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Sandrine Nugue

@sndrnng

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Graphic & Type design
More about Delusse: https://commercialtype.com/catalog/delusse
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Ocalie typeface in use! Our font family, Ocalie, used here by @margaberrazubieta for the visual identity of 2026/2027 season of @lacollinetheatrenational ✨ Motion design by @losco.gif Ocalie is a typeface created by @sndrnng ✍️ 10 fonts + 10 Mono & 1 Display You can find it on our website. -80% for students on all our fonts! . . . . . . . . . . #typeface #typography #font #typedesign #fontdesign by @sndrnng
Très heureuse de vous proposer cet entretien avec ✨ @sndrnng pour échanger autour de sa pratique du dessin de caractères. Avec passion, détail et exigence, l’intérêt de Sandrine pour la typo va aussi bien de son histoire qu’à la composition en passant par la pédagogie. Dans des contextes de commande ou auto-initiés, les caractères de Sandrine sont distribués dans différentes fonderies en France et à l’étranger. Pour la cover, on a choisi le Delusse, bien bold et bien qui prends de l’espace (> sujet qu’on aborde dans l’épisode), disponible chez @commercialtype Cet épisode fait parti de la programmation de la 3ème édition du festival GraphiMs organisé par @la_fenetre_mtp_ et les @mediatheques3m de Montpellier. Merci Gaëlle Maury pour ta confiance. by @sndrnng
Our new typeface, Ocalie 💫 A typeface designed by Sandrine Nugue @sndrnng ✍️ Under its former name, « Hublot » has a long history. Originally designed as a monospaced type family for the visual identity of the art center La Fenêtre (« The Window », Hublot meaning « Porthole »), it first stood out through its strong and playful display character. « Ocalie » is the next chapter in this story. Still a sans-serif but no longer monospaced, the design has been subtly refined, embracing a delicate balance between sensitivity and mechanics, organic movement and geometric rigor. Expanded and matured, the family now offers 21 cuts, inviting designers to explore its full expressive range. 10 fonts + 10 Mono & 1 Display. Hope you enjoy this new typeface! ✌️ All the other details are available on our website. -80% promotion on all our catalog for the students! ✨ . . . . . . . . . . #typeface #typography #font #typedesign #fontdesign by @sndrnng
New Typeface on Lift-Type! 💫 Happy to introduce you « Ocalie » 🤩 A typeface designed by Sandrine Nugue @sndrnng ✍️ Under its former name, « Hublot » has a long history. Originally designed as a monospaced type family for the visual identity of the art center La Fenêtre (« The Window », Hublot meaning « Porthole »), it first stood out through its strong and playful display character. « Ocalie » is the next chapter in this story. Still a sans-serif but no longer monospaced, the design has been subtly refined, embracing a delicate balance between sensitivity and mechanics, organic movement and geometric rigor. Expanded and matured, the family now offers 21 cuts, inviting designers to explore its full expressive range. So yes, Ocalie typeface family is now available, with 10 fonts + 10 Mono & 1 Display. We hope you enjoy this new typeface and we invite you to try it & share your creations with us! ✌️ All the other details are available on our website. Thanks @brundille_ for the help on the artistic direction of this new typeface ✨ -80% promotion on all our catalog for the students! ✨ Love & Type ❤️ . . . . . . . . . . #typeface #typography #font #typedesign #fontdesign by @sndrnng
Best wishes 🤞 by @sndrnng
Passion exlibris by @sndrnng
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme. With more precise words by Caren @litherland : « Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. » Delusse is released by @commercialtype with the assistance of Thomas Bouillet by @sndrnng
The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century. Delusse is released by @commercialtype with the assistance from Thomas Bouillet. by @sndrnng
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet. Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century. Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places. See more and download trial fonts at commercialtype.com/catalog/delusse by @sndrnng
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet. Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century. Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places. See more and download trial fonts at commercialtype.com/catalog/delusse by @sndrnng
The circular display version of Hublot released by @lifttype 🟡🔴🟤 Initially created for the identity of @la_fenetre_mtp_ by @sndrnng
Hublot crew: a display + five weights roman & italic. Released by @lifttype and originaly designed for @la_fenetre_mtp_ by @sndrnng

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