Cyrus Highsmith, type designer working for the Font Bureau, just published Inside Paragraphs: typographic fundamentals, a book about fine type setting. Thinking the reader is not an idiot, Cyrus Highsmith doesn’t just tell how to do things, but explains why it has to be like that. A must-have for all the graphic-designers.
Typocamp is the result of a joint initiative of the Foundry (Digital Agency of Île-de-France), Silicon Xperience and Graffr, within the Futur en Seine festival. It is a type manifestation of a new kind posing as challenge of creating and staging typography in 48 hours in the fields of print, web and animation. We have also noted the presence as a type design team from the Velvetyne type foundry. The first edition took place on 22, 23 and 24 June at the Cantine.
The moment a magazine is created is always an important event, specially when this one is French and is broadcasting abroad. The Shelf Journal has been created by Colin Caradec and Morgane Rébulard, both less than 25 years old and graduated from École Estienne.
I am currently doing an internship at Typofonderie, you may have already seen the article I wrote: Escape to the KABK describing the open doors of this school. Well, once again, I took a new short break in February 2012 to discover a type design course. I went to the ESAD in Amiens, the city of beets, brick walls and cold.
The confident and keen gaze of Roger Excoffon spoke volumes; his place in French typographic and graphic design history spans generations, some rejecting his work, while others, often more recent, venerating his vision and the visual force of his work. In my beginnings, as a student at the end of the 1980s, Mistral, Banco and Choc were lumped among the tacky fonts that should only have been used for parodying the shop window of a provincial butcher, baker or hair salon. At least that was the view of graphic designers, design instructors, journalists, etc. of the time. To recap the well-worn banter of that era’s agencies and studios: Excoffon’s typefaces were not modern.
I am currently doing an internship at Typofonderie and passionate about drawing letters. I inquired about the courses dedicated to typography and a school caught my eye: the Koninklijke Academie van Beeldende Kunsten or shorter, the KABK located in The Hague Netherlands. I heard of the 28 January 2012 open day and decided to go, armed with my little Renault Clio, my camera and my curiosity for everything related to the design of letters.
Là où je pensais que les caractères de type Fraktur avaient subsistés, là où je pensais, comme dans Astérix, que les Allemands parlaient et écrivaient en gothique, non, du Din, partout, du Din.
Classifications of Typefaces is an endless activity. Many books cover the subject, and try to adapt, optimise the system. There is no perfect system, I still use The Vox ATypI system mainly as terminology to describe typefaces. Maximilien Vox, founder of the Rencontres Internationale de Lure, its author said repeatedly that his system should work by combining the names of categories
Lors de mon premier voyage à Paris en 1961 en compagnie de mon ami Georg Staehelin, nous découvrions la typographie française dans la rue. Nous étions fascinés par les façades des marchands de couleurs, les affiches de boxe de l’Elysée-Montmartre, sans images, avec gros caractères et fonds arc-en-ciel, les colonnes Morris des concerts, mais aussi par les inscriptions omniprésentes dans la ville «Défense d’afficher, loi du 29 Juillet 1881», déclinées dans des Didones ou Egyptiennes, utilisées en versions étroites ou larges, chaque fois adaptées à la largeur des espaces disponibles.