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.
I am currently doing an internship at Typofonderie and passionate about drawing letters. I inquired about the courses dedicated to typography and a school caught my eye: the Koninklijke Academie van Beeldende Kunsten or shorter, the KABK located in The Hague Netherlands. I heard of the 28 January 2012 open day and decided to go, armed with my little Renault Clio, my camera and my curiosity for everything related to the design of letters.
Designed in 1998, first released in 1994, Angie Sans offers itself a new youth and become Pro for your pleasure. At the time the design was created by hands on tracing paper. Few months later, the one weight font was submitted to the Morisawa Awards and won the Brattinga prize in 1990.
Few photos from the current exhibition in Paris “La typo dans tous ses états (Typography in all its forms)” have been posted. Its a collective exhibition of typographers, graphic designers and photographers, in partnership with Imprimerie nationale’s “Atelier du Livre d’art et de l’Estampe” and Graphê magazine.
I have just the folks you should talk to, some good friends of ours at Paravel I’ve worked with them on numerous projects, and they are fast, intelligent, and very good. I highly recommend them!