The 1996 version of Anisette, built around the idea of two widths capitals can be described as a geometric sanserif typeface, influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. So, when Jean François Porchez has decided, five years later, to create lowercases, the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present into our cities throughout the twentieth century. In 2013, Anisette Pro Petite marks a rebirth.
Claudia de Almeida is an art director who, for years, has designed admirable typographic assemblages where rhythm, typeface mixture, lines, outlines and images create a great atmosphere onto the pages. Her layouts for various US based publications once again prove that a layout can be optimistic, high contrasted, vivid, thanks to the typography and to her savoir-faire. Since 2013, she is the director of design for Wired and, of course, her first task has been to redesign the magazine, adding his unique typographic touch. Its new typographic palette include Ambroise…
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.
In recent years, bespoke typefaces help companies to express their identity through all the communication materials. Many designers and art directors are confident that these unique fonts reinforce the company’s branding. Seat, like many automakers, has its own bespoke typeface and all design agencies, advertising companies must to use it without limit. But there always are special cases where the good and beautiful corporate typeface does not work perfectly.
What is fabulous with old typefaces specimens, is that the source seems inexhaustible. It brings us wonderful surprises around everytime. During the weekend organized by the Rencontres internationales de Lure, the Flea market Typo 2013, we acquired a few things, including these series of mini-specimens created at Deberny and Peignot…
Typecache, fantastic resource for designers about foundries has launched a line of 26 T-shirts, each featuring a glyph from a different foundry. We are happy to enjoy their choice of Parisine Office for the letter Q.
Jean François Porchez will be joining Pinar and Viola, Broken Headlines, Morag Myerscough + Luke Morgan, Raw Color, Team Thursday and Alex Quinto for a symposium with visiting international artists held at Otis College. Jean François will present recent projects made at ZeCraft along the result of the Otis type design workshop.
The École de Communication Visuelle (ECV) has invited Jean François Porchez to speak about Typofonderie and ZeCraft recent projects. Jean François is in charge of the Typography master launched in 2012 at ECV. The lecture will be held in the same place as the TDC59 exhibition that is also being organized by ECV.
The flea market Typo 2013 (Puces typo 2013) is an event organised by the Rencontres internationales de Lure in Paris. A good place to meet lots of local typophiles, graphic designers and so on. We are happy to participate this year and to join a bunch of independent publishers, foundries, designers who will propose surprises and bargains for all tastes and all budgets.