Balance, therefore, became both the main aim and challenge during Voyage’s development. Now completed, in its letterforms the typeface is almost too thick in some places, pulling back to a thinner line mark just before it feels too eccentric. For instance, in its “e”, “h” and “g”, readers can spot real eccentricity in Jérémy’s design which features “hairlines for maximum contrast.”
The result is a typeface the pair describes as “elegant” pointing out how “it’s not too much, it’s not show-off, but it really stands out.” To get to this point, several rounds of testing was required, where the pair could be found designing and redesigning multiple versions of each letter, before deciding “what to choose and what to set aside.” “So, it’s a long process, and a lot of work but that’s what it takes to achieve balance,” the studio adds.
Finally, made up of two weights (bold and regular), and 55 ligatures with 26 variants, each open-type programmed so the user can decide which glyph to alternate, Voyage is a typographic example of “embracing ideas all around the world.” Violaine and Jérémy also hope the typeface will be utilised in large sizes, particularly suitable as a headline font or for short texts. Maybe it “could be beautiful in a movie opening with nice animation along its curves,” they suggest. “Let’s dream of a David Fincher or Sam Mendes movie opening and poster.”