Aurélien Vret is an artist who, for the first time, publishes a typeface. His approach is not usual, it does not fit into the usual patterns of the type designer, graphic designer in parallel. In fact, it seemed interesting to understand his background and to understand the interaction of his different activities. He published Prosaic with Typofonderie in 2017 after a few years of hard work on this project.
Anette Lenz designed recently the program of the Musée des arts décoratifs, in Paris, with Anisette, a Typofonderie font. We went to meet her and ask her a few questions. Anette Lenz is a graphic designer from Germany, based in France since several years. Working from a Paris-based studio, she travels often because she enjoys sharing her passion for design with students in many countries, such as HEAD School in Geneva, Switzerland. She has many remarkable collaborations & clients…
It is really difficult in a few paragraphs to define the Maximilien Vox’s rich and complex career. His name sounds familiar among graphic designers and typographers, not as familiar to a largest public. A typographic classification bears his name, the Vox-ATypI classification. As well as a Parisian high school specialized in graphic arts. Maximilien Vox was born as Samuel William Théodore Monod on 1894, December 16th, in Condé-sur-Noireau, France. His eclectic competencies marked the French graphic design and typography.
Few weeks ago, we have received the printed specimens of the recently launched “Anisette + Anisette Petite. For the relaunch of the two families, we decided to ask Mark de Winne, from Relay Room, a talented graphic designer, to design this new typeface specimen. It was during the Type@Cooper 2012 Condensed program that Jean François Porchez discovered Mark de Winne’s work. They stayed in touch. Since summer 2013, Mark is studying at KABK. We thought it would be a good thing to ask few questions to the first-time user of the new Anisette. Below are his answers…
Xavier Dupré is a world-renowned type designer. After studying calligraphy and typography at the Scriptorium de Toulouse, France, he collaborated with Ladislas Mandel. Since then, he has established himself in Cambodia where he designs typefaces with as much freedom as possible. He appreciates Licko’s creativity, as much as the fluidity and calligraphic tensions in Slimbach’s works, and the simplicity of the design of Carter or Unger. Xavier began type design on screen but then moved back to pencil drawings on tracing paper and even painting with gouache. This allowed him to sharpen his eye. He published Mislab with Typofonderie in 2013. Dàvid Ranc interviewed him for Typofonderie’s Gazette.
Presenting 50 years of type design was not an easy task. Albert Boton’s career was indeed long and very prolific. He was born in 1932 in Paris. His father was a carpenter so he grew up in the smell of glue and wood chips. Nothing predisposed him to become a type designer and yet that’s when he joined his father’s workshop that he discover type design.
Stéphane Elbaz is graphic and type designer. In 2009 he was awarded the Certificate of Excellence in Type Design from the Type Directors Club of New York for his type family Geneo recently published by Typofonderie. He is the first typeface designer outside the foundry to be published by Typofonderie. It seems to be interesting and necessary to interview him.
Interview of Félix Demargne
Few weeks ago, we received the printed specimens of the recently launched Geneo. For this new typeface, we decided with Stéphane Elbaz to ask Félix Demargne, a talentued graphic designer, to design the new typeface specimen. We through that it would be a good thing to ask a few questions to the really first user of this wonderful typeface. Here after are his answers…
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.
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.