Bureau Brut

Roman Grotesque originates from an ancient war, almost eternal: tradition against modernity. Face to face are serif characters, bearing a calligraphic and manual heritage; and sans-serif character, constructed and rational. Even if they seem to be worlds apart, Roman Grotesque is formed in this tension. This encounter is made possible thanks to the flexibility of the organic shapes and geometrical thoroughness. In this alliance, shapes are not in opposition: they are complementary and reveal each other.

This typeface is constructed with the general structure of a sans-serif—its mass, essence, color—with humanistic details borrowed from serif characters1. It isn’t really a grotesque—nor a serif. It is more like a serifed grotesque.

Roman Grotesque is available in eight different weights with their italic equivalents. This variety helps to rank texts easily, and solves layout and running text problems. The character has been created for reading purposes, but it reveals a new side of itself in heavier weights. The heavier the font, the more discreet the serifs. The metrics squish and enhance the display text.

Get closer and then step back: Roman Grotesque looks different in micro and macro. A polymorph typography, born between yesterday and today’s dialogue, between organic shapes and geometry, between human and construction.