Fontstand

The French Modern of the nineteenth century, often called Didot after the famous French printing dynasty who popularized the style, is often the serif typeface of choice to communicate elegance and sophistication. Le Jeune, designed by Commercial Type partners Paul Barnes and Christian Schwartz for Chris Dixon’s refresh of Vanity Fair, is a modern adapation of the idiom. Where the French Moderns typically feature soft teardrop forms, Le Jeune features sharp, round ball terminals more typical of British and American Moderns. Greg Gazdowicz has added a stencil version in each optical size, inspired by the famed Modern-style stencil letters found throughout France. Le Jeune Hairline is intended for the largest display sizes, 100 point and above, where its delicate hairlines can best express their extreme elegance.