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In use: Done not done meet Parisine Plus

In use: Done not done meet Parisine Plus

Among the many applications and TodoList web services, Done not Done is a rather atypical case since it allows the user to focus not on what he “should”, but rather on what he “wants” to do. Here, your desires are classified into three categories: watching, reading, listening. We are far from a stressful TodoList, the “Done not done” look and feel is fun and it is noticeable immediately.

Anisette Petite goes Pro

Anisette Petite available immediately in OpenType Pro version at Typofonderie

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.

In use: The unexpected choice of Ambroise for Wired

Ambroise in use in Wired by Claudia de Almeida

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…

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.

In use: The Reflex Group wise choice of AW Conqueror for their Seat Maybelline ads

Seat Maybelline AW Conqueror font inuse at typofonderie

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.

Jean François Porchez speaking at Otis College

Jean François Porchez Lecture, Otis College, Aiga, Los Angeles, June, 2013

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.

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