PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre-Simon Fournier. Following the publication of this typeface, we are pleased to announce the launch of the printed specimen. This specimen was designed by Stéphane Elbaz and includes an original essay (English-French) by the eminent French specialist of type history about Mr Fournier Le Jeune. We are launching a web version of this specimen too!
Originally published in 2001, this brand new revision of Ambroise Pro, — including new italics — has taken 15 years. It seemed appropriate to explain the design process to young generations of type designers, and to introduce to type users a little glimpse of our everyday world. However to better understand the history of Ambroise, at least a few references to the Didot’s history provides a little clarity… How to approach the history of Didots?
Since many years, graphic designers, customers ask us questions about where they could learn to create typefaces without taking a year off at MATD or KABK. This is in order to respond to what’s missing in Europe, particularly in France, that we have decided to work on this project since summer 2014. We’re now proud to announce the launch of this new Typofonderie activity. Type@Paris is the first intensive type design program in Paris, offering a unique approach in Europe to learn type design from scratch (or almost) following a long tradition of curriculum started in France in the 70’s.
As part of the Fête du Graphisme 2015, projection of 12 short movies called Sacrés caractères: Times, Futura, Helvetica, Mistral, Bodoni, Garamond and many others. The film crew including Thomas Sipp, Damien Gautier and Valérianne Boué will be present. This is also an opportunity to honor this essential discipline of graphic arts and unknown to the public, typeface design. “A roundtable hosted by Philippe Di Folco will include typographers, typeface designers including Jean François Porchez.”(Fête du Graphisme 2015: Table ronde dans le cadre de la projection de Sacrés caractères)”“!:/gazette/post/fete-du-graphisme-sacres-caracteres-at-arts-decoratifs/
Since 1994, for each typeface published by Typofonderie, a printed specimen is designed. The explanation is very simple: before the web, this was in fact the only way to present correctly a typeface. The web has changed that, a lot. What’s the function of a typeface specimen? A real tool for graphic designers, to check the style and functionalities of typefaces they may potentially need as part of any new projects?
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.
Nationality does not apply easily to type and culture, as Yvonne Schwemer Scheddin has said: ‘The concept of “nation” is political, whereas script is connected directly to language and its geographic linguistic areas.’ A couple of centuries ago, languages, scripts and the typefaces which represented them were intrinsically related to each other. Earlier Roman capitals became the typographic system dedicated to monumental inscriptions during the Roman Empire, and later the Carolingian minuscule was adopted as the official script for all of the Charlemagne Empire…
Published by Atelier Perrousseaux, this voluminous opus History of typographic writing: the 19th century French style, of nearly 400 pages is once again an erudite body of work with a great wealth of information. It covers not only what is most famous & important in French typography in the 19th Century, like the Didot family characters (which take central stage in the book) but also aspects which are sometimes rather under-valued: for example, the influence of English typography on the French type designers of the time, the importance of the rebirth of the Elzévirs (old face) or the invention of fancy characters.
The curator of the Letterform Archive, Rob Saunders collecting typography and letterforms of all kinds for 35 years. He created the Archive to share his passion and build community around the collection. His last idea is to publish a calendar for designers and typographic aficionados! It will be your calendar for 2014, but Rob Saunders need your help now.
The 1996 version of Anisette, built around the idea of two widths capitals can be described as a geometric sanserif typeface, influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. So, when Jean François Porchez has decided, five years later, to create lowercases, the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present into our cities throughout the twentieth century. In 2013, Anisette Pro Petite marks a rebirth.