Olivier Bertrand

Velvetyne Saved My Life
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a polyphonic interview conducted by Sandra Chamaret with the members of the collective @fadebiaye@typo.social @QuentinJuhel@post.lurk.org @raphael@post.lurk.org @lucaslebihan@typo.social
@ilonalegrand@typo.social @triple@typo.social Ariel Martín Pérez @antonmoglia@mastodon.design Jean-Baptiste Morizot @marielnils@typo.social Manon Van Der Borght
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a series of articles on emblematic typefaces from the foundry
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an exhaustive catalogue of the fonts published and the workshops conducted
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Velvetyne Libre Friends

Pre-order here: http://surfaces-utiles.org/velvetyne-saved-my-life.html

Typefellas, Surfaces Utiles is very proud to announce the release of “Velvetyne Saved My Life, Libre Fonts for Everyone Since 2011/Typographie libre pour tous·tes depuis 2011”, a bilingual monograph (FR/EN) edited by @sandra_nomade@pouet.chapril.org and dedicated to the renowned
@velvetyne@mamot.fr collective, which has been distributing libre fonts since 2011.

The first 150 pre-orders are 15% off. Pre-orders help us bring this parallelepiped to life!
➰📕 Delivery in May 2026.

Preorder → http://surfaces-utiles.org/velvetyne-saved-my-life.html

🔠+🟢+🟣=🔥 “Velvetyne Saved My Life, Libre Fonts for Everyone Since 2011/Typographie libre pour tous·tes depuis 2011”, a bilingual monograph (FR/EN) dedicated to the renowned @velvetyne@mamot.fr collective, which has been distributing libre fonts since 2011.

Pre-order your copy before April and help us bring it to life! ➰📕 Delivery in May 2026 → http://surfaces-utiles.org/velvetyne-saved-my-life.html

Preview of the table of contents, catalog, and an in-depth article by @adelfaure@mastodon.art on ASCII Art and its Jgs Font.

Design @lucaslebihan@typo.social

➰📘 Après le succès du premier numéro, désormais épuisé, précommandez maintenant le deuxième numéro de la revue annuelle de la collective @byebyebinary@post.lurk.org

Le N° e·u plonge dans la notion d’archive au cœur des motivations de la revue. Que signifie «faire archive» aujourd’hui? Dans quel futur nous projetons-nous en ces temps bousculés par le doute, la peur, l’incertitude? Comment faisons-nous corps dans cette tempête, pour continuer à construire parmi les débris?

Preorder → http://surfaces-utiles.org/bye-bye-binary-n2.html

I am happy to share a new series of issues of La Perruque magazine. It is to typefaces that draw on gestures from the tangible world (cut-out and painted letters, school writing models…). That is, 5×1×90 cm-long new type specimens printed in the margins of industrial prints and 5 exciting new articles.

N.26 〰️ Chrystel Crickx & Crickx Lab
N.27 〰️ @harrissonbxl@mastodon.social & Louis Garrido
N.28 〰️ @helenemarian@typo.social
N.29 〰️ Marion Bataille
N.30 〰️ Charles Mazé & @adrienvasquez@typo.social

http://la-perruque.org

"Writing One's Name" ♦️⬛
La Perruque N.29, AOZ by @marionbataille

In this issue, Marion Bataille publishes a score of gestures for combining the geometric shapes that make up AOZ, her unicameral alphabet around which workshops are organised to introduce typography through manipulation (rather than drawing).

Read full story and order your copy on http://la-perruque.org⁠ ⁠⁠👀

➰📕 Joie de présenter le premier numéro de la revue de Bye Bye Binary à paraître chez Surfaces Utiles!

La revue de la collective franco-belge qui explore de nouvelles formes typo·graphiques adaptées à la langue française en prenant pour point de départ, terrain d’expérimentation et sujet de recherche le langage et l’écriture inclusive et post-binaire. Des écrits situés par les personnes concernées.

http://surfaces-utiles.org/bye-bye-binary-n1.html

@lena_slbrt@mastodon.social @eugbidaut@typo.social @incroyable_dls@mastodon.social @camillecirclude@mastodon.social

“A Clear Idea of the Skeletons” 🖋️
La Perruque N.30 〰️ Axo by Charlesazé and @adrienvasquez@typo.social

Axo is a rounded geometric typeface that draws on various writing models from the United Kingdom, Germany and France, whose publication followed the arrival of the “Redis” or “plattenfeder” nibs, produced from 1912 onwards. These nibs make it easy to draw strokes of constant weight and characteristic rounded ends.

Order your copy and read full story on http://la-perruque.org⁠ ⁠⁠👀

〰️ La Perruque N.26 by Chrystel Crickx & Crickx Lab, Crickx/Publi Fluor

Chrystel Crickx used to cut letters by hand from vinyl in a variety of colors and sell in her Brussels store before the year 2000. The colorful letters was the object of study by a group of students at ESA Le 75, from 2020 to 2022.

Students use the constraining proportions of La Perruque's format to typeset a full-scale specimen of Chrystel Crickx's tangible letters.

Full story on http://la-perruque.org⁠ ⁠⁠👀

[TALKS] Venez fêter les 2700 cm et presque 11 ans de La Perruque avec une nouvelle série de conférences des contributeur·ices de la revue.

Rencontre typographique #5
• Marion Cachon
• @harrissonbxl@mastodon.social & Louis Garrido
• @helenemarian@typo.social
• Charles Mazé & @adrienvasquez@typo.social

Cette série de présentations se consacre à des projets typographiques qui s'intéressent de près à des lettres initialement dessinées ou peintes à la main.

04.12.2025
18h–21h
ERG, Auditorium
Rue du Page 87, 1050 Bruxelles

〰️ La Perruque N.28 by @helenemarian@typo.social

"From Lettering to Typography: Yes/Then or Yes/And?"

In this specimen, Hélène Marian puts her type design and sign painting practices back to back.

→ Order your copy and read full story on http://la-perruque.org⁠ ⁠⁠👀

〰️ La Perruque N.27, Not Comic by @harrissonbxl@mastodon.social and Louis Garrido

In “Because Comic Sans MS Isn't Funny”, Harrisson says: “Was it possible to make a serious version of Comic Sans? Behind the joke, the result still made me uncomfortable. So this was the true identity of this omnipresent typeface, this all-too-familiar old clown? I suddenly had the strange impression of having unmasked an imposture that had been going on since the early days of PC.”

Full story on http://la-perruque.org⁠ ⁠⁠👀

Bruxelloix·ses! Rencontre de feu organisée par la librairie Tulitu avec la collective Bye Bye Binary pour le lancement du premier numéro de leur revue publiée par Surfaces Utiles!

Rendez-vous le 4 juin 2025 à La Bellone à 18h (Rue de Flandre 46, 1000 Bruxelles)

N’oubliez pas de réserver via eventbrite → https://www.eventbrite.be/e/rencontre-autour-de-la-revue-de-la-collective-bye-bye-binary-tickets-1333785892509?aff=oddtdtcreator

@lena_slbrt@mastodon.social @eugbidaut@typo.social @camillecirclude@typo.social @incroyable_dls@mastodon.social

In addition to the book, the work of the Crickx research group also led to the renaming and extension of the glyph set for the digital versions of Crickx font, distributed by the Open Source Publishing foundry. We are delighted to announce that it is now being republished under the name Publi Fluor!
You can browse the type specimen, visit the font files sources and also read some of the articles published in the book at this address: http://publifluor.osp.kitchen

@boisophieron@mastodon.social @Femke@post.lurk.org @Ludi@framapiaf.org @crickxson@post.lurk.org

Some words about "Publi Fluor, Letter Business in Brussels" in the last issue of @blag@typo.social, the world's only print and online publication dedicated to sign painting.

http://surfaces-utiles.org/publi-fluor-affaires-de-lettres-a-bruxelles-letterzaken-in-brussel-letter-business-in-brussels.html

@boisophieron@mastodon.social @Femke@post.lurk.org @Ludi@framapiaf.org @crickxson@post.lurk.org @incroyable_dls@mastodon.social

We're preparing a book on the self-adhesive letters that Chrystel Crickx cut out in Schaerbeek (Brussels) before the 2000s. The book is planned for early 2024, but we can't wait to share with you some images from the colorful and abundant archive we're working on! It will be published in English, French and Dutch 🤓 Please sign up to our dedicated newsletter if you want to pre-order it: http://eepurl.com/hzLlUH

@crickxson@post.lurk.org @Femke@post.lurk.org @Ludi@framapiaf.org @boisophieron@mastodon.social