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Trianon Text

Styles

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Specimen

The Lynton and Barnstaple Railway (L&B) opened as an independent railway in May 1898. It was a single track, 1 ft 11+½ in (597 mm) narrow gauge railway and was slightly over 19 miles (31 km) long running through the rugged and picturesque area bordering Exmoor in North Devon, England. Although opened after the Light Railways Act 1896 came into force, it was authorised and constructed prior to that act. Therefore, as with all other railways, it was authorised under its own Act of Parliament and built to higher standards than similar railways of the time. In the United Kingdom it was notable as being the only narrow gauge line required to use main-line standard signalling. For a short period the line earned a modest return for shareholders. In 1923, the L&B was taken over by the Southern Railway, and eventually closed in September 1935.
On the highest point at Lynton a pretentious mansion has been built for himself by the proprietor of a certain well known publication, whom some look on as the benefactor and others as the evil genius of the place [2 ft (0.61 m)³]. Through his enterprise it is that the “lift” was made in 1888, to be cursed by conservative and artistic souls, but blessed by unwieldy bodies and rheumatic limbs; he has also favoured the railway, now a fait accompli, and the pier which seems so much wanted. Yet whatever may be said of the railway, there is good reason for doubting if the pier would be a real advantage. 30 mph (48 km/h). It would certainly flood the place with a class of excursionists for whom there is little accommodation, and on whom, for the most part, its characteristic beauties would be thrown away.
Following the opening of the Devon and Somerset Railway to Barnstaple, there were calls for an extension to serve the twin villages of Lynton and Lynmouth. Through the middle of the 19th century, several schemes were proposed, from established railway companies and independent developers. One scheme suggested electric power, while another proposed a line from South Molton. None of these schemes offered sufficient prospects to encourage investment, and few got further than initial plans. Due to the difficult terrain, one scheme suggested a 1 ft 11+½ in (597 mm) narrow gauge, already in use by the Festiniog Railway Company and elsewhere, to ease construction. This scheme was supported by Sir George Newnes, publisher of Titbits and The Strand Magazine who became chairman of the company.
Lynton and Barnstaple Track is now 600 mm (11¾) Ilfracombe Branch Line
Liverpool overseeing the building of the Liverpool and Manchester Railway. His son Robert had recently returned from a stint working in South America and resumed as managing director of Robert Stephenson and Company. tephenson designed Rocket for the Rainhill trials, and the specific rules of that contest. As the first railway [1.6 m² (17 sq ft)] intended for passengers more than freight, the rules emphasised speed and would require reliability, but the weight of the locomotive was also tightly restricted. Six-wheeled locomotives were limited to six tons, four-wheeled locomotives to four and a half tons.
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The line at first keeps up the winding course of the Yeo with Pilton church tower on the left, and that of Goodleigh presently, on the right, marking a side valley, for which the train stops at Snapper Halt, whence, by Goodleigh one might have an alluring ramble back to Barnstaple. Chelfham (pron. Chellam) is reached by a fine viaduct over the tributary stream, where 2 miles (3.2 km) east stands Stoke Rivers, through which the above round might be extended. The line has now left the Yeo, mounting eastward up the Bratton Valley to Bratton Fleming Station near the lofty village of Bratton Fleming. The next station is Blackmoor (900 ft), lying under the tumuli of Kentisbury Down to the left, whence one might descend on foot to Lynton and Lynmouth (7 miles) or Ilfracombe (10 miles) from the crossroads at Blackmoor Gate.
The railway has next to wind around the deep hollow in which lies Parracombe, where, near the halt platform, can be seen the tower of the old church, another of those said to have been built in expiation of Thomas à Becket's murder. Hence flows the Heddon water, which one might follow down its beautiful course by the Hunter’s Inn. The cyclist will find a way diverging from the main road a little beyond Parracombe. At the last station, Wooda Bay*, two miles (3 km) behind this place and its neighbour Trentishoe, the line has reached a highest point of about 1,000 feet (300 m). Beyond this, it crooks down the valley of the West Lyn (best glimpses on right hand), past Caffyn's Down Halt, ending some half-mile behind Lynton, and over a mile by the zig-zag road from Lynmouth.
One of the most distinctive aspects of the L&B was its rolling stock, with the locomotives appearing originally in a livery of plain lined Holly green, later on a black base, with chestnut under-frames, hauling passenger carriages coloured terracotta with off-white upper panels, and light grey goods wagons. The schemes were simplified as individual vehicles were repainted. With the take over by the Southern and arrival of Lew the livery was slowly changed to Maunsell Green for locos and passenger stock, and umber for the goods wagons. Unusually, some of the temporary track was wider than the final gauge – the section around Parracombe Bank for example, spanning the Heddon valley, was built to 3 ft (914 mm) gauge, with a locomotive known as Winnie.
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Information

Design

Loïc Sander

Release Date

2021-04-04

Team

Sandra Carrera
Roxane Gataud
Yoann Minet

Version

aze

Awards & distinctions

Brno Biennale Official Selection 2018
Communication Arts Type Design award 2016
ATypI Typo365 best of 2015
Typefacts Best of 2015
Club des Directeurs Artistiques Prix 2015
Typographica's favorite 2015
Download PDF Specimen

About this font

These days, Didot is a typeface known for its bold stems and delicate hairlines, for its prominent ball terminals and decorative italic. These are the showy traits that made the typeface synonymous with glossy fashion magazines and luxury brands. Yet Didot’s family and history are much more complex and varied than our narrow contemporary view. What we’re missing begins with the small stuff — the metal fonts that were cut for sizes as small as 6 pt.
It is that small stuff that is also at the root of Loïc Sander’s exploration for Trianon. He plunged into sources from Firmin Didot’s later work as well as other type from the late 19th and early 20th centuries based on the Rational or pointed pen form model. There he discovered the qualities that are even more essential to Didot than its high contrast: its verticality, its rhythmic spacing, its ability to set readable text — one that encourages and rewards a relaxed pace. A memorable read is not necessarily the fastest, most invisible one. Trianon proves that a Didone can be much more versatile than it is usually assumed to be. Returning to the pre-digital wisdom of size-specific cuts, the family offers four optical sizes: Caption and Text built broad and sturdy for long passages of small type, and Display and Grande which imbue all of the sparkling contrast and sharp, sculpted bracketing of a familiar Didot.

Each subfamily has five weights with matching italics. The Text size comes with one extra weight for those who want paragraphs with a slightly lighter color. And ExtraLight styles bring an entirely fresh effect to Didot with their nearly monolinear weight capped by slab serifs and subtle teardrops. These inventions emphasize the fact that Trianon is not only a restoration of Didot (especially in the large sizes) but very much its own thing.
For Trianon, Sander focused on editorial publishing, where type is primarily a tool for serving content, and where he feels the call to build his own tools. The fonts are replete with useful function for editorial design, including oldstyle figures (based on the classic Didot) and lining figures (cued by vernacular street signs in France), ornaments which fit each font’s contrast and weight, and a large range of weights for building harmony and contrast into a publication’s complex hierarchy.

Formats

Static (OTF, TTF, WOFF, WOFF2)

Language support

Acheron, Achinese, Acholi, Afar, Afrikaans, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Balinese, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamorro, Chavacano, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Galician, Ganda, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kituba (DRC), Kongo, Konzo, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Orma, Oroqen, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pohnpeian, Polish, Portuguese, Potawatomi, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tzeltal, Tzotzil, Uab Meto, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zulu, Záparo

Glyphs

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OpenType Features

Production Type ships OpenType fonts with built-in features such as ligatures, alternates, or pictograms. Here are some of the most important features. To view a comprehensive list of features, please refer to the PDF specimen.

Capital Spacing

UPPERCASE ­

off

Case-Sensitive Forms

[CASE-SENSITIVE] !¡?¿-–—()[]{}‹›«»· ­

off

Small Capitals

Small Capitals ­

off

Small Capitals From Capitals

SMALL CAPITALS ­

off

Standard Ligatures

fichier flicker affliger ­

off

Discretionary Ligatures

Thesaurus ­

off

Historical Forms

History ­

off

Slashed Zero

0123456789 ­

off

Lining Figures

H0123456789 ­

off

Oldstyle Figures

H0123456789 ­

off

Proportional Figures

H0123456789 ­

off

Tabular Figures

H0123456789 ­

off

Superscript

H012345679 ­

off

Scientific Inferiors

H012345679 ­

off

Numerators

H012345679 ­

off

Denominators

H012345679 ­

off

Fractions

1/4 1/2 3/4 ­

off

Ordinals

2a 2o NO No Nº N° nO no nº n° ­

off

Ornaments

+ − ± × ÷ = < > ­

off

Stylistic Set 1

Nonchalance ­

off

Stylistic Set 2

Prodigiously ­

off

Stylistic Set 3

CHICAGO LEISURE ­

off

Stylistic Set 4

012345678910 ­

off

Stylistic Set 5

012345678910 ­

off

Stylistic Set 6

<>+−×÷=± ­

off

Stylistic Set 7

abcdef ­

off

Pair well with Trianon Text

  • Trianon Text Regular

    For their “Ones to Watch” series

    Stratos Black

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  • Trianon Text Light Italic

    For their “Ones to Watch” series

    Wigrum Black

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  • Trianon Text Regular

    For their “Ones to Watch” series

    Media Sans SemiCondensed Black

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Discover the Trianon family

  • Trianon Caption

    10 styles: ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic

  • Trianon Display

    10 styles: ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic

  • Trianon Grande

    10 styles: ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic

  • Trianon Normande

    2 styles: Roman, Italic

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    Useful type with an edge.

    Useful type with an edge.

    Production Type provide retail as well as dedicated creative services in typeface design for brands.

    Based in Paris and Shanghai, Production Type is a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors.
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