Bricolage Grotesque

Extra Light

200

Light

300

Regular

400

Medium

500

Semi Bold

600

Bold

700

Extra Bold

800

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
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

Bricolage Grotesque emerged from a deliberate confrontation between the unvarnished grit of nineteenth-century British foundry types and the audacious, top-heavy posture of mid-century French display lettering. Released in 2023 through Google Fonts under the SIL Open Font License, the face was developed by London-based French designer Mathieu Triay. Rather than sanding down historical anomalies into a seamless, interchangeable neo-grotesque, Triay leaned into the mechanical frictions of the past, synthesizing the dense, muscular punch of Stephenson Blake’s Grotesque No. 9 with the off-kilter, humanist dynamism of Roger Excoffon’s Antique Olive.

Anatomically, the design is defined by an assertive, top-heavy distribution of weight that actively resists the polite uniformity of the Swiss modernists. Volume swells upward into the heads and shoulders of lowercase glyphs, pulling the visual center of gravity north and giving words a restless, forward momentum. Deep, triangular ink traps bite into junctions—carving dramatic notches out of characters like k, n, and r—while stroke ends terminate in abrupt, diagonal shears that keep negative space churning through the line. Driven by a parametric variable engine that controls weight, width, and optical size, the letterforms recalibrate their behavior across scales: at caption grades, the sharp incisions function as optical light-wells that stave off pixel clogging; dialed up to headline scale, those same recesses transform into sculptural graphic gouges.

Because of this kinetic cadence and pronounced detailing, Bricolage Grotesque quickly fatigues the eye when forced into dense, sustained narrative text or conservative corporate interfaces. Its rhythm is inherently vocal and syncopated, demanding layouts that benefit from visual friction and structural swagger. It finds its natural domain in poster design, editorial mastheads, cultural identity systems, and packaging—environments where its idiosyncratic geometry can operate as a primary graphic element rather than an invisible text container. Within the open catalog, it stands as a spirited counterweight to corporate minimalism, proving that historical vernaculars can be recombined into a potent, contemporary display instrument.

Words

Questography

difficult waffles

Havana Plywood

Château d’Yquem

Högertrafikomläggningen

hamburgevontpids

Headlines

Extra Light · 200

Brawny gods just flocked up to quiz and vex him

Light · 300

Amazingly few discotheques provide jukeboxes

Regular · 400

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Medium · 500

Grumpy wizards make a toxic brew for the jovial queen

Semi Bold · 600

Jackie will budget for the most expensive zoology equipment

Bold · 700

Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf

Extra Bold · 800

Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz

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?”

Size128
Weight400
Optical size96
Width100%

Optical Size

font-variation-settings: 'opsz';

Optical

'opsz' 12

Optical

'opsz' 48

Optical

'opsz' 96

Width

font-variation-settings: 'wdth';

Grotesque

'wdth' 75

Grotesque

'wdth' 87.5

Grotesque

'wdth' 100

Figures

1234567890

Proportional Lining (default)

1234567890

Tabular Lining: 'tnum'

1234567890

Proportional Oldstyle: 'onum'

1234567890

Tabular Oldstyle: 'onum', 'tnum'

1/2 3/4

Fractions: 'frac'

H123

Numerators: 'numr'

H123

Denominators: 'dnom'

H123

Subscripts: 'subs'

H123

Scientific Inferiors: 'sinf'

H123

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

No.No.

Case Sensitive Forms

font-feature-settings: 'case';

H–HH–H
H—HH—H

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