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ABOUT

Malou Verlomme

French type designer who graduated from l'Ecole Duperré in Paris and the University of Reading (2005). He cofounded the type foundry LongType in 2012. Since 2016 he works for Monotype UK. His typeface Ficus (2005) won an award in the Creative Review Type Competition 2005.

He wrote Technological Shifts in Type Design and Production (2006).

His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Totem, Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006).

Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol.

Verlomme set up Long Type in 2012 with Mathieu Chévara, Mathieu Reguer and Thomas L'Excellent.

In 2016, for Monotype, on commission for the Transport For London company, he redesigned / tweaked New Johnston, called Johnston100. It will be used in TfL's trains and station signage including for London's new Crossrail Elizabeth line that is scheduled to open in 2018.

In 2018, he published the geometric sans typeface family Madera and the revival typeface Placard Next (based on an old Monotype condensed poster typeface) at Monotype.

In 2019, he released the 12-style high-contrast Ariata (Text, Display, Stencil) at Monotype.

In 2020, he published the superfamily Macklin (Sans, Display, Text, Slab) at Monotype. Influenced by early 19th century designs in Europe, and especially by the work of Vincent Figgins, it is intended for use in headlines and short blocks of text. Variable fonts are also available.

Co-designer, with Clement Charbonnier Bouet, of Ionic No 5 (2021), a ten-style Clarendon that revives and refreshes a classic Linotype Clarendon-style serif for Monotype. Noteworthy is that the designers replaced Clarendon's ball terminals by 21st century serifs, even including the hipsterish coathanger f. The ball terminals are relegated to the "alternates".

In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.

In 2022, he released Boucan (a variable all caps font that can be animated to react to sounds and music).

Typecache link. Speaker at ATypI 2017 Montreal.

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INTERNAL LINKS
Type designers ⦿ Type designers ⦿ History of type ⦿ Type design in France ⦿ Corporate typefaces ⦿ Art Nouveau typefaces ⦿ School fonts ⦿ Stencil fonts ⦿ Variable fonts ⦿ Clarendon ⦿ Experimental type ⦿