In a couple of days, we will publish the first no-porchez typeface family. This forthcoming family is a sort of slab serif with trace of writing on it. Its not a revival or a pure old style, more a contemporary typeface, a synthesis of various ideas combined. Obviously you will know everything about the designer and the typeface later, but we will have to wait a bit more for that.
Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers (they switched to standard fonts in 2005), it was expended over the years to the large family we know today. As many others members of the extensive Le Monde family, Le Monde Sans was revamped for the relaunch of Typofonderie website. The good surprise is that you can enjoy Le Monde Sans in its exclusive Pro version for almost the price of the STD version…
The moment a magazine is created is always an important event, specially when this one is French and is broadcasting abroad. The Shelf Journal has been created by Colin Caradec and Morgane Rébulard, both less than 25 years old and graduated from École Estienne.
On Sunday 15 April 2012, Jean François Porchez is invited by the ECV design school for a lecture at the Lille Art Fair. This lecture is in connection to the TDC 57 exhibit presented at Lille Art Fair, France.
La Belle Juliette is a new hotel located in Paris’s Latin quarter. The hotel owners have worked closely with Emmanuel Blondiau, a talented graphic designer (under his company, Neutre) based in Belgium. Within months of collaboration, he built a magnificent graphic identity for this hotel, mainly using typography, revisiting the past and tradition.
I am currently doing an internship at Typofonderie, you may have already seen the article I wrote: Escape to the KABK describing the open doors of this school. Well, once again, I took a new short break in February 2012 to discover a type design course. I went to the ESAD in Amiens, the city of beets, brick walls and cold.
The confident and keen gaze of Roger Excoffon spoke volumes; his place in French typographic and graphic design history spans generations, some rejecting his work, while others, often more recent, venerating his vision and the visual force of his work. In my beginnings, as a student at the end of the 1980s, Mistral, Banco and Choc were lumped among the tacky fonts that should only have been used for parodying the shop window of a provincial butcher, baker or hair salon. At least that was the view of graphic designers, design instructors, journalists, etc. of the time. To recap the well-worn banter of that era’s agencies and studios: Excoffon’s typefaces were not modern.