Le Murmure
Regular
400
Characters
Le Murmure was conceived not as an obedient vehicle for continuous reading, but as an outspoken graphic signature. Commissioned in 2018 for the rebranding of the French design agency Murmure and drafted by Jérémy Landes of Studio Triple, the face was subsequently released into the open commons through the Velvetyne Type Foundry under the SIL Open Font License. In a libre ecosystem long dominated by neutral, utilitarian workhorses, Le Murmure stands out for its unabashedly experimental stance: it treats the alphabet not as transparent window glass, but as a deliberate architectural voice meant to arrest the eye.
Anatomically, the design takes its initial cue from the tightly compressed proportions of twentieth-century magazine titling and condensed poster grotesques, yet it promptly subverts their mechanical regularity. Landes introduces calculated friction into the line through structural mismatches and idiosyncratic details. Stems rise tall and narrow, but the expected cadence is disrupted by unexpected graphic flourishes: doubled strokes in glyphs like M and N, asymmetrical junctions, and calligraphic gestures embedded directly into the rigid sans-serif skeleton. To further resist industrial uniformity, the typeface incorporates an extensive set of alternate glyphs governed by an OpenType randomization feature, ensuring that adjacent or recurring letters shift subtly in posture rather than locking into a predictable pattern.
This calculated irregularity firmly establishes its typographic domain. Set at text sizes or deployed in continuous narrative passages, Le Murmure’s tight counters and jarring proportions would quickly fracture the reading measure and exhaust the gaze. It belongs strictly to display environments—exhibition identities, editorial mastheads, book jackets, and posters—where words can be staged as graphic events. Supported by expanded Latin, Cyrillic, and Greek character sets, Le Murmure demonstrates that open-source typography is not confined to standardizing interface tools; it can also make room for singular, expressive forms that challenge the boundaries of contemporary titling.
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?”
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Figures
1234567890
Proportional Lining (default)
1234567890
Proportional Oldstyle: 'onum'
0
Slashed Zero: 'zero'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss02'
'ss03'
'ss04'
'ss05'
'ss07'
'ss08'
Stylistic Alternates
font-feature-settings: 'salt';
'salt'
Titling Alternates
font-feature-settings: 'titl';
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