Aujournuit
Regular
400
Characters
Aujournuit was designed by French type designer Téo Gaudet and released in 2024 through the open-source collective Collletttivo under the SIL Open Font License. The project drew its primary reference from the title lettering of "Chemins Perdus," a feature published in a 1956 issue of the French magazine Constellation. Rather than producing a historical facsimile, Gaudet used the fluid ductus of the mid-century hand-lettering to examine how organic, ink-laden strokes and irregular script behaviors translate into a contemporary parametric display face.
Anatomically, the design is defined by acute stroke modulation, elastic contours, and visible calligraphic gestures. Stems alternate between fine hairlines and heavy, swelling strokes that taper into rounded, droplet-like terminals. Rather than expanding across a conventional weight spectrum, the family is engineered entirely around an extreme horizontal Width axis. Distributed as a continuous variable font alongside five static instances—Condensed, Densed, Regular, Wide, and Airy—the glyphs transition from tightly packed vertical silhouettes into broad, low-density horizontal structures. As the measure expands, interior counters open up and the contrast sharpens, establishing an animated, syncopated cadence along the baseline.
Because of this radical modulation and calligraphic structure, Aujournuit is strictly confined to display settings. Deployed in running text, caption sizes, or user interfaces, its hairlines break apart and its heavy terminals quickly clot, rendering passages illegible. Its functional domain is limited to large-scale titling: editorial mastheads, book jackets, poster typography, cultural identity systems, and packaging where typographic silhouette and distinct period resonance lead the layout. Within the Collletttivo catalog, it serves as a focused study in variable width, demonstrating how mid-century French lettering can be systematized into an adaptable digital titling tool.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Width
font-variation-settings: 'wdth';
'wdth' 50
'wdth' 75
'wdth' 100
'wdth' 175
'wdth' 200
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Zodiac Symbols
font-feature-settings: 'clig';
Figures
1234567890
Proportional Lining (default)
1/2 3/4
Fractions: 'frac'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Stylistic Set 01
font-feature-settings: 'ss01';
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