Archives by Karl Blossfeldt
A big thanks to
Hélène Zhang and Lucille Alepis
who helped us developing
Canopée family
Some stories can only be told by the one who started them. For many years, Canopée waited to come of age to finally adorn herself with a richer plumage. She has travelled the world, met many versions of herself along the way. Ten years on, the typeface returned to write her next chapter on her own terms: fuller, richer, with a complete lowercase, new weights, and new styles. What defines Canopée is contradiction held in tension. Its serifs are sharp, geometric, precise, yet the letterforms they inhabit are organic, rounded, built with a looseness that pushes back against that rigidity. This friction is intentional. It is where the typeface lives. Rhythm here is structural, not merely optical. Condensed letters sit alongside extravagantly wide ones: tight, then open, tight, open. That alternation is its pulse. Designing the lowercase took more than two years. The challenge was not technical, it was one of equilibrium. Roundness alone would have made it soft and unserious. The O especially required a form that could be full without being heavy, present without dominating. The answer lies somewhere between elegance and a certain quiet strangeness: a contemporary off-note that keeps the whole from being merely correct. TBC.
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