Bricolage Grotesque
Extra Light
200
Light
300
Regular
400
Medium
500
Semi Bold
600
Bold
700
Extra Bold
800
Characters
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?”
Optical Size
font-variation-settings: 'opsz';
'opsz' 12
'opsz' 48
'opsz' 96
Width
font-variation-settings: 'wdth';
'wdth' 75
'wdth' 87.5
'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';
Case Sensitive Forms
font-feature-settings: 'case';
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