Under the title “Type design in the computer age”, Jean François Porchez keynote is about building typographic identities based on authentic roots. How connotations, history and even politics can influence the way we work. But also what does it mean to design typefaces today? Let’s questionning the typographical genres, where to set limits in typeface revivals, how to use sources and materials in an ethical way.
Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context.
Coming out of the five AW Conqueror families, the AW Conqueror Didot is a very complete extension claiming the 60-70s spirit. With this new Didot 2018, we go further by offering 24 weights. The three hairline variations (optical sizes) allows use in large high contrast headlines such as a legible body text, due to a suitable contrast. A large number of titling variants have been added to the delight of artistic directors in search of exuberant compositions.
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.