Ben Barrett-Forrest, from Forrest Media presents a stop-motion version of the history of the history of typography. Since Johannes Gutenberg and his invention of printing using movable type, he goes on to track the different types that have emerged and diverged since Nicolas Jenson’s invention of roman typeface. We asked him a few questions…
Time to time, we offer several desktop wallpapers, download them and enjoy! The new wallpaper is set in Mislab, a typeface designed by Xavier Dupré, exclusively distributed by Typofonderie.
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.
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.
Last week, Typofonderie hosted a Adobe FDK workshop for the first time. This workshop was conducted by Miguel Sousa, who comes specially from the production department font Adobe, San Jose, United States. All participants were fully satisfied with their three days spent to learn how to manage font production following Adobe methods.
As designers we all appreciate tangible things and not just digital tools such as our fonts yet fabulously useful in everyday life. This is why we love Typofonderie’s printed specimens, stickers, and other objects that remind us of our love of typography. We are happy to announce the launch of a new Typographic bag.
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!
This year the Printemps de la Typo celebrates the 20th anniversary of the DSAA Typographic Design course from école Estienne. Among the invited speakers, Typofonderie team member Mathieu Réguer will talk about his collaboration with Atelier Muesli.
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.