As AI takes center stage, there’s a growing backlash against overly polished design in everything from photography and advertising, to typography. Tuig, released last month, arrives with that same mantra. Designed by Lausanne-based French designer Guillaume Berry through his side project Marmite Defontes, the variable display typeface embraces wobble, tension, and just enough weirdness to feel human.
Berry’s foundry, Marmite Defontes, operates under the wonderfully contradictory philosophy of “Serious Fun,” borrowed from Japanese video game company Natsume—and honestly, that tension explains Tuig perfectly. The foundry specializes in display typefaces built to make an impression, prioritizing expressive shapes and strong personalities over disappearing into the background. But beneath all the visual playfulness is a very real commitment to craft. These fonts may look like they’re having a good time, but they’re still meticulously built software.
As a project of that playfulness, Tuig, named after the Dutch word for “twig,” bends instead of behaving. The letterforms lean, stretch, curve, and occasionally look like they’re over-caffeinated. Oversized curves and a generous height make the letterforms approachable, while sharp cuts and quirky details stop it from feeling too soft or startup-friendly. It’s expressive without turning into typographic theater.
What makes Tuig stand out is its willingness to stay imperfect. While some contemporary typography gets sanded down into smooth, personality-free neutrality, Tuig keeps its rough (and round) edges intact. The result feels energetic, flexible, and refreshingly alive—like the typographic equivalent of someone who’s a little chaotic but somehow still the most interesting person at the party.