The Typofonderie type specimens collection

The Typofonderie type specimen collection

Since 1994, for each typeface published by Typofonderie, a printed specimen is designed. The explanation is very simple: before the web, this was in fact the only way to present correctly a typeface. The web has changed that, a lot. What’s the function of a typeface specimen? A real tool for graphic designers, to check the style and functionalities of typefaces they may potentially need as part of any new projects?

Maximilien Vox, typographer, etc.

Maximilien Vox, Typographer, etc.

It is really difficult in a few paragraphs to define the Maximilien Vox’s rich and complex career. His name sounds familiar among graphic designers and typographers, not as familiar to a largest public. A typographic classification bears his name, the Vox-ATypI classification. As well as a Parisian high school specialized in graphic arts. Maximilien Vox was born as Samuel William Théodore Monod on 1894, December 16th, in Condé-sur-Noireau, France. His eclectic competencies marked the French graphic design and typography.

Nationality and Type design

Nationality and Type design

Nationality does not apply easily to type and culture, as Yvonne Schwemer Scheddin has said: ‘The concept of “nation” is political, whereas script is connected directly to language and its geographic linguistic areas.’ A couple of centuries ago, languages, scripts and the typefaces which represented them were intrinsically related to each other. Earlier Roman capitals became the typographic system dedicated to monumental inscriptions during the Roman Empire, and later the Carolingian minuscule was adopted as the official script for all of the Charlemagne Empire…

History of typographic writing: the 19th century French style

Typofonderie: History of typographic writing: the 19th century French style

Published by Atelier Perrousseaux, this voluminous opus History of typographic writing: the 19th century French style, of nearly 400 pages is once again an erudite body of work with a great wealth of information. It covers not only what is most famous & important in French typography in the 19th Century, like the Didot family characters (which take central stage in the book) but also aspects which are sometimes rather under-valued: for example, the influence of English typography on the French type designers of the time, the importance of the rebirth of the Elzévirs (old face) or the invention of fancy characters.

Independence and creativity of Xavier Dupré

Xavier Dupré interview at Typfonderie Gazette

Xavier Dupré is a world-renowned type designer. After studying calligraphy and typography at the Scriptorium de Toulouse, France, he collaborated with Ladislas Mandel. Since then, he has established himself in Cambodia where he designs typefaces with as much freedom as possible. He appreciates Licko’s creativity, as much as the fluidity and calligraphic tensions in Slimbach’s works, and the simplicity of the design of Carter or Unger. Xavier began type design on screen but then moved back to pencil drawings on tracing paper and even painting with gouache. This allowed him to sharpen his eye. He published Mislab with Typofonderie in 2013. Dàvid Ranc interviewed him for Typofonderie’s Gazette.

Young Type Lovers: What to do?

Its interesting to see a group of students producing a video about font piracy in design schools. Conducting interviews of various people from students — who actually use illegal fonts — to typeface designers, teachers and so on. Its a good topic about something that many people doing everyday (& not only students), without speaking and saying anything about it. Based on what I have understand from this nice video, is that learning more about the value of typefaces will help a lot. A step to the right direction.

Typocamp 2012: re-enchant reality

TypoCamp

Typocamp is the result of a joint initiative of the Foundry (Digital Agency of Île-de-France), Silicon Xperience and Graffr, within the Futur en Seine festival. It is a type manifestation of a new kind posing as challenge of creating and staging typography in 48 hours in the fields of print, web and animation. We have also noted the presence as a type design team from the Velvetyne type foundry. The first edition took place on 22, 23 and 24 June at the Cantine.