Visual identity is built from the colors and typefaces that make up the most fundamental expression of a brand, yet the design of typefaces must remain invisible for the convenience of the reader. How does the typeface designer reconcile such inherent contradictions, while also meeting the needs of their clients?
Ysans is a new Typofonderie typeface. The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used.
In October 2017, Jean François together with Véronique will visit San Francisco and Seattle for a Mini tour of talks. In Seattle, a letterform workshop under the TypeParis banner is also planned. The talks themes. Visible invisibility of words: Why typography is a vital asset of business communication?
For the third year, Kerning Conference hold in Faenza propose workshops and talks. Jean François Porchez will talks about the visible invisibility of words. Why typography is a vital asset of business communication?
A World of Words: Described as French typographic legend by Grafik, Jean Francois Porchez has designed bespoke fonts for a boggling array of global brands: Le Monde, the Paris Metro, Louis Vuitton, Galleries Lafayette, Sephora, YSL Beauté and Nespresso, to name but a few. In his talk next Tuesday he will share his experiences as an expert in the design of bespoke typefaces.
Mencken is a new Typofonderie typeface. The new typeface has sixty-three styles, divided into three widths, three optical sizes, romans, italics, borders and dingbats. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, the Mencken Text is a low-contrast transitional type designed on an oblique axis, asserting horizontal, featuring open counters. On the other side of the spectrum, the Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style.