Raymond Gid est mort le dimanche 12 novembre, à Paris. Né le 25 novembre 1905, Raymond Gid s’est d’abord fait connaître par ses affiches après des études aux Beaux-Arts. Cinéphile, il en conçoit pour de nombreux films, dont Vampyr de Dreyer (photomontage, 1932), Le Silence de la mer de Melville (1949), Les Diaboliques de Clouzot (1955).
Probably similar to other countries, most French news in 2000 came from the web. Several type designers now have their own domain name and others have set up information websites about type.
Young is an eminent American lettering artist and type designer, who has just published an excellent new book called FONTS & LOGOS. ATypI-France has organized his coming to Paris. He will give a lecture on the 18th of October, 2000. As he is not very well known in France, we decided to interview him…
After many pleasant years of receiving news from Fontzone, we thought it would be a good idea to try to know more about the man behind one of the best typographical news web sites. Sadly, we took the opportunity at Fontzone’s closing at the end of April 2000 to interview him. Clive Bruton ran this web site with a small team of contributors, showing strong and rare editorial independence in the typographic scene.
We asked John Downer, an American specialist in sign painting, to comment on several pictures taken in our home city of Malakoff, a surburb of Paris. This article was initially published in 2000. In 2004, couple of the original signs are gone. Its why we decided to update the article a little bit.
It all began in September 1997, during the ATypI conference in Reading, England, when Mark Batty asked me if I would be involved (with others) in organising the next conference, which would be held somewhere in France. In November, the organising team — which then consisted of Robert Norton, Thomas Gravemaker, Sharon Irving, Mark Batty and me — decided that the city of Lyon was the best location.
Let us begin with a short overview of those nineteenth & twentieth centuries that no longer really belong to us. All the generations of typographers who used metal type in their daily work understood the power of that poem of rectangularity, Gutenberg’s mechanism, the industrious craft that reached its first apogee with the arrival of the Industrial Revolution, & carried on until the middle of the twentieth century.
Gérard Blanchard (1927-1998) had worked in many facets of type and graphic related industries, as a graphic designer, engraver, illustrator, writer and historian. His work brought him into touch with many well known designers including Roger Excoffon, Maximilien Vox and José Mendoza. As a writer and historian his work was internationally recognised and drew a wide audience. It is a great shame that his work is not more widely translated.
It looked at me. All round. His face wouldn’t leave me. Again today, I asked myself why. And how? I recall the first time we met. It was in 1994, towards the end of the year. Jean-François Porchez had come, carefully bringing his typeface to Le Monde. In great secrecy, Jean-François Fogel & Nathalie Baylaucq, who were busily cooking up our new systems, considered this face damned seriously.