Aujournuit

Regular

400

Characters

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

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?”

Stylistic sets
Size128
Width50%

Width

font-variation-settings: 'wdth';

Ink

'wdth' 50

Ink

'wdth' 75

Ink

'wdth' 100

Ink

'wdth' 175

Ink

'wdth' 200

Standard Ligatures

font-feature-settings: 'liga';

ffff
fifi
flfl
ffiffi
fflffl

Discretionary Ligatures

font-feature-settings: 'dlig';

ffkffk

Zodiac Symbols

font-feature-settings: 'clig';

leoleo
virgovirgo
ariesaries
venusvenus

Figures

1234567890

Proportional Lining (default)

1/2 3/4

Fractions: 'frac'

H123

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

3a3a
4o4o

Stylistic Set 01

font-feature-settings: 'ss01';

AA
aa
jj

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