Élodie Shao

Clairon is a contemporary typeface inspired by the specimens of Pierre-Simon Fournier, a major figure in 18th-century French typography. It was designed as part of an identity project for the Musée de la Toile de Jouy.

The goal was to create a typeface suited to the museum’s communication materials — exhibition posters, wall texts, printed and digital publications — while paying tribute to the cultural and aesthetic context in which Toile de Jouy first appeared.

This iconic fabric, first printed at the Oberkampf manufactory in Jouy-en-Josas around 1760, is known for its delicate monochrome patterns, depicting pastoral scenes and everyday life. It embodies the elegance of a transitional period between decorative Rococo and rational Neoclassicism. It was within this same 18th century that Fournier practiced, and his work provided the foundation for this typeface.

By studying his specimens, I sought to understand the logic behind his letterforms — their rhythm, proportions, and internal structure — and to offer a contemporary reading that remains faithful to their original spirit.

The name Clairon carries several layers of meaning. It first evokes clarity, echoing the Enlightenment era. It also refers to a process of graphic clarification: the act of extracting, interpreting, and stabilizing historical forms to give them new life. The suffix “-on” alludes to traditional type size names such as Canon or Parangon, reinforcing the typeface’s historical grounding.

Clairon’s design is built around moderate contrast and formal tension: mechanical serifs provide structure, while rounded shapes introduce softness and movement. The result is a typeface that blends structural rigor with graphic fluidity — a functional yet expressive tool, tailored to today’s editorial needs.

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