Palme


About

Palme is a humanist sans serif typeface with organic curves and subtle ink trap details. Inspired by the work of Roger Excoffon and Founderie Olive, Palme follows in the footsteps of Antique Olive, by carrying on the legacy of imparting character and emotion into a sans serif typeface. The typeface features a low x-height and tall ascenders, adding to its feeling of elegance. Drawn digitally with a rigorous attention to every detail, the type shines in all sizes and the wide range of weights allow for a wide breadth of expression without leaving the family. All Faire Type typefaces are available as variable fonts, for maximum flexibility and precision typesetting.

Styles

Hairline
 Italic
Thin
 Italic
Light
 Italic
Regular
 Italic
Medium
 Italic
Bold
 Italic
Black
 Italic
Super
 Italic

Weight
Slant
  • Palme Variable
  • Weight 400
  • Slant 0
×
Variable fonts are a modern type of font file that contain more than one style of a font. For example, Sprig Variable has a weight axis and contains all weights of the font ranging from hairline to super. So instead of having 8 files, a variable font allows you to have just one. In addition to reducing files and file size (which is great for the web ♥) variable fonts provide tons of amazing animation opportunities, and allow you to get super precise. In Sprig Variable you’re not limited to the weights we define, if you need something heavier than regular but lighter than medium, a variable font allows you to get it just right for your project.

Palme Hairline
150px
Weight
Slant
Size

Palme Thin
150px
Weight
Slant
Size

Palme Light
150px
Weight
Slant
Size

Palme Regular
150px
Weight
Slant
Size

Palme Medium
150px
Weight
Slant
Size

Palme Bold
150px
Weight
Slant
Size

Palme Black
150px
Weight
Slant
Size

Palme Super
150px
Weight
Slant
Size

Palme Hairline Italic
150px
Weight
Slant
Size

Palme Thin Italic
150px
Weight
Slant
Size

Palme Light Italic
150px
Weight
Slant
Size

Palme Regular Italic
150px
Weight
Slant
Size

Palme Medium Italic
150px
Weight
Slant
Size

Palme Bold Italic
150px
Weight
Slant
Size

Palme Black Italic
150px
Weight
Slant
Size

Palme Super Italic
150px
Weight
Slant
Size

Palme Regular
24px
Weight
Slant
Size

They couldn’t play like Eddie Van Halen, but that was the charm of the Ramones… it was a workout. We didn’t have any stops between each song. We just counted them off and there was no time to even drink a glass of water. A lot of bands have water bottles up there and towels and stuff… you know what I mean? We were not into that. We thought that looked like a band was getting tired. When they started talking to the audience, then they were taking that moment of rest. We didn’t want to have that kind of thought in anyone’s head that they are tired, and that’s why they are talking, and that’s why they are drinking water. We didn’t want that. I honestly think that the Ramones appeal to youth. It is the energy that we projected on record and when we played live. There is a whole new generation out there that wants to hear and wants to see a band that is real, with no samples, no tapes and nothing computerized. That is what the Ramones were all about. When I tour with my group around the world, I see these teenagers and they know that what they see is what they get. In my band there is no guy with a keyboard doing samples, or enhancing the vocals, or adding the added percussion from tapes—they’ve all got their tricks. When I tour, there are no tricks. When the Ramones toured there was no tricks. What happened is that I read all of the other books and I thought it was time to tell it like it was. I wanted to tell it like it was and not how other people who wrote books about the band thought it was. A lot of people who wrote the other books were much exaggerated. They were not written by a Ramone. Anyone relative can write a book, but they were hardly around. I decided to write a book because of my fifteen year tenure in the band. I played 1,700 shows with that band. I think between my book and the first one, by Jim Bessman, The Ramones: An American Band, are the most comprehensive.


Palme Regular
18px
Weight
Slant
Size
Initialement envisagée comme « Coupe Lumière », du nom du président d’honneur du « festival du monde libre », pour s’opposer à la coupe Mussolini de la Mostra de Venise, la plus haute récompense du Festival de Cannes s’appelle à l’origine le « Grand Prix du Festival international du Film » et est décernée à un réalisateur sous la forme d’un diplôme et d’un trophée signé d’un artiste contemporain. L’histoire de la Palme d’or commence dans les années 1950. En 1954, à l’initiative de Robert Favre Le Bret, les organisateurs chargent plusieurs joaillers de concevoir une distinction reprenant, comme symbole de victoire, le motif de la feuille de palmier des armes ancestrales de la vieille cité cannoise, elles-mêmes issues du blason abbatial et de la légende de saint Honorat. À l’approche de l’an Mil, le village de Cannes fut cédé à l’abbaye de Lérins dont la palme était l’emblème en référence au palmier sur lequel grimpa le saint pour que la mer puisse nettoyer l’île des serpents qui l'infestaient. Elle rappelle aussi la palme bénie que rapportaient les Cannois en revenant du pèlerinage annuel aux îles de Lérins. Le projet retenu est celui de Lucienne Lazon. Sa feuille de palmier repose sur un socle en terre cuite réalisé par le sculpteur Sébastien. Une fois élaborée, la récompense prend le nom de « Palme d’or » en 1955 et revient, pour la première fois, à l’Américain Delbert Mann pour le film Marty. Le nouveau prix ne fait pas l’unanimité : il est décerné jusqu’en 1963 et le conseil d’administration revient au « Grand Prix du festival » avec la formule diplôme-œuvre d’art. En 1975, la Palme d’or est définitivement réhabilitée mais son appellation n’est officialisée que cinq ans plus tard. Elle devient le logo du festival au cours des années 1980. Sa configuration évolue avec le temps : elle passe notamment d’un socle arrondi à un socle pyramidal en 1984. Elle est ensuite modernisée en 1992 par Thierry de Bourqueney puis en 1997 par Caroline Gruosi-Scheufele, présidente de la joaillerie suisse Chopard qui depuis cette date, a l’exclusivité de sa réalisation ainsi que celle des deux palmettes, remises en prix d’interprétation à deux comédiens.

Glyphs

Basic Latin

Extended Latin

Ligatures and Alternates

Ordinals

Punctuation

Symbols, Currency, Math, Arrows

Numbers, Superior, Inferior, Fractions

Tabular

Emojis


FAIRE Palme Emojis

Palme Colophon


Palme Design
Maxime Gau

Palme Engineering
Sabrina Nacmias

Release
2022

Version
1.0

File Types
.OTF, .TTF, .WOFF2

Supported Languages


Albanian
Asu
Basque
Bemba
Bena
Breton
Catalan
Chiga
Colognian
Cornish
Croatian
Czech
Danish
Dutch
English
Estonian
Faroese
Filipino
Finnish
French
Friulian
Galician
Ganda
German
Gusii
Hungarian
Inari Sami
Indonesian
Irish
Italian
Jola-Fonyi
Kabuverdianu
Kalenjin
Kinyarwanda
Koyra ChiiniLatvian
Koyraboro Senni
Lithuanian
Lower Sorbian
Luo
Luxembourgish
Luyia
Machame
Makhuwa-Meetto
Makonde
Malagasy
Maltese
Manx
Marshallese
Moldavian
Morisyen
North Ndebele
Northern Sami
Norwegian Bokmål
Norwegian Nynorsk
Nyankole
Oromo
Polish
Portuguese
Quechua
Romanian
Romansh
Rombo
Rundi
Rwa
Samburu
Sango
Sangu
Scottish Gaelic
Sena
Serbian
Shambala
Shona
Slovak
Soga
Somali
Spanish
Swahili
Swedish
Swiss German
Taita
Tasawaq
Teso
Turkish
Upper Sorbian
Uzbek (Latin)
Volapük
Vunjo
Walser
Welsh
Western Frisian
Zarma
Zulu

The Link Collection

The Sprig Collection

The Luma Collection

The Palme Collection

The Octave Collection