I spoke with Matthieu about the typographic innovation coming out of France, His innovative new comic-esque type specimen, the foundries latest release and future trajectory.
Ksenya Samarskaya published the dialogue from her Type Directors Club 2019 Type Drives Culture conference sharing the different disciplines that shape her practice. “In my type and lettering work, from the start, it’s been about understanding what information I can pack into and what I can deduce from letterforms.”
A letterpress specimen of Bifur wood type, designed and printed by Amelia Hugill-Fontanel, Associate Curator of the Cary Graphic Arts Collection at RIT. Amelia’s master’s thesis focused on Deberny et Peignot, the French foundry that originally produced Bifur. The colophon text is printed from vintage Peignot metal type—another classic typeface designed by A.M. Cassandre. This 12" x 19" specimen print is hand-printed in four colors, with five press runs, in a strictly limited edition of 42 copies. And, for the month of March, they are offering the digital versions of P22 Bifur at 50% off!
First published in March 2004, Jan Middendorp's “Dutch Type” was received with such huge enthusiasm that it became a Holy Grail for the type enthusiasts. The 3,500 copies of this rich in visuals and information sold out and “Dutch Type” ended up commanding between €400 and $800 for a second hand copy. Now, 15 years after it's first edition Middendorp has self-published a near-identical edition thanks to the massive support through crowdfunding and this is big news for us all.
Iconic graphic and type designer Takenobu Igarashi rose to prominence in the 1970s with his groundbreaking poster designs featuring hand-drawn, three-dimensional typographic drawings. Recognising the design worth in Takenobu’s designs, Volume, are publishing the first book on his work, looking into the designer’s three-dimensional type in forensic detail.
Rather than technical perfection, he wants his typography to “convey a feeling”: “it’s the imperfections that inspire me more”, Fabio tells It’s Nice That. His typeface, Güggeli, was inspired by “a house in Denmark with windows that were always totally awry. It’s not the most legible font, but it’s one that conveys a mood”. The balance between clarity and playful details is explored in his second typeface, Increase, too. “It’s chaotic and stubborn, but also very personable,”
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Freda Sack made important contributions to type design and typographic education through five decades. As well as designing several highly regarded display and text typefaces, she helped to guide the International Society of Typographic Designers through a period of rapid technological change, always placing the highest priority on typographic education and standards.