Le Murmure

Regular

400

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

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?”

Stylistic sets
Size128

Standard Ligatures

font-feature-settings: 'liga';

ffff
ffiffi
fflffl
fifi
flfl

Discretionary Ligatures

font-feature-settings: 'dlig';

ИЙИЙ
ийий

Figures

1234567890

Proportional Lining (default)

1234567890

Proportional Oldstyle: 'onum'

0

Slashed Zero: 'zero'

Ordinals

font-feature-settings: 'ordn';

3a3a
4o4o

Stylistic Sets

font-feature-settings: 'ss--';

fjMmfjMm

'ss01'

MmNnMmNn

'ss02'

AA

'ss03'

rr

'ss04'

MWMW

'ss05'

QRQR

'ss07'

KMKM

'ss08'

Stylistic Alternates

font-feature-settings: 'salt';

MNSZMNSZ

'salt'

Titling Alternates

font-feature-settings: 'titl';

fjmnfjmn
szŹźszŹź
ŻżŽžŻżŽž
ИЙМШИЙМШ
шщшщ

Loading glyphs…

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