Scenery
16 styles, 8 weights
From Thin to Black, with italics
16 styles, 8 weights
From Thin to Black, with italics
About Scenery
Call it Scenery. This font family is composed of 8 weights with italics. The drawing process started in 2021 and lasted for four years. It combines geometric and ornamental elements, straight lines and rounded shapes, letters with and without serifs. Scenery owes its proportions to compact geometric sans-serif fonts like Classified Display (1955) from Linotype, with added shapes derived from neo-grotesque typefaces: the double-storey a and closed shapes for the C, G, c, e and g. The development of Scenery began with its lighter weight. Going on from early sketches made with a pen brush, ornamental elements, leaning towards the decorative arts and inspired by Auriol from Deberny & Peignot (1903) (openings in the 6, 8 and 9), along with eclectic details (serifs on the s), were added to the design. These additions disappear from the Regular weight, thus cutting the family in half in its appearance and its usage. Lighter weights for body text, heavy ones for titles. Scenery’s most visible feature is the rounded edges. They have come along with the addition of flared terminals on the letter stems in order to obtain lively-looking blocks of text, but also interesting details at larger scales. It might appear paradoxical that in the bolder weights, the rounded corners are getting more striking while making the overall letter look increasingly squared, as seen in the Reklameschrift Block (Berthold, 1908). The hours, the seasons, the weather transform the landscape before our eyes. At the scale of the line, the paragraph and the page, Scenery changes in the same manner while using it.
Illustrations © Lisa Carpagnano
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DesignerLucas Le Bihan
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Spacing & kerningIgino Marini
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MasteringSolenn Bordeau
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Release2026
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Single weightFrom 75,00 €
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FamilyFrom 600,00 €
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Effetti del Buon Governo in città / Effetti del Buon Governo in campagna
Livre des Passages
PASSAGEN-WERK
It was the beginning of a June afternoon. The springlike transparent sky shed a rain of silver sunshine on the roofs of the village, and on the pastures and larchwoods surrounding it. A little wind moved among the round white clouds on the shoulders of the hills, driving their shadows across the fields and down the grassy road that takes the name of street when it passes through North Dormer. The place lies high and in the open, and lacks the lavish shade of the more protected New England villages. The clump of weeping-willows about the duck pond, and the Norway spruces in front of the Hatchard gate, cast almost the only roadside shadow between lawyer Royall’s house and the point where, at the other end of the village, the road rises above the church and skirts the black hemlock wall enclosing the cemetery.
It was the beginning of a June afternoon. The springlike transparent sky shed a rain of silver sunshine on the roofs of the village, and on the pastures and larchwoods surrounding it. A little wind moved among the round white clouds on the shoulders of the hills, driving their shadows across the fields and down the grassy road that takes the name of street when it passes through North Dormer. The place lies high and in the open, and lacks the lavish shade of the more protected New England villages. The clump of weeping-willows about the duck pond, and the Norway spruces in front of the Hatchard gate, cast almost the only roadside shadow between lawyer Royall’s house and the point where, at the other end of the village, the road rises above the church and skirts the black hemlock wall enclosing the cemetery.
ARCHIVE-BASED LIBRARY (47201GB)
ARCHIVE-BASED LIBRARY (47201GB)
But here is an artist. He desires to paint you the dreamiest, shadiest, quietest, most enchanting bit of romantic landscape in all the valley of the Saco. What is the chief element he employs? There stand his trees, each with a hollow trunk, as if a hermit and a crucifix were within; and here sleeps his meadow, and there sleep his cattle; and up from yonder cottage goes a sleepy smoke. Deep into distant woodlands winds a mazy way, reaching to overlapping spurs of mountains bathed in their hill-side blue. But though the picture lies thus tranced, and though this pine-tree shakes down its sighs like leaves upon this shepherd’s head, yet all were vain, unless the shepherd’s eye were fixed upon the magic stream before him.
But here is an artist. He desires to paint you the dreamiest, shadiest, quietest, most enchanting bit of romantic landscape in all the valley of the Saco. What is the chief element he employs? There stand his trees, each with a hollow trunk, as if a hermit and a crucifix were within; and here sleeps his meadow, and there sleep his cattle; and up from yonder cottage goes a sleepy smoke. Deep into distant woodlands winds a mazy way, reaching to overlapping spurs of mountains bathed in their hill-side blue. But though the picture lies thus tranced, and though this pine-tree shakes down its sighs like leaves upon this shepherd’s head, yet all were vain, unless the shepherd’s eye were fixed upon the magic stream before him.
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1998 in japanese
anime/manga culture
1998 in japanese
anime/manga culture
Quand, en retournant, vous arrivez au dessus de col La Croix, c’est d’abord pour vous trouver en face du premier coucher de soleil de la saison […] puis; vous voyez en bas cette conque d’herbe qui n’était que de foin lorsque vous êtes passé, il y a deux ou trois jours, devenue maintenant cratère de bronze.
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 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 € ¢ £ ƒ ¥ ₺ ₽ ₫ ₿ ฿ ₵ ₡ ₲ ₴ ₼ ₦ ₹ ₩ # 0 1 2 3 4 5 6 7 8 9 É Ĕ Ě Ê Ế Ệ Ề Ể Ễ Ë Ė Ẹ È Ẻ Ē Ę Ɛ Ẽ Ǝ Ə á ă ắ ặ ằ ẳ ẵ ǎ â ấ ậ ầ ẩ ẫ ä ạ à ả ā ą å ã æ , ; : . ! ? « » ( ) [ ] { } * § ¶ @ © ® ℗ ™ ⓪ ① ② ③ ⓿ ❶ ❷ ❸ ← ↑ → ↓ 🔁 🔂 🔃 ☑ ☒ ❌ ★ ☆ ⏯ ⏸ ⏹ ⏺
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FURTHER NOTICE
In questo senso il paesaggio non coincide con la realtà materiale (quindi con il territorio), in quanto l’azione dei mediatori socio-culturali e della soggettività umana determinano un effetto di produzione di senso. In altre parole: il paesaggio comprende sia la realtà, che l'apparenza della realtà. Da questo punto di vista il paesaggio è anche un potente linguaggio: non esiste un paesaggio senza rappresentazione di esso, ed è attraverso questo passaggio che la società manifesta le proprie aspirazioni e partecipa al processo di scambio (statico o dinamico) dei mediatori socio-culturali.
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