Style combination · Pairs well

Post-Binary Typography × Risograph

Fanzines, programmes and short-run posters carry much of the practice, such as Hannah Beaudeux's risograph-printed La tendresse des murs (2025), set with Enby Gertrude; print a post-binary text in one or two riso inks to keep it cheap and communal.

From the research on Post-Binary Typography (Bye Bye Binary and Inclusive French Type)

Mix them and make something Post-Binary Typography Risograph

A sample layout drawn from the recipe: shapes from Risograph, their arrangement from Post-Binary Typography, the finish from Risograph. Not a real work, and not an image of either style.

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Post-Binary Typography (Bye Bye Binary and Inclusive French Type) Risograph & Indie Print Culture

Type from Post-Binary Typography: Experimental & distorted
Eclectic mixing
Colour from Risograph: Limited spot colours
Fluorescent & neon
Form from Risograph: Stylised figuration
Geometric primitives
Composition from Post-Binary Typography: Classical text block
Collage & layering
Surface from Risograph: Misregistration & overprint
Grain & noise

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · Post-Binary Typography

Fiesta

Jost, standing in for BBB Poppins TN (Eugénie Bidaut and Camille Circlude, 2022), after Jonny Pinhorn's Poppins

Text · Risograph

A contemporary culture of zines, art books, posters and prints made on Japanese Risograph stencil duplicators, whose soy-based spot inks (fluorescent pink, yellow, blue, teal) are laid down one drum at a time. Designers embrace the machine's limits: translucent overprints, slight misregistration, grainy coverage and coarse halftones give flat illustration and type a warm, handmade vibrancy at low cost.

Inter; Risograph used Neo-grotesques set large and Monospace and typewriter faces

The colours

The ground and leading colours come from Risograph, with a counter-accent from Post-Binary Typography. The ink reads on the ground at 4.5:1 or more.

Post-Binary Typography (Bye Bye Binary and Inclusive French Type) Risograph & Indie Print Culture

#f4f1ea ground · 36%
#3255a4 ink · 14%
#ff48b0 accent · 18%
#d42a7f accent · 14%
#f15060 accent · 10%
#00838a accent · 8%

As CSS

:root {
  --ground: #f4f1ea;
  --ink: #3255a4;
  --accent-1: #ff48b0;
  --accent-2: #d42a7f;
  --accent-3: #f15060;
  --accent-4: #00838a;
  --font-display: "Jost", sans-serif;
  --font-text: "Inter", sans-serif;
}

Use it with care

Post-Binary Typography (Bye Bye Binary and Inclusive French Type): This is the living practice of a queer, trans and non-binary community and of named designers, most of them active: do not use the glyphs as decorative 'Pride' texture or for brand campaigns that ignore the people they were made for; follow the CUTE that comes with the fonts: credit and link the designers, keep the files complete, give on its sliding scale (€300 to €1,000 for a cultural institution) and respect its answer to companies that want an inclusive image to pinkwash: 'Look elsewhere'; and never attribute a generated poster or font to the collective or prompt an image model with its members' names. Image models invent fake ligatures and misspell French, so set real inclusive words in the actual fonts and have them checked by people who use them. Type the median-dot forms and let the OpenType features display the glyphs, rather than pasting QUNI's Private Use Area characters, which screen readers cannot voice meaningfully and which turn into blanks or wrong signs when copied or shown in another font. In France, inclusive writing with the point médian is proscribed in schools by circular (2021) and a Senate bill sought to ban it more widely (2023), so check before setting official French public documents this way.