Following recent redesign of Real Simple by Janet Froelich and the introduction of Parisine PTF Gris, few more covers are featured on a blog entry of the Society of Publication Designers.
The Múzeum Café publication of the Szépművészeti Muzeum, Budapest, Hungary won two prizes in 2009.
Now that Vuitton Persona is used for almost a…
There are two common approaches to typeface design. The first is to design a new typeface to your personal taste, following your own rules or restrictions; and distribute it either through a type distributor or directly. The second is to work for a particular client on a commission. Besides the fact that the financial aspect is more secure, this method offers an opportunity to design a typeface following a very narrow design brief, suggested by the client or governed by the client’s particular needs and uses. Technical, historical or design considerations are all quite difficult to imagine if you design a typeface for your own use.
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.