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.
In recent years many changes have taken place in the word of type. Indeed, ATypI had learnt from that; as one example, in 1993 the fringe conference TypeLab appeared, which continued as an integral part of the annual conference, in one guise or another.
While perhaps not visible to everyone, in type design there are an infinite number of ways to make variation, innovation and improvement, and opportunities to express personal preference. To a lay person the differences between typefaces might be difficult to spot, that does not mean that these differences do not exist, it does not mean that the differences are meaningless
In 2003, we launched a new website in French, www.typographe.com where a team (opened to all francophone, from Belgium to Canada) publishes various news on typography during the year. The intention of this platform is to become the dominant tool to compile most of things happened in France related to typography. Indeed, visitors are allowed to post their comments.
It becomes increasingly difficult to write a comprehensive report year after year, because they all seem close to identical, as if nothing really new appears each year in France. I do not wish to say that there are no initiatives! Many small events are organized during the year, and more will take place.
The Scriptorium de Toulouse was founded in 1968 by Andre Vernette, assisted by Bernard Arin during the first two years. The Scriptorium’s immediate aim was to restore education in lettering, in the setting of a local fine arts school.