In use: Modern Art Club

Apolline in use by Amélie Lebleu. Modern Art Club

Amélie Lebleu is a graphic designer in love with typography. On her portfolio we can find quite good exhibit catalogs and exhibit identities. For Musée du Luxembourg she opted for a real typographical bias: rather than designing a catalog including reproductions of paintings, she deliberately and solely focused on typography, a unique typeface, a unique Apolline weight but two colors.

Mislab, a new design by Xavier Dupré

Mislab by Xavier Dupré for Typofonderie

Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions.

A epigraphic journey the side of good and evil

Un voyage épigraphique du coté du bien et du mal

The graphic designer and author, Philippe Buschinger was invited to present his new book during a lecture on February 2013. It was at the Centre Pompidou during the Book Machine project, an event of the fourth edition of the New festival 2013 Centre Pompidou and during which he shared his enthusiasm for the Blackletter, from its use to the reasons of its very frequent use in the contemporary urban landscape!

Amplify the content

Amplify the content

The question of harmony between the form, the layout, and the content of a book is one of the most recurrent and fundamental questions in graphic design. This problem is the same than is character design. Have the support of the information to be invisible to convey it better, like a crystal glass, or can it have a personality that serves the content? In our recent readings three books arised that illustrate this question quite well. They beneficiate all three of a very polished but original layout work that allows not just to transmit the content but to amplify it.

Costa, a mediterranean style sanserif

Costa, a mediterranean style sanserif

The original idea of Costa was to create a contemporary mediterranean typeface style. Costa is a synthesis of the purity, as found on Greek capitals, and softness, found in Renaissance scripts. First thing was the design concept that take its roots on the Chancery script. Such writing style appeared during Italian Renaissance. Later few typefaces have been developed from such cursive models. Today most serifed typeface italic take their roots on such triangular structure we can find on gylphs like the n, p, or d.