About NaN Jaune

With closed apertures, display for text, and text for display, Jaune follows and epitomises NaN’s motto: take a bad idea and do it well (or at least die trying). If one typically avoids colliding glyph anatomy, then Jaune looks at the problem upside down and sticks together that which normally shouldn’t touch. 

With just one optical size, NaN Jaune delivers three subfamilies across its collection, each as unconventional, confident, and convincing as the last – ranging from Maxi to Mini.

Maxi, the Dad of the font family, is the biggest of the lot, having been created with display in mind. Ranging from the blackest Black to a razor-sharp Thin, its short extenders make it ideal for compact text blocks and strong headlines.

Meanwhile, Midi is the happy middle child – an all-terrain people-pleaser who’s content and comfortable in all contexts and conversations.Mini, the baby, opts for a more simplified structure, with open counters and deep ink traps, enhancing legibility across smaller sizes and long texts, all while embodying Jaune’s natural, undeniable swagger.

Typeface: NaN Jaune
Designer: Jérémy Landes
Italic and Cyrillic Production: Vika Usmanova
Spacing & Kerning: Igino Marini
Year: 2016-2022
Languages: Supporting 339 Latin-based languages and 16 Cyrillic-based languages
Formats: TTF, WOFF2 (Autohinted)

Download PDF Specimen

Microsite: www.SansSheriff.wtf

Pappardella & Bärlauch Pesto
Regular but still bizarre?
Beauty and the beast
As the streets that lead from the Strand to the Embankment are very narrow, it is better not to walk down them arm-in-arm. If you persist, lawyers’ clerks will have to make flying leaps into the mud; young lady typists will have to fidget behind you. In the streets of London where beauty goes unregarded, eccentricity must pay the penalty, and it is better not to be very tall, to wear a long blue cloak, or to beat the air with your left hand. One afternoon in the beginning of October when the traffic was becoming brisk a tall man strode along the edge of the pavement with a lady on his arm. Angry glances struck upon their backs. The small, agitated figures—for in comparison with this couple most people looked small—decorated with fountain pens, and burdened with despatch-boxes, had appointments to keep, and drew a weekly salary, so that there was some reason for the unfriendly stare which was bestowed upon Mr. Ambrose’s height and upon Mrs. Ambrose’s cloak. But some enchantment had put both man and woman beyond the reach of malice and unpopularity. In his case one might guess from the moving lips that it was thought; and in hers from the eyes fixed stonily straight in front of her at a level above the eyes of most that it was sorrow. It was only by scorning all she met that she kept herself from tears, and the friction of people brushing past her was evidently painful. After watching the traffic on the Embankment for a minute or two with a stoical gaze she twitched her husband's sleeve, and they crossed between the swift discharge of motor cars. When they were safe on the further side, she gently withdrew her arm from his, allowing her mouth at the same time to relax, to tremble; then tears rolled down, and leaning her elbows on the balustrade, she shielded her face from the curious. Mr. Ambrose attempted consolation; he patted her shoulder; but she showed no signs of admitting him, and feeling it awkward to stand beside a grief that was greater than his, he crossed his arms behind him, and took a turn along the pavement. The embankment juts out in angles here and there, like pulpits; instead of preachers, however, small boys occupy them, dangling string, dropping pebbles, or launching wads of paper for a cruise. With their sharp eye for eccentricity, they were inclined to think Mr. Ambrose awful; but the quickest witted cried “Bluebeard!” as he passed.
Our motto? Take a bad idea and do it well, or at least die trying.
сугубо греческие буквы (кси, пси, фита, ижица)
IN A WORLD WHERE PHYSICAL CONTACTS SHOULD BE AVOIDED, JAUNE TAKES THE PARTY OF THE SOCIAL NON-DISTANCING
The use of fermentation, particularly for beverages, has existed since the Neolithic and has been documented dating from 7000–6600 BCE in Jiahu, China, 5000 BCE in India, Ayurveda mentions many Medicated Wines, 6000 BCE in Georgia,3150 BCE in ancient Egypt, 3000 BCE in Babylon, 2000 BCE in pre-Hispanic Mexico, and 1500 BC in Sudan. Fermented foods have a religious significance in Judaism and Christianity. The Baltic god Rugutis was worshiped as the agent of fermentation. Louis Pasteur in his laboratory — In 1837, Charles Cagniard de la Tour, Theodor Schwann and Friedrich Traugott Kützing independently published papers concluding, as a result of microscopic investigations, that yeast is a living organism that reproduces by budding. Schwann boiled grape juice to kill the yeast and found that no fermentation would occur until new yeast was added. However, a lot of chemists, including Antoine Lavoisier, continued to view fermentation as a simple chemical reaction and rejected the notion that living organisms could be involved. This was seen as a reversion to vitalism and was lampooned in an anonymous publication by Justus von Liebig and Friedrich Wöhler. 108–109 The turning point came when Louis Pasteur (1822–1895), during the 1850s and 1860s, repeated Schwann’s experiments and showed fermentation is initiated by living organisms in a series of investigations. In 1857, Pasteur showed lactic acid fermentation is caused by living organisms. In 1860, he demonstrated how bacteria cause souring in milk, a process formerly thought to be merely a chemical change. His work in identifying the role of microorganisms in food spoilage led to the process of pasteurization. In 1877, working to improve the French brewing industry, Pasteur published his famous paper on fermentation, «Etudes sur la Bière», which was translated into English in 1879 as «Studies on fermentation». He defined fermentation (incorrectly) as «Life without air», yet he correctly showed how specific types of microorganisms cause specific types of fermentations and specific end-products. Although showing fermentation resulted from the action of living microorganisms was a breakthrough, it did not explain the basic nature of fermentation; nor, prove it is caused by microorganisms which appear to be always present. Many scientists, including Pasteur, had unsuccessfully attempted to extract the fermentation enzyme from yeast. Success came in 1897 when the German chemist Eduard Buechner ground up yeast, extracted a juice from them, then found to his amazement this «dead» liquid would ferment a sugar solution, forming carbon dioxide and alcohol much like living yeasts.
Hard Trance Against A Robust Mycelium
БЛАЖЕННУЮ
As the streets that lead from the Strand to the Embankment are very narrow, it is better not to walk down them arm-in-arm. If you persist, lawyers’ clerks will have to make flying leaps into the mud; young lady typists will have to fidget behind you. In the streets of London where beauty goes unregarded, eccentricity must pay the penalty, and it is better not to be very tall, to wear a long blue cloak, or to beat the air with your left hand. One afternoon in the beginning of October when the traffic was becoming brisk a tall man strode along the edge of the pavement with a lady on his arm. Angry glances struck upon their backs. The small, agitated figures—for in comparison with this couple most people looked small—decorated with fountain pens, and burdened with despatch-boxes, had appointments to keep, and drew a weekly salary, so that there was some reason for the unfriendly stare which was bestowed upon Mr. Ambrose’s height and upon Mrs. Ambrose’s cloak. But some enchantment had put both man and woman beyond the reach of malice and unpopularity. In his case one might guess from the moving lips that it was thought; and in hers from the eyes fixed stonily straight in front of her at a level above the eyes of most that it was sorrow. It was only by scorning all she met that she kept herself from tears, and the friction of people brushing past her was evidently painful. After watching the traffic on the Embankment for a minute or two with a stoical gaze she twitched her husband's sleeve, and they crossed between the swift discharge of motor cars. When they were safe on the further side, she gently withdrew her arm from his, allowing her mouth at the same time to relax, to tremble; then tears rolled down, and leaning her elbows on the balustrade, she shielded her face from the curious. Mr. Ambrose attempted consolation; he patted her shoulder; but she showed no signs of admitting him, and feeling it awkward to stand beside a grief that was greater than his, he crossed his arms behind him, and took a turn along the pavement. The embankment juts out in angles here and there, like pulpits; instead of preachers, however, small boys occupy them, dangling string, dropping pebbles, or launching wads of paper for a cruise. With their sharp eye for eccentricity, they were inclined to think Mr. Ambrose awful; but the quickest witted cried “Bluebeard!” as he passed.
Гръцките банки ще бъдат отворени в понеделник – на 20 юли. Това съобщи гръцката агенция АНА–МПА, като се позовава на свои източници в банковите среди. Лимитът за теглене на 60 евро на ден ще остане. Гражданите обаче ще могат да теглят не по 60 евро дневно, а ако сумата се натрупа, да теглят например по 120 евро веднъж на два дни. Гръцките банки бяха затворени в края на миналия месец във връзка с въвеждането на контрол за движението на капитал. По-рано днес Европейската централна банка (ЕЦБ) реши да увеличи тавана на ликвидната помощ за гръцките банки с 900 млн. евро. Достъпът до ликвидност никога не е бил неограничен и безусловен, заяви шефът на ЕЦБ Марио Драги на пресконференцията, на която съобщи за решението. По думите му в действията си Европейската централна банка винаги се е водела от разбирането, че Гърция ще остане в еврозоната. Драги заяви, че Гърция категорично има нужда от облекчаване на дълговото бреме. Това е изводът и от последния доклад на МВФ. Германия обаче за момента отказва да обсъжда отписване на гръцки дълг. Наистина ли гръцките данъчни не са успели да съберат 89% от данъците? Кореспондентите на Би Би Си анализират данъчната статистика и други икономически показатели на балканската страна, за да разкажат историята на гръцката криза. Истина ли са тези съвременни митове за гръцката икономика? За пръв път това твърдение е прозвучало от устата на Херакъл Полемархакис, съветник по икономика на бившия министър-председател на страната.
“ABCDEFGHIJKLMNOPQRSTUVWXYZ”
abcdefghijklmnopqrsßtuvwxtz
#0123456789
!?&%@({†*
:-)
“АБВҐДЕЖЗИКЛМНОПРСТУФХЧЦШЩЫЪЊЅЭІЈЋЯЂ”
абвгґдежзилнопрстуфхцшщџьыъ
љњѕіјћюяђ
#0123456789
!?&%@({†*
:-)
“ABCDEFGHIJKLMNOPQRSTUVWXYZ”
abcdefghijklmnopqrsßtuvwxtz
#0123456789
!?&%@({†*
:-)

Selected Opentype Features

26absc (Non-)Touching Alternates
Muffetts! Standard Ligatures
Berated Straight Bar (e)
mad anglicans Single-storey (a-g)
123/456+7/8 Fractions

Samples

NaN Jaune Maxi Black What Are You Up To? July 2016
NaN Jaune Maxi Bold Italic Состав первоначальной 43 букв
NaN Jaune Maxi Regular Piscine & ballon, glycine ou glaçon
NaN Jaune Maxi Thin Italic ¡Verás que todo es posible(vuela, vuela)!
NaN Jaune Midi Black Alma matter and “alba pater”
NaN Jaune Midi Bold Italic Cozy sphinx©waves.com
NaN Jaune Midi Regular Mit Dir — Extended, 1983™
NaN Jaune Midi Light Italic Vasistas is kein «Was ist das?»
NaN Jaune Mini Black Some people call me the space cowboy
NaN Jaune Mini Bold Italic Nansenstraße, 12047 Berlin
NaN Jaune Mini Regular [email protected]
NaN Jaune Mini Light Italic I really love your peaches, wanna shake your tree

Styles

  • NaN Jaune Maxi Italic
  • NaN Jaune Maxi Thin
  • NaN Jaune Maxi Thin Italic
  • NaN Jaune Maxi Light
  • NaN Jaune Maxi Light Italic
  • NaN Jaune Maxi Blond
  • NaN Jaune Maxi Blond Italic
  • NaN Jaune Maxi Regular
  • NaN Jaune Maxi Medium
  • NaN Jaune Maxi Medium Italic
  • NaN Jaune Maxi Bold
  • NaN Jaune Maxi Bold Italic
  • NaN Jaune Maxi Extra Bold
  • NaN Jaune Maxi ExtraBold Italic
  • NaN Jaune Maxi Black
  • NaN Jaune Maxi Black Italic
  • NaN Jaune Midi Italic
  • NaN Jaune Midi Light
  • NaN Jaune Midi Light Italic
  • NaN Jaune Midi Blond
  • NaN Jaune Midi Blond Italic
  • NaN Jaune Midi Regular
  • NaN Jaune Midi Medium
  • NaN Jaune Midi Medium Italic
  • NaN Jaune Midi Bold
  • NaN Jaune Midi Bold Italic
  • NaN Jaune Midi Black
  • NaN Jaune Midi Black Italic
  • NaN Jaune Mini Italic
  • NaN Jaune Mini Light
  • NaN Jaune Mini Light Italic
  • NaN Jaune Mini Blond
  • NaN Jaune Mini Blond Italic
  • NaN Jaune Mini Regular
  • NaN Jaune Mini Medium
  • NaN Jaune Mini Medium Italic
  • NaN Jaune Mini Bold
  • NaN Jaune Mini Bold Italic
  • NaN Jaune Mini Black
  • NaN Jaune Mini Black Italic

Variable Font Included With All Family Packages

Western Spaghetti

NaN uses Fair Font Pricing to ensure fair access to our fonts no matter where you are in the world. Our fonts are priced differently based on location – if the cost of coffee varies from place to place, why shouldn’t fonts? FFP is based on purchasing power parity by the World Bank. It looks like you’re in Germany. Your total cost will be adjusted down by 20%. Country and final pricing confirmation at checkout. Learn More.

Select NaN Jaune

NaN Jaune Maxi Subfamily Per Style ⁘ 40
NaN Jaune Midi Subfamily Per Style ⁘ 40
NaN Jaune Mini Subfamily Per Style ⁘ 40

Select Your Font License

1. License Type

Our Commercial License is based on a perpetual, worry-free model with no surprise costs. The key metric we use is the end-user’s company size as measured by employee count. Agencies are allowed to buy and use fonts on behalf of their end-user clients.

Our Pitch License offers access to complete, full-featured fonts for internal trial and pitch purposes only at a 70% discount. This allows you to test-drive and present our fonts in your mockups before project sign-off.

We offer an 80% discount to students and educators. Students may use licensed fonts for both school projects and commercial ones during and after their studies, as long as they work for companies with less than 6 employees. No I.D required, we trust you.

Our Charity and Social Enterprise License offers everything that our Commercial one does but for a 50% discount. The licensee must be a registered charity, non-profit or social enterprise.

2. Covered usages

3. Company Name
[?]
End-user company name including client or organisation / student. The company or organisation making final use of the fonts for its communication. The agency or studio is only a sub-contractor. By using the fonts, this company agrees to the license terms.

4. Company Size
[?]
This is the number of people who work for the end-user company (employees and sub-contractors combined). External designers or agencies working on behalf of the end-user should be included. Any freelancer or sub-contractor working more than half of their time for the Licensee for a duration of minimum 3 months should be counted in their employee number.

Licensee →

The licensee is the company or organisation making final use of the fonts for its communication. The agency or design team is a sub-contractor and should be included in the Licensee’s employee count.

Read our EULA

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This is the number of people working for the company (employees, designers and sub-contractors combined).

Any doubts or questions? Read our F.A.Q.

Pricing Model →

Our pricing model is based on the size of the Licensee’s company. The price increases with the size of the company. Our pricing model also takes into account the Licensee’s country of residence to adjust the price in a fairer way.

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