Here is a journal of the changes added to all of typefaces. Our typefaces are open-source. As such, they are modified over the time and you can see here the different major versions they went by and the people working on these versions. You also can have access to the older versions of the files if you are a nostalgic person.

      • BackOut 2.0 (code name: Abomey) was created by Ariel Martín Pérez during the very hot summer of 2019. The 2.0 version of BackOut is a faithful review of Frank's original with improved spacing and kerning, corrected contrast, new lowercase letters and extended language support and functionalities.

      • Alex Slobzheninov added a carefully designed Cyrillic set to the basic latin set already supported by the typeface. This addition was awarded one of the best Cyrillic typefaces of 2019 by the Modern Cyrillic Award.

        In this version, Jérémy chose to make the numbers aligned by default. The other set of old style numerals can be accessed with the corresponding opentype feature.

      • TINY 5x3 first version comes as a variable font with a size axis to modify dot size from 0—300, as well as 15 separate instances (each increasing the dot size by 20 units). Future releases will include more widths (up to at least 5x13) and variable axes.

      • First release of the family with a common effort on each style. Later update might not be on the whole family.

      • 3 October 2018
      • This is the version of the font that has be commissioned by and delivered to Agence Murmure for them to use for their identity and website. It has been created between the summer and fall of the year of 2017.

      • Combat comes from an early XXth century anarchist newspaper published in Limoges, France, called "Le combat social". Only the 10 letters of the title were created for printing. 100 years later, the font exists on its own.

      • Terminal Grotesque is a font that I started in December 2010 while working for a game project, on a pixel font called Modulicon. The characters of Modulicon are not alpha-numeric but a series of icons designed to be displayed in small sizes. After some time spent completing this font, working with pixels made me want to start another drawing that could be used for titles within higher sizes. This side project, was given the temporary name of Junkette and then became Terminal Grotesque: a pixel font inspired by Paul Renner's Futura and some features of Radim Peško's grotesque drawings.

        The first versions of Terminal Grotesque were designed using the online app Fontstruct. Later, the project migrated to the open source software Fontforge.