For years, the debate about the correct form of one or another diacritical mark has been raging among type designers. Behind this debate, there is a desire to do better, to share good practices.
Altesse, a new design by Jean François Porchez is a typographic adaptation of the formal scripts engraved by French masters of copperplate engraving of the nineteenth and twentieth centuries. Freed from the constraints of metal type, Altesse designed in 5 optical sizes allows you to rediscover the pleasure of automated calligraphy.
Arteria, a new design by Jean François Porchez is a compressed display typeface available in nine weights. the family features not only joyful alternates, small caps, various dingbats, arrows, quotes, different sets of numerals but also short caps!
Basco, a new design by Bruno Mello is an exploration of the Renaissance style, a period in which letterforms were informed primarily by hand writing. It is clearly a contemporary interpretation of calligraphic shapes forms.
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.