout, with refined woodcut illustra
domaine littraire, mais aussi en architecture et dans lart des jardins. tions in an early Renaissance style.
 2010

composition avec le jeu stylistique2 7

text setting with stylistic set 2

LHistoire
Francesco Italic & regular 73pt

dun caractre
Francesco Regular 73pt Francesco est une cration de Franck Jalleau. Ce caractre souple et vigoureux est in
spir des caractres vnitiens de la Renaissance, notamment ceux gravs par Francesco
Griffo. Alliant le classicisme des caractres dits Garaldes et la subtilit du dessin
manuel, Francesco est rond et avenant sans rien sacrifier la lisibilit.

Francesco regular 8pt Francesco est une cration de Franck Jalleau. Ce caractre Francesco has been created by Franck Jalleau. This flexible and
souple et vigoureux est inspir des caractres vnitiens de la vigorous typeface is inspired by venitian faces of the Renaissance,
Renaissance, notamment ceux gravs par Francesco Griffo. especially those cut by Francesco Griffo. Mixing Old-Style classi-
Alliant le classicisme des caractres dits Garaldes et la sub cism and manual drawing subtelty, Francescois soft and friendly
tilit du dessin manuel, Francesco est rond et avenant sans without compromising readability.
rien sacrifier la lisibilit. Francesco is designed like no other conventionnal typeface. With
Francesco nest pas conu comme un caractre habituel. its obstructed counterforms (a, e), it evokes the xvTH century prints.
Avec ses contreformes bouches (a, e), il reproduit une im Like punchcutters did, by chopping letters from steel one by one,
pression du xvE sicle. Tout comme le graveur taillait ses lettres Francesco has several designs for similar letters, thus bringing va-
une une dans lacier, Francesco possde plusieurs dessins riety in the setting. Likewise, some usually rationnalized shapes, such
pour des lettres similaires. Ceci amenant ainsi de la varit dans as serifs, are individually crafted and render a vibrant, lively text.
la composition. Francesco features numerous ligatures and alternates to enhance
De mme, certaines formes habituellement rationalises (les titles and short texts.
empattements) sont ici subtilement ouvrages pour rendre le
Francesco Italic 8pt
texte vibrant.
Francesco contient de nombreuses ligatures et variantes de
lettres pour agrmenter les titres et les textes courts et, selon
lusage de lpoque, il ny a pas de capitales italiques, celle-ci
sont remplaces par les petites capitales. Effet garanti!
Une des sources documentaires historiques privilgies par
Franck Jalleau est le fameux Songe de Poliphile1, imprim en
1499 par Alde Manuce, le plus grand imprimeur de la Renais
sance. Ce livre mythique, la typographie raffine et innovante,
fut attentivement tudi.
Il donna naissance cette version numrique indite, embl
matique de lart de la Renaissance.

Francesco Regular & Italic 6pt 1 Hypnerotomachia Poliphili, ou Songe de Poliphile, rdig en 1467, est l'un des livres 1 Hypnerotomachia Poliphili, called in English Poliphilo's Strife of Love in a Dream,
les plus beaux, mais aussi lun des plus curieux de la Renaissance? Ce Combat is a romance by Francesco Colonna and a famous example of early printing. First
d'amour en songe eut une grande influence en Italie et en France surtout, dans le published in Venice, 1499, in an elegant page layout, with refined woodcut illus
domaine littraire, mais aussi en architecture et dans lart des jardins. trations in an early Renaissance style.

deutsch
Eins, zwei, drei Drucker dieser Schlacht mit kursiv
wurden unruhig, mde Schlierenbildung der Luft mit
Gesten elektrifiziert, Brsten einen Schlaganfall frh
strmen, um die Wette, und rief am Ende: Nur ein
schreiben geht ist nicht eine Waise nach den schweren
Index Glyphen, ziehen quackgrass in der hohlen bricht
eingebettet, das wre unser ewiger Qual?
Tief betrbt, schwor an den Pranger Francesco Griffo
und seine Anhnger, nahmen sie ihren difficultueuse
Verteilung als eine Stimme der Freude kam die volle
apostrophize: Niemals vergessen! Wenn schriftlich
verwandelt den Trmmern unseres Geistes, sculpt jede
Bewegung dieses durcheinander zwitschern und fixiert
einen unstillbaren Lust, ein Unglubiger Lobrede der
Sprache, wir sind die Architekten der Bibliothek von
Babel!
spanish
Uno, dos, tres impresoras estaban cansados de esta
batalla con letra cursiva inquieto, rayando el aire
con gestos electrificada, cepillarse los principios de un
derrame cerebral, asalto a competan, exclamando al
final: Slo una carta se no es un hurfano despus de
que el ndice de glifos grave; plantas de quackgrass tire
escondida en el fondo de las rupturas, que sera nues
tro perpetuo tormento? Afligido, prometiendo poner
en la picota Francesco Griffo y sus seguidores, que
reanud su distribucin difficultueuse cuando una voz
llena de alegra lleg la apostrofar: No olvides nunca!
Si la escritura transforma el caos de nuestras mentes,
esculpir cada movimiento de este piar en desorden y
fija un goce insaciable, un panegrico de la lengua infiel,
somos los arquitectos de la Biblioteca de Babel!
polish
Raz, dwa, trzy drukarze s do tej walki z kursyw
narowisty, przelecia w powietrzu gestami zelektryfi
kowanych, szczotkowanie skok na pocztku, szturm
na rywalizoway, wykrzykujc na kocu: Tylko jeden
list nie nie jest sierot po cikim glifw indeksu; pull
quackgrass pooony w zagbieniu przerwy, to, e
bdzie nasz wieczn mk? Nawiedzony, obiecujc
prgierz Francesco Griffo i jego zwolennikw, onie
rze wznowione ich dystrybucji difficultueuse gdy gos
peen radoci przyszed apostrofowa: Nigdy nie za
pominajcie! Jeli pisanie przeksztaca gruzach naszych
umysw, rzebi kady ruch ten piew na eb na szyj
i stae korzystanie nieugaszony, niewiernym panegiryk
jzyka, jestemy architektami Biblioteka Babel!
2010
composition | text setting Francesco regular 9pt 8
turkish dutch
En, to, ble tre skrivere lei av dette slaget med kursiv Een, twee, drie printers waren moe van dit gevecht met
rastls, streker luften med gester elektrifisert, brsting cursief onrustig, strepen op de lucht met stroomstoten
slag tidlig, stormer til vied, utbrt til slutt: Bare en gebaren, borstelen een beroerte vroeg, te bestormen
bokstav gjr er ikke en foreldrels etter den alvorlige wedijverden, riep aan het eind: Slechts een brief wordt
indeksen tegn; rift quackgrass som ligger i skader, ville is niet een wees na de ernstige index hirogliefen; trek
det bli vr evige pine? Plaget, sverget p quackgrass genesteld in de holte van de pauzes, dat zou
Gapestokk Francesco Griffo og hans tilhengere onze eeuwigdurende kwelling? Bedroefden, zweren
fortsatte de difficultueuse fordelingen nr en stemme schandpaal Francesco Griffo en zijn volgelingen,
full av glede kom apostrophize: Glem aldri! Hvis du hadden ze hun difficultueuse distributie wanneer een
skriver forvandler shambles av vrt sinn, forme hver stem vol van vreugde kwam het zich tot iem. Wenden:
bevegelse av denne pell-mell piping og fast en nooit te vergeten! Als schrijven transformeert de
uslokkelig nytelse, en vantro panegyrisk dikt om sprk, puinhopen van onze geest, beeldhouwen elke
er vi arkitektene bak Library of Babel! beweging van deze warboel tjilpen en vaste een onver
zadigbare genot, een ongelovige lofrede van de taal,
we zijn de architecten van de Bibliotheek van Babel!
norwegian russian
En, to, ble tre skrivere lei av dette slaget med kursiv , ,
rastls, streker luften med gester elektrifisert, brsting ,
slag tidlig, stormer til vied, utbrt til slutt: Bare en , ,
bokstav gjr er ikke en foreldrels etter den alvorlige ,
indeksen tegn; rift quackgrass som ligger i skader, ville :
det bli vr evige pine? Plaget, sverget p Gapestokk ,
Francesco Griffo og hans tilhengere fortsatte de ,
difficultueuse fordelingen nr en stemme full av glede ? ,
kom apostrophize: Glem aldri! Hvis du skriver ,
forvandler shambles av vrt sinn, forme hver bevegelse ,
av denne pell-mell piping og fast en uslokkelig nytelse, difficultueuse
en vantro panegyrisk dikt om sprk, er vi arkitektene ,
bak biblioteket i Babel! .
hungarian greek
Egy, kett, hrom nyomtatt fradtak voltak e csa , ,
tban dlt nyugtalan, streaking a levegt gesztusok ,
villamostott, fogmoss a stroke korai, storming a
vetekedett, felkiltott a vgn: Csak egy levl nem ,
Nem ritka betegsgek utn a slyos index jele; hzza , ,
quackgrass fszkelt az reges a sznetek, azt, hogy a mi :
rk gytrelem? Sjtott, vowing hogy pellengrre l glyphs ?
ltani Francesco Griffo s kveti, a katonk folytattk quackgrass ,
difficultueuse elosztsa, ha a hangja tele rmmel jtt a ,
megszlt: Sose felejtsd el! Ha rsban t a rendetlen Francesco Griffo
sg a gondolkodsunk, farag minden mozgst a hebe ,
hurgyn csipogott, s rgztette olthatatlan lvezet, egy difficultueuse
hitetlen dicshimnusz a nyelv, mi az ptszek a Bbeli
knyvtr!

deutsch
Eins, zwei, drei Drucker dieser Schlacht mit kursiv wurden
unruhig, mde Schlierenbildung der Luft mit Gesten
elektrifiziert, Brsten einen Schlaganfall frh strmen,
um die Wette, und rief am Ende: Nur ein schreiben geht
ist nicht eine Waise nach den schweren Index Glyphen,
ziehen quackgrass in der hohlen bricht eingebettet, das wre
unser ewiger Qual?
Tief betrbt, schwor an den Pranger Francesco Griffo und
seine Anhnger, nahmen sie ihren difficultueuse Verteilung
als eine Stimme der Freude kam die volle apostrophize:
Niemals vergessen! Wenn schriftlich verwandelt den
Trmmern unseres Geistes, sculpt jede Bewegung dieses
durcheinander zwitschern und fixiert einen unstillbaren
Lust, ein Unglubiger Lobrede der Sprache, wir sind
die Architekten der Bibliothek von Babel!
spanish
Uno, dos, tres impresoras estaban cansados de esta batalla
con letra cursiva inquieto, rayando el aire con gestos
electrificada, cepillarse los principios de un derrame
cerebral, asalto a competan, exclamando al final:
Slo una carta se no es un hurfano despus de que el
ndice de glifos grave; plantas de quackgrass tire escondida
en el fondo de las rupturas, que sera nuestro perpetuo
tormento? Afligido, prometiendo poner en la picota
Francesco Griffo y sus seguidores, que reanud su
distribucin difficultueuse cuando una voz llena de alegra
lleg la apostrofar: No olvides nunca! Si la escritura
transforma el caos de nuestras mentes, esculpir cada
movimiento de este piar en desorden y fija un goce
insaciable, un panegrico de la lengua infiel,
somos los arquitectos de la Biblioteca de Babel!
polish
Raz, dwa, trzy drukarki s do tej walki z kursyw
narowisty, przelecia w powietrzu gestami zelektryfi-
kowanych, szczotkowanie skok na pocztku, szturm na
rywalizoway, wykrzykujc na kocu: Tylko jeden list nie
nie jest sierot po cikim glifw indeksu; pull quackgrass
pooony w zagbieniu przerwy, to, e bdzie nasz wieczn a sznetek, azt, hogy a mi rk gytrelem? Sjtott,
mk? Nawiedzony, obiecujc prgierz Francesco Griffo
i jego zwolennikw, onierze wznowione ich dystrybucji
difficultueuse gdy gos peen radoci przyszed apostrofowa:
Nigdy nie zapominajcie! Jeli pisanie przeksztaca gruzach
naszych umysw, rzebi kady ruch ten piew na eb na farag minden mozgst a hebehurgyn csipogott,
szyj i stae korzystanie nieugaszony, niewiernym panegiryk
jzyka, jestemy architektami Biblioteka Babel!
2010
composition | text setting Francesco italic 9pt 9
turkish dutch
En, to, ble tre skrivere lei av dette slaget med kursiv rastls, Een, twee, drie printers waren moe van dit gevecht met
streker luften med gester elektrifisert, brsting slag tidlig, cursief onrustig, strepen op de lucht met stroomstoten
stormer til vied, utbrt til slutt: Bare en bokstav gjr er gebaren, borstelen een beroerte vroeg, te bestormen
ikke en foreldrels etter den alvorlige indeksen tegn; rift wedijverden, riep aan het eind: Slechts een brief wordt
quackgrass som ligger i skader, ville det bli vr evige pine? is niet een wees na de ernstige index hirogliefen; trek
Plaget, sverget p Gapestokk Francesco Griffo og hans quackgrass genesteld in de holte van de pauzes, dat zou
tilhengere fortsatte de difficultueuse fordelingen nr en onze eeuwigdurende kwelling? Bedroefden, zweren
stemme full av glede kom apostrophize: Glem aldri! schandpaal Francesco Griffo en zijn volgelingen, hadden
Hvis du skriver forvandler shambles av vrt sinn, forme ze hun difficultueuse distributie wanneer een stem vol van
hver bevegelse av denne pell-mell piping og fast en vreugde kwam het zich tot iem. Wenden: nooit te vergeten!
uslokkelig nytelse, en vantro panegyrisk dikt om sprk, Als schrijven transformeert de puinhopen van onze geest,
er vi arkitektene bak Library of Babel! beeldhouwen elke beweging van deze warboel tjilpen en
vaste een onverzadigbare genot, een ongelovige lofrede
van de taal, we zijn de architecten van de Bibliotheek
van Babel!
norwegian russian
En, to, ble tre skrivere lei av dette slaget med kursiv rastls, , ,
streker luften med gester elektrifisert, brsting slag tidlig, ,
stormer til vied, utbrt til slutt: Bare en bokstav gjr , ,
er ikke en foreldrels etter den alvorlige indeksen tegn; rift , :
quackgrass som ligger i skader, ville det bli vr evige pine?
Plaget, sverget p Gapestokk Francesco Griffo og hans ,
tilhengere fortsatte de difficultueuse fordelingen nr en ,
stemme full av glede kom apostrophize: Glem aldri! ? , ,
Hvis du skriver forvandler shambles av vrt sinn, forme ,
hver bevegelse av denne pell-mell piping og fast en difficultueuse
uslokkelig nytelse, en vantro panegyrisk dikt om sprk, , .
er vi arkitektene bak biblioteket i Babel!
hungarian greek
Egy, kett, hrom nyomtatt fradtak voltak e csatban , ,
dlt nyugtalan, streaking a levegt gesztusok villamostott, ,
fogmoss a stroke korai, storming a vetekedett, felkiltott
a vgn: Csak egy levl nem Nem ritka betegsgek utn ,
a slyos index jele; hzza quackgrass fszkelt az reges , ,
:
vowing hogy pellengrre lltani Francesco Griffo s glyphs ?
kveti, a katonk folytattk difficultueuse elosztsa, quackgrass ,
ha a hangja tele rmmel jtt a megszlt: Sose felejtsd ,
el! Ha rsban t a rendetlensg a gondolkodsunk, Francesco Griffo
,
s rgztette olthatatlan lvezet, egy hitetlen dicshimnusz difficultueuse
a nyelv, mi az ptszek a Bbeli knyvtr!
 2010

fonctions opentype | opentype features 10

Francesco regular

Ligatures fb ff fh fi fj fk fl ft b b h i j k l
ffb ffh ffi ffj ffk ffl fft b h i j k l t

Ligatures spciales Specials ligatures Th ct sp st

Petites capitales Small caps LOWERcaSE > small caps

Jeux stylistiques Stylistics sets aeAE

Mode alatoire Ramdom
aeAE
Exemple: alatoire > alatoire

Formes case Case Formes ([{abc > ([{ABC

Ordinals Chiffres suprieurs infrieurs NO1 > 1

Superior inferior figures
1O > 1
2A > 2

Numrateurs/dnominateurs H0123456789 >H0123456789H0123456789

Numerators/denominators

Suprieurs/Infrieurs Superscript/subscript P5 = ( X 12 + X 34)( Y 13 B 26 + B 15 + B 28)

P = ( X + X)( B B + B + B)

P5 = ( X 12 + X 34)( B 13 B 26 + B 15 + B 28)
P = ( X + X)( B B+ B + B)

Fractions automatiques Automatic fractions 1 8/9 > 1 89

125/1000 > 1251000

Chiffres minuscules Oldstyle Figures 1234567890 > 0123456789

Ornements (jeux stylistiques 3 galement) JN

Ornaments (also in stylistic set 3)
 2010

fonctions opentype | opentype features 11

Francesco italic

Ligatures fb ff fh fi fj fk fl ft b b h i j k l
ffb ffh ffi ffj ffk ffl fft b h i j k l t

Ligatures spciales Specials ligatures Th as au ca ce ci co ct cta cti cto ctu cu ei eis em es ga ge gi gn gna go gu ii im in is
ll ma me mi mo mt mu na ne ni no nt nu sp st ta te ti tt tte tti tu ttu um us

Petites capitales Small caps LOWERcaSE > small caps

Formes case Case Formes ([{abc > ([{ABC

Ordinals Chiffres suprieurs infrieurs NO1 > 1

Superior inferior figures
1O > 1
2A > 2

Numrateurs/dnominateurs H0123456789 >H0123456789H0123456789

Numerators/denominators

Suprieurs/Infrieurs Superscript/subscript P5 = ( X 12 + X 34)( Y 13 B 26 + B 15 + B 28)

P = ( X + X)( B B + B + B)

P5 = ( X 12 + X 34)( B 13 B 26 + B 15 + B 28)
P = ( X + X)( B B+ B + B)

Fractions automatiques Automatic fractions 1 8/9 > 1 89

125/1000 > 1251000

Chiffres minuscules Oldstyle Figures 1234567890 > 0123456789

Ornements (jeux stylistiques 3 galement) JN

Ornaments (also in stylistic set 3)

Colophon
LE BUREAU DES AFFAIRES TYPOGRAPHIQUES Fond en 2009, le Bureau des Affaires Typographiques est n de
linitiative dune jeune gnration de crateurs de caractres
franais pour diffuser des crations dalphabets de haute qualit.
Il accompagne les graphistes, les agences de communication, les
diteurs et les entreprises en proposant des solutions originales
et innovantes pour une communication crite irrprochable.
Le Bureau des Affaires Typographiques est compos
de Bruno Bernard, Stphane Buellet, Jean-Baptiste Leve
et Patrick Paleta.
LE DESIGNER Franck Jalleau est crateur de caractres, calligraphe et graveur
The designer sur pierre. Ancien stagiaire du Scriptorium de Toulouse, stagiaire
Franck Jalleau puis enseignant lAtelier National de Cration Typographique,
il a travaill aux cts de Ladislas Mandel ou Jos Mendoza.
Il a cr des caractres pour Agfa, la ville de Brives ou encore
ATD Quart-Monde. Crateur attitr de lImprimerie nationale,
il y dveloppe un programme de recrations exclusives depuis
1990. Il a notamment cr les caractres des passeports et
cartes didentits franais, du code des impts, et de nombreux
imprims scuriss que la dcence interdit de mentionner.
Enseignant lcole Estienne, il y encadre le seul cursus
pdagogique franais en cration typographique. Ses caractres
gravs dans la pierre sont visible du Trocadro jusquau sige
de lONU, en passant par les villages de Provence. Il a reu le
Prix des Graphistes en 1998 et plusieurs prix internationaux dont
le Morisawa Award (Japon) en 1987 et 1996, et a brillamment
remport de nombreuses comptitions de palet venden.
INFORMATION Francesco 2010
Copyright
Conformment aux lois rgissant les droits de proprit
littraire et artistique ou les droits voisins, la reproduction et la
reprsentation de tout ou partie des lments composant le site
Bureau des Affaires Typographiques sont strictement interdites.
Pour toutes demandes spcifiques veuillez nous contacter
l'adresse suivante:
info@batfoundry.com
2010
12
Founded in 2009, the Bureau des Affaires Typographiques is
born from the initiative of a young generation of French type
designers to spread high-quality typefaces.
We support graphic designers, communication agencies,
publishers and corporations by offering high-class, innovating
solutions for a perfect written communication.
The Bureau des Affaires Typographiques is Bruno Bernard,
Stphane Buellet, Jean-Baptiste Leve and Patrick Paleta.
Franck Jalleau is a type designer, calligrapher, and stonecutter.
Former student of the Scriptorium de Toulouse, he has followed
the training of Atelier National de Cration Typographique
and then worked with Ladislas Mandel and Jos Mendoza. He
designed typefaces for Agfa, the city of Brives or the non-profit
group ATD Quart-Monde. Sole designer at the French Imprimerie
nationale, he develops a program of exclusive revivals since
1990. He equally accomplished several original designs for French
passport and ID, tax reference codes and numerous other secure
print applications of which we cant say a word. Teacher at the
cole Estienne, he frames there the only French educational
program in type design. His stonecut letters cant be sighted
from the parisian Trocadro Square to the UN headquarters,
along with the small paths of southern Provence. He received
the Prix des Graphistes in 1998 and several international prizes
among which are 1987 and 1996 japanese Morisawa awards.
His successes extend to numerous obscure sports competitions
of palet venden.
Francesco 2010
Copyright
In accordance with laws governing literary and artistic property
rights or other similar rights, the reproduction or redistribution
of the elements that make up the Bureau des Affaires Typogra-
phiques website, in whole or in part, is strictly prohibited.
For all specific requests, please contact us at:
info@batfoundry.com
Francesco
A NEW TRIBUTE TO OLD WAYS

Franck Jalleaus 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 isnt 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 Francescos 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.

2 styles:
2 weights
Francesco Regular
Roman & Italic
Cyrillic & Greek
Francesco Italic

batfoundry www.batfoundry.com 2010 Page 1/19

Francesco Family overview

Reconfigurable
Unarchitecturals
Regular

Italic

batfoundry www.batfoundry.com 2010 Page 2/19

Francesco Regular

Scolopophore
Intercontorted
Shiftingness Grotty
Pseudoaristocratical Sex
Components Protozoologist
Valparaso Interdenominationalism
Magnetothermoelectricity Poliencephalomyelitis
ASAP MISREPRESENTATION Provide The Requested Information
BROWSING TECHNOLOGIES For This Ongoing Business Plan Aft
SCAVENGER CONNECTORS Journey Through Pivotal Moments
HOUSECLEANING SEASON TICKET From Another Serendipitous Encounter Lath

INLAY STRINGENT REQUIREMENT Internationally Automated Process Worthless

LANGUAGE TELEPHONE COMPANY Phenylethylmalonylurea Electrophysiologically

batfoundry www.batfoundry.com 2010 Page 3/19

Francesco Regular

MARGINAL
GEMSTONE
GRALLATORIAL
SUPERFORTUNATE
NONCREDITABLENESS
VALUE NONPUTRESCENCE
ELECTROCARDIOGRAPHICALLY MASS
FOLLOW THE LEADER COW Invests In Long-Term Opportunities
CLEAR OPERATING SYSTEM A Custom Designed Circuit Board
PROCEDURAL ANIMATIONS Pseudobenefactory Antiutilitarianism
CONTEMPLATING SIMILAR MOVES Poverty-Stricken Extensive Parental Controls

IMPLEMENT MISREPRESENTATION Brought Back To The Original Topics Windy

BEEN DEMONSTRATED PERFECTLY Most Important Questions Hydrochloric Acid

batfoundry www.batfoundry.com 2010 Page 4/19

Francesco Regular

If the Earth were perfectly spherical and homogeneous,

then longitude at a point would just be the angle betwe
en a vertical north-south plane through that point and t
he plane of the Greenwich meridian. Every where on Ea
rth the vertical north-south plane would contain the Ea
rth's axis. But the Earth is not homogenous, and has m
ountainswhich have gravity and so can shift the vertic
al plane away from the Earth's axis. The vertical north-s
outh plane still intersects the plane of the Greenwich m
eridian at some angle; that angle is astronomical longit
ude, the longitude you calculate from star observations.
The subject matter lies within the tradition of the genre of Romance within the con
ventions of courtly love, which still provided engaging thematic matter for Quattro
cento aristocrats. The Hypnerotomachia also draws from a humanist tradition of ar
cane writings as a demonstration of classical thought. The text of the book is writte
n in a bizarre Latinate Italian, full of words based on Latin and Greek roots withou
t explanation. The book, however, also includes words from the Italian language, a
s well as illustrations including Arabic and Hebrew words; Colonna also invented n
ew languages when the ones available to him were inaccurate. (It also contains som
e uses of Egyptian hieroglyphs, but they are not authentic, most being drawn from a
Its story, which is set in 1467, consists of precious and elaborate descriptions of scenes involving the title chara
cter, Poliphilo ("Friend of Many Things", from Greek Polloi "Many" + Philos "Friend"), as he wanders a sort
of bucolic-classical dreamland in search of his love Polia ("Many Things"). The author's style is elaborately des
criptive and unsparing in its use of superlatives. The text makes frequent references to classical geography and m
ythology, mostly by way of comparison. The book has long been sought after as one of the most beautiful incu
nabula ever printed.The typography is famous for its quality and clarity, in a roman typeface cut by Francesco G
riffo, a revised version of a type which Aldus had first used in 1496 for the De Aetna of Pietro Bembo. The typ
e was revived by the Monotype Corporation in 1923 as Poliphilus. Another revival, of the earlier version of Gri
ffo's type, was completed under the direction of Stanley Morison in 1929 as Bembo. The type is thought to be
one of the first examples of the italic typeface, and unique to the Aldine Press in incunabula. The book is illustr

batfoundry www.batfoundry.com 2010 Page 5/19

Francesco Italic

Tremendousness
Combustibleness
Protestation Creature
Coagulator Selfseekingness
Microeconomics Embarrassment
Register Your Product Pharmacologist
Greenhouse Massive Amounts Of Traffic Streaming
VULGAR INSTRUMENTALIST Incorporate Swimsuits Commandments
TECHNOLOGICAL CHANGES Inflexibility Your Own Romanticalness
INTEGRATED AFFECTATION Flashing Architypographer Integrated
COMPLICATED INTERNAL MOTORS How Workers Would Use The Office Space Ale

STOREKEEPER POVERTY-STRICKEN Provide The Requested Information Programmes

HOLD THEMSELVES ACCOUNTABLE Notion Of Paradigm Comprehend Every Purpose

batfoundry www.batfoundry.com 2010 Page 6/19

Francesco Italic

AMBIANCE
VAPOURIZE
PREDIGESTION
NONRADIOACTIVE
NONREDRESSING TEN
HACKAMORE REBLENDING
WATER POLYTETRAFLUOROETHYLENE
ENGAGEMENT OCCUPANCY Anesthesiologist Procedural Animations
LOWER THE TEMPERATURE Profuse Oceanology Decriminalization
PRESTIGIOUS FOUNDATION Handful Of Colleagues Chairmanship
CONTEMPLATING SIMILAR MOVES Follower A Company Anchored In The Physical

TURN-ON TELECOMMUNICATIONS Slow Dial-Up Connection Delivered Appendage

DELETERIOUS INCONTROVERTIBLE Used The System To Its Advantage Control Room

batfoundry www.batfoundry.com 2010 Page 7/19

Francesco Italic

For planetographic longitude, west longitudes (i.e., longitu

des measured positively to the west) are used when the rotati
on is prograde, and east longitudes (i.e., longitudes measure
d positively to the east) when the rotation is retrograde. In si
mpler terms, imagine a distant, non-orbiting observer viewin
g a planet as it rotates. Also suppose that this observer is wit
hin the plane of the planet's equator. A point on the Equato
r that passes directly in front of this o bserver later in time has
a higher p lanetographic longitude than a point that did so e
arlier in time. The modern standard for maps of Mars is to u
se planetocentric coordinates. The meridian of Mars is locate
The style of the woodcut illustrations had a great influence on late-nineteenth-century Engli
sh illustrators, such as Aubrey Beardsley, Walter Crane, and Robert Anning Bell. Hypnero
tomachia Polip hili was partially translated into English in a London edition of 1592 by "
R. D.", believed to be Robert Dallington, who gave it the title by which it is best known in
English, The Strife of Love in a Dream.The first comp lete English version was pub lished in
1999, five hundred years after the original, translated by musico logist Joscelyn Godwin.Ho
wever the translation uses standard, modern language, rather than fo llowing the original's p
attern of coining and borrowing words. Since the 500th anniversary in 1999 also several o
ther modern translations have been pub lished: into modern Italian as part of the great (vo l.
Vol. 2: translation, introductory essays and more than 700 pages of commentary) edition by Marco Ariani and Mino G
abriele; into Spanish by Pilar Pedraza Martinez; into Dutch with one volume of commentary by Ike Cialona; into Germ
an, the commentary inserted into the text, by Thomas Reiser. A complete Russian translation by art historian Boris So ko l
ov is now in progress, of which the "Cythera Island" part was pub lished in 2005 and is availab le online. The boo k is p l
anned as a precise reconstruction of the original layout, with Cyrillic types and typograp hy by Sergei Egorov.[citation ne
eded] Ten of the monuments described in the Hypnerotomachia were reconstructed by computer grap hics and were first pu
blished by Esteban A. Cruz in 2006, and in 2012. In 2007, he estab lished a full, design-study project Formas Imagin
isque Poliphili, an ongoing independent research project with the objective of reconstructing the content of the Hypneroto
machia Poliphili, through a multi-disciplinary approach, and with the aid of virtual and traditional reconstruction techn

batfoundry www.batfoundry.com 2010 Page 8/19

Francesco Regular

Privodnoy Val

Shassi
Podushka Bezopasnosti

Sistema Okhlazhdeniya
Antiblokirovochnaya Sistema Tormozov
Podushka Bezopasnosti
- Predokhranitel
Mekhanicheskaya Korobka Peredach
- ZABLOKIROVAT Stop-Signal

- Pribornaya Panel

PASSAZHIRSKOYE SIDENYE Antiblokirovochnaya Sistema Tormozov

batfoundry www.batfoundry.com 2010 Page 9/19

Francesco Regular

DETSKOYE KRESLO
NAKONECHNIK GAYKA

VYKLYUCHATEL PITANIYA OKNO ROG

Vyklyuchatel Pitaniya Okno
- Rychag Pereklyucheniya Peredach Far
- Antiblokirovochnaya Sistema Tormozov Avto

DETSKOYE AVTOKRESLO Dvigatel Vnutrennego Sgoraniya

Podushka Bezopasnosti

batfoundry www.batfoundry.com 2010 Page 10/19

Francesco Regular

,
, .
- ,

.
91 .
1957 ,


.
USRRC, -, -, -5000, IMSA, CART
. 1999 ALMS, 2005
MotoGP (, 19881994 ,
- ). 1988

-1. ,

-1 - .

Its story, which is set in 1467, consists of precious and elaborate descriptions of scenes involving the title chara
cter, Poliphilo ("Friend of Many Things", from Greek Polloi "Many" + Philos "Friend"), as he wanders a sort
of bucolic-classical dreamland in search of his love Polia ("Many Things"). The author's style is elaborately des
criptive and unsparing in its use of superlatives. The text makes frequent references to classical geography and m
ythology, mostly by way of comparison. The book has long been sought after as one of the most beautiful incu
nabula ever printed.The typography is famous for its quality and clarity, in a roman typeface cut by Francesco G
riffo, a revised version of a type which Aldus had first used in 1496 for the De Aetna of Pietro Bembo. The typ
e was revived by the Monotype Corporation in 1923 as Poliphilus. Another revival, of the earlier version of Gri
ffo's type, was completed under the direction of Stanley Morison in 1929 as Bembo. The type is thought to be
one of the first examples of the italic typeface, and unique to the Aldine Press in incunabula. The book is illustr

batfoundry www.batfoundry.com 2010 Page 11/19

Francesco Regular

-
Dvigatel Vnutrennego Sgoraniya Pribornaya Panel
-
-

- ZABLOKIROVAT Avtomaticheskaya Korobka Peredach

- -

PASSAZHIRSKOYE SIDENYE Mekhanicheskaya Korobka Peredach

batfoundry www.batfoundry.com 2010 Page 12/19

Francesco Regular

Passazhirskoye Sidenye
-
- -
- Blok Dvigatelya

DETSKOYE AVTOKRESLO -

Vyklyuchatel Pitaniya Okno

batfoundry www.batfoundry.com 2010 Page 13/19

Francesco Regular

If the Earth were perfectly spherical and homogeneous, then

longitude at a point would just be the angle between a vertic
al north-south p lane through that point and the plane of th
e Greenwich meridian. Everywhere on Earth the vertical nor
th-south p lane would contain the Earth's axis. But the Eart
h is not homogenous, and has mountainswhich have gravity
and so can shift the vertical plane away from the Earth's axi
s. The vertical north-south plane still intersects the plane of t
he Greenwich meridian at some angle; that angle is astronom
ical longitude, the longitude you calculate from star observat
ions. The longitude shown on maps and GPS devices is the a
The subject matter lies within the tradition of the genre of Romance within the conventions
of courtly love, which still provided engaging thematic matter for Quattrocento aristocrats.
The Hypnerotomachia also draws from a humanist tradition of arcane writings as a demons
tration of classical thought. The text of the boo k is written in a bizarre Latinate Italian, ful
l of words based on Latin and Greek roots without explanation. The book, however, also in
cludes words from the Italian language, as well as illustrations including Arabic and Hebre
w words; Co lonna also invented new languages when the ones availab le to him were inaccur
ate. (It also contains some uses of Egyptian hieroglyphs, but they are not authentic, most bei
ng drawn from a medieval text called Hieroglyp hica of dubious origin.) Its story, which is s
Its story, which is set in 1467, consists of precious and elaborate descriptions of scenes involving the title character, Po lip
hilo ("Friend of Many Things", from Greek Po lloi "Many" + Philos "Friend"), as he wanders a sort of buco lic-classica
l dreamland in search of his love Polia ("Many Things"). The author's style is elaborately descriptive and unsparing in it
s use of superlatives. The text makes frequent references to classical geograp hy and mytho logy, mostly by way of comparis
on. The book has long been sought after as one of the most beautiful incunabula ever printed.The typograp hy is famous f
or its quality and clarity, in a roman typeface cut by Francesco Griffo, a revised version of a type which Aldus had first us
ed in 1496 for the De Aetna of Pietro Bembo. The type was revived by the Monotype Corporation in 1923 as Poliphil
us. Another revival, of the earlier version of Griffo's type, was comp leted under the direction of Stanley Morison in 1929
as Bembo. The type is thought to be one of the first examp les of the italic typeface, and unique to the Aldine Press in incu
nabula. The book is illustrated with 168 exquisite woodcuts showing the scenery, architectural settings, and some of the c

batfoundry www.batfoundry.com 2010 Page 14/19

 Francesco Character set

Uppercase

Uppercase Greek

Uppercase Cyrillic


Lowercase
a b c d e f g h i j k l m n o p q r s t u v w x y z
Lowercase Greek

Lowercase Cyrillic


Small capitals
abcdefghijklmnopqrstuvwxyz()[]{}@&
Small capitals Cyrillic


Standard punctuation
( ) [ ] { } @ &
Case-sensitive forms
-
Symbols

Ligatures
Discretionary ligatures

Historical ligatures

Figures
(Lining proportional)
Figures
(Oldstyle proportional)
Figures
(Lining tabular)
Figures
(Oldstyle tabular)
Mathematical symbols
Fractions
Superiors / Inferiors

Numerators / Denominators

Superscript

Accented uppercase



Accented lowercase


Accented small capitals



Circled numbers

Arrows

Ornaments

Alternate a
(Stylistic set 1)

batfoundry www.batfoundry.com 2010 Page 15/19

 Francesco Character set

Alternate a
(Stylistic set 1)
Alternate e
(Stylistic set 1)
Alternate
(Stylistic set 1)
Alternate
(Stylistic set 1)
Alternate
(Stylistic set 1)
Alternate E
(Stylistic set 1) E
Alternate A
(Stylistic set 1) A
Alternate
(Stylistic set 1)
Alternate e cyrillic
(Stylistic set 1)

batfoundry www.batfoundry.com 2010 Page 16/19

 Francesco OpenType features

OFF ON

All caps Lowercase UPPERCASE

[CPSP]

Case-sensitive forms [Case-sensitive] [CASE-SENSITIVE]

[CASE]
!?-()[]{}@ !?-()[]{}@

Small capitals Small Capitals Small Capitals

[SMCP]

All small caps All Small Caps All Small Caps

[C2SC]

Standard ligatures fiflfbfffhfjfkft fiflfbfffhfjfkft

[LIGA]
ffbffhffiffjffkfflfft ffbffhffiffjffkfflfft

Discretionary Thctstsp Thctstsp

ligatures [DLIG]

Historical ligatures Historical Hitorical

[HIST]

Slashed zero 0123456789 0123456789

[ZERO]

Tabular H0123456789 H0123456789

lining figures
[TNUM + LNUM]

Tabular H0123456789 H0123456789

oldstyle figures
[TNUM + ONUM]

Proportional H0123456789 H0123456789

lining figures
[PNUM + LNUM]

Proportional H0123456789 H0123456789

oldstyle figures
[PNUM + ONUM]

batfoundry www.batfoundry.com 2010 Page 17/19

 Francesco OpenType features

OFF ON

Superscript/Superior Hsuperscript Hsuperscript

[SUPS]
H0123456789 H0123456789
H,.()+=$ H,.()+=$

Subscript/Inferior H0123456789 H0123456789

[SINF]
H,.()+=$ H,.()+=$

Numerator H0123456789 H0123456789

[NUMR]
H,.()+=$ H,.()+=$

Denominator H0123456789 H0123456789

[DNOM]
H,.()+=$ H,.()+=$

Fractions 1/4 1/2 3/4 2/3 7/8 1/4 1/2 3/4 2/3 7/8
[FRAC]
0/0 0/00 0/0 0/00

Ordinals 2a 2o No N no n 2a 2o No N no n
[ORDN]

Stylistic set 1 another animal another animal

Open a and e [SS01]

Stylistic set 2 another animal another animal

Random a and e
[SS02]

Stylistic set 3
Ornaments abcdefghijklmn abcdefghijklmn
[SS03] [ORNM]

Stylistic set 4
Greek alternates
[SS04]

batfoundry www.batfoundry.com 2010 Page 18/19

Francesco Information

Supported languages Afrikaans, Albanian, Asu, Basque, Belarusian, Bemba, Bena, Bosnian,
Bulgarian, Catalan, Chiga, Congo Swahili, Cornish, Croatian, Czech,
Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish,
French, Galician, Ganda, German, Greek, Gusii, Hungarian, Icelandic,
Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba,
Kikuyu, Kinyarwanda, Latvian, Lithuanian, Luo, Luyia, Macedonian,
Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx,
Meru, Morisyen, North Ndebele, Norwegian Bokml, Norwegian Nynorsk,
Nyankole, Oromo, Polish, Portuguese, Romansh, Rombo, Rundi, Russian,
Rwa, Samburu, Sango, Sangu, Sena, Serbian, Shambala, Shona, Slovak,
Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German,
Taita, Teso, Turkmen, Vunjo, Welsh, Zulu

Designer Franck Jalleau

Contact BAT Foundry

255 rue du Faubourg Saint-Antoine
75011 Paris, France
+33 (0)9 53 48 90 33
www.batfoundry.com

Copyright 2010 BAT Foundry, all rights reserved.

BAT Foundry is a registered trademark
of Production Systems SAS.

batfoundry www.batfoundry.com 2010 Page 19/19