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Matthieu Cortat-Roller

@mcnonpareille

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Type designer, Head of Master Type Design at ECAL. Retail fonts at www.205.tf

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NEW UPCOMING LUBALIN LECTURE! Carving shapes: Lyons letterforms, from stone to digital with Matthieu Cortat-Roller @mcnonpareille will take place online on Mon, October 26, 2026, 12:30–2:30 PM (Eastern Time)!

To get your free tickets, go to Lubalin Lecture Series linked in our bio! by @mcnonpareille

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4 days ago

New Release: Gando by Matthieu Cortat

Clear, sharp, and slightly haughty, Didot typefaces have a distinct personality. Yet when used for running text, this very charisma can work against them; their readability would be improved if they were more rounded and flexible.

Gando, designed by Matthieu Cortat in 2025, combines these two seemingly incompatible temperaments. Developed as variable fonts, Gando openly embraces both extremes along with the full spectrum that lies between them: from a bold and glamorous “Poster” style to a rounded, charming, and discreet “Caption” style, along with a number of intermediary nuances. It is a typeface able to shine in the spotlight while also capable of reliably playing a supporting role; a family that ranges from the flamboyant diva, the young leading man, and the supporting actors, to the extras.

Everything starts with a specimen dating to 1828, printed in Paris for the Gando brothers’ foundry, which primarily presents running type in the Didot style of the period. Close study of these models reveals designs cleverly adapted to small sizes, along with some singular choices—notably an alternative series for the letters a, g, and j with a distinctly modernist appearance.

Gando comes in four optical sizes: “Caption,” with a reinforced x-height and spacing optimized for small sizes; “Text,” with softened edges; “Display,” which fully embraces the Didot aesthetic; and “Poster,” where attention to the expressiveness of the curves is at its peak. This palette is enhanced with italics and a range of weights from Regular to Bold.

From charismatic icons to extras, from grand dames to young leading men, Gando modulates typographic voice with consistency and finesse, playing its role on the stage of the page.

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#typography #graphicdesign #design #typedesign #typeface #contemporarytype #tomorrow_featured #365typefaces #designeveryday #font #typeinspiration #artdirection #designfeed #goodtype #typelover #typeindex #certainmagazine #eyeondesign #gando #matthieucortat #205tf @mcnonpareille by @mcnonpareille

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a year ago

Meet Matthieu, ATypI Country Delegate for Switzerland!

ATypI country delegates serve as local ambassadors—connecting, growing, and supporting our global type community.

Whether you’re a student, designer, educator, or researcher, reach out to your delegate to get involved, share ideas, and amplify local voices in the global typographic dialogue.

#ATypI #CountryDelegates #TypeCommunity by @mcnonpareille

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a year ago

Petits papiers des avant-gardes. La collection Paul Destribats
Centre Pompidou, Paris, 2024
@centrepompidou
368 pages, 21 × 29,7 cm

#destribats #avantgarde #ephemera #din

Éloigné des formats historiques de l’histoire de l’imprimerie, et donc étranger à la majorité des documents reproduits ici, le format A4 retenu pour cet ouvrage s’est installé tardivement dans notre quotidien. Mais à la fin du XXe siècle, le photocopieur et la micro-informatique nous ont habitués à de nouveaux formats de petits papiers : le communiqué de presse A4, le carton d’invitation A5 ou encore le flyer A6 se sont imposés au regard et à la main. Les différents textes de ce livre sont composés dans des surfaces à ces proportions, à l’aide d’un caractère dont la forme et la couleur s’effacent autant que possible devant le noir typographique des documents. Ces derniers, numérisés à l’aide de prises de vues photographiques, sont reproduits à l’échelle 1:1 autant que possible, et dans des proportions cohérentes au sein d’une même planche, dont les marges serrées délimitent l’emprise à la page ou la double-page. Ainsi photographié de près ou de plus loin pour ménager une vue complète des plus grands formats, ce plan-séquence sur un banc de reproduction infini met en évidence les inventions typographiques des avant-gardes, dressant ici une histoire parallèle du dessin de caractère qui se trouve synthétisée en quelque sorte sur la couverture de ce livre.

Direction de l’ouvrage: Bernard Blistène, Mica Gherghescu et Nicolas Liucci-Goutnikov
Direction éditoriale: Guillaume Grandgeorge, Chloé Demey @ch.demey
Chargé d’édition: Xavier Isle de Beauchaine
Iconographes: Mai-Lise Benedic, Clarisse Deubel, Marie-Pascale Meunier
Fabrication: Luigi Beretta
Photogravure: Les artisans du regard
Typo: Matthieu Cortat-Roller @mcnonpareille @205tf
Imprimeur: EBS, Vérone
Design: Huz & Bosshard by @mcnonpareille

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2 years ago

John Gould, A monograph of the Trogonidae or family of the Trogons, 1838. by @mcnonpareille

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3 years ago

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3 years ago

John Gould, A monograph of the Trogonidae or family of the Trogons, 1838. by @mcnonpareille

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3 years ago

John Gould, A monograph of the Trogonidae or family of the Trogons, 1838. by @mcnonpareille

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3 years ago

Nonpareille custom design: Distinct Phillips, 2023.
Collaboration with Jeffrey Waldman and Jun Hong / @base_design New York.

As any custom font, Distinct has been curated to fit the exact needs of the client. In this case, an extensive set of currency symbols has been added to the font, as well as narrowed-down three-letters currency abbreviations. Other abbreviations are also available in superscript capitals, and a specific series of signs comes from the internal use of the @phillipsauction Company.

#font #typedesign #typography #matthieucortat #basedesign #corporateidentity #visualidentity by @mcnonpareille

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3 years ago

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3 years ago

François Levaillant et al., Histoire naturelle des Oiseaux de paradis et des Rolliers, suivi de celle des Toucans et des Barbus, 1806. by @mcnonpareille

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3 years ago

Nonpareille afternoon designs: Odeon, 2023.

Is it too late to wish a Happy New Year 2024?

Digital sketches for a typeface inspired by the lettering of the title sequence of Café Odeon, a Swiss movie directed by Kurt Früh in 1959. The plot of the movie is rather tough, and it was forbidden in many Swiss cantons. The lettering is just fantastic. Maybe it will turn into an actual font, in 2024?
Happy New year!

#font #typedesign #typography #matthieucortat taken in Genève, Switzerland by @mcnonpareille

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3 years ago