While studying at the Plantin Institute of Typography in Antwerp, Ramiro Espinoza chanced upon the work of an obscure sixteenth-century French punchcutter named François Guyot. The more canonical designs of the period had already been digitized, but Espinoza saw an opportunity to reimagine certain aspects of Guyot’s Gros Canon and Ascendonica types for the contemporary editorial market.
Although Espinoza drew the text sizes first, he initially launched the collection with the airy, elegant Guyot Headline in 2016, followed by the sturdy Guyot Text in 2017. Guyot Press, a family consisting of three progressively darker grades for fine-tuning text color in challenging environments, came along in 2019. Espinoza’s hunch that a refashioned Guyot could work well for the complex demands of twenty-first-century editorial work proved correct: the understated, elegant workhorse resonated with editorial and book designers. The only thing missing from the Guyot collection was a sans serif playmate.
Until now. Enter Guyot Sans, a low-contrast humanist family made up of seven weights, from ExtraLight to Black, with matching italics. In an earlier life, Espinoza was an in-house newspaper designer, a history that informs the entire Guyot collection. The glyphs’ hardy shapes, almost imperceptible flares, slanted terminals, sharp angles, and attenuated joins make for a robust family that holds up well both on press and on screen.
Like its serif counterparts, Guyot Sans comes with uppercase, lowercase, and tabular figures; small caps; case-sensitive forms; arrows; fractions; and a well-considered selection of OpenType features. In addition to standard Latin, Guyot Sans supports Central European, Baltic, and Turkic languages. Designers on a quest for a versatile superfamily will find that Guyot’s carefully balanced features can be harmoniously combined in a wide range of scenarios. From corporate identities to branding materials to editorial layouts to user interfaces, Guyot Sans effortlessly adapts to myriad contexts, delivering a reliable and evenhanded experience.
Julie Werenskjold Sørensen assisted during most of the production work on
Guyot Sans. Olga Umpeleva took part in the final proofing.