To many typographers and connoisseurs, types originating in late Renaissance and early Baroque France represent the pinnacle of beauty. Almost 500 years after Claude Garamond and Robert Granjon cut their punches in Paris, typefaces following their style are perceived as classics. With sophisticated shapes and self-evident proportions, they exude warmth and embody legibility.

Edict isn’t a revival, certainly not an academic one based on one specific model from the archives of type history. It’s more fittingly described as an original interpretation of the genre. Edict amalgamates traits and details freely, drawing on a multitude of sources. If one prototype in this anthology is to be singled out, then it’s Jean Jannon, who was active about three generations after Garamond, and whose work was the actual basis for several of the 20th-century “Garamonds”. Like Jannon’s types, Edict exhibits a higher contrast, with greater differences between thicks and thins, and a contrast axis that isn’t evenly inclined. In this regard, it shows characteristics of so-called Transitional type, a term that refers to the intermediate position between Old Style and Modern. Bold type didn’t yet exist in the 16th and 17th centuries; this means of typographic expression was invented much later. Yet there is something baroque about Edict Bold: with more weight added, the contrast further increases, bringing to mind the technique of chiaroscuro (light–dark) that was popular with painters in the era.

At the center of Edict’s allure is its interplay of sharp serifs and swelling teardrop terminals. The syncopation of these two “rhythms” is what makes Edict sing on the page. All outer corners are rounded off ever so slightly, lending its letterforms a radiant warmth, despite the pointed terminals. In the italic, the sharp part is taken over by the hooked exit strokes. Period italics tend to be very lively, with angles that differ from letter to letter. Edict’s italic is still animated, but less agitated, and optimized for today’s expectations regarding a tight letter fit. A similar compromise between vibrancy and usability was found for the swash forms. There are decorative ligatures and alternates for both the roman and italic styles. The latter additionally sport a full set of optional swash capitals as well as terminal forms for all lowercase letters. Sprinkle in these extras at your discretion. The Edict family also offers small caps for advanced typesetting needs. It comes in five static weights as well in variable font format with a weight axis.