From 110790b58f0ab4acc0c9a5d07db0d1ee2e60a42e Mon Sep 17 00:00:00 2001 From: Rosalie Wagner Date: Thu, 20 Jul 2023 12:21:29 +0200 Subject: [PATCH] Bricolage Grotesque: Update DESCRIPTION.en_us.html --- ofl/bricolagegrotesque/DESCRIPTION.en_us.html | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/ofl/bricolagegrotesque/DESCRIPTION.en_us.html b/ofl/bricolagegrotesque/DESCRIPTION.en_us.html index aeaa87dd79..2b3e6f2139 100644 --- a/ofl/bricolagegrotesque/DESCRIPTION.en_us.html +++ b/ofl/bricolagegrotesque/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@ -

Based on Mayenne , Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by Jérémy Landes. It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque Nº9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps.

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Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by Jérémy Landes (Studio Triple). It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque Nº9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps.

By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. At the same time, it’s so steeped in historical sources and references that it’s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else.

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