TypeParis17: Presentation day!
Friday 21 July 2017
TypeParis (ECV Buffon)
27 Rue Buffon
Since the Monday 19 June 2017, a group of fifteen attendees from more than 10 different countries worked everyday on a typeface family. It was hard, but so good!
Join us to see the fifteen new typefaces families designed in 5 weeks.
They will present the results to conclude this third edition of TypeParis on Friday 21 July 2017, 15:45. Language English mostly, partially in French. As it’s a free event, online advance booking will not assure you entrance if you arrive later than 16:00. Following the concept “first come, first served,” we fill out the space up to 60 persons.
16:02 Shutian Chan
16:10 Michel Jacquet
16:18 Elisabeth Bolzon
16:26 Teddy Derkert
16:34 Samar Zureik
16:42 Jon Young
16:50 Luiza Chamma
16:58 Raphael Ronot
17:14 Xavier Cédric Gareau Bergeron
17:22 Amanda Rios
17:30 Margaux Saulou
17:38 Tak Fung Chan
17:46 Adriana Longoria
17:54 Sean Dougherty
18:02 Servane Vignes
18:20 TypeParis Certificates
18:30 TypeParis17 is officially over
Sorry by advance for the poor video and sound quality, it’s a Periscope shooting via a simple iPad!
He serves as Head of Product Design and especially reshaped the brand identity and online presence of The Intercept. 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. Since 2012, he teaches at Type@Cooper, Cooper Union (United States). He was a jury member of the TDC62 Typeface Design Competition in 2016. In 2016 he is publishing the PS Fournier, a large type revival project based on the work of Pierre Simon Fournier. He also designed the TypeParis identity in 2014.
Jean François Porchez
Founder of Typofonderie, type director of ZeCraft, Jean François Porchez is one of the pioneers of digital typography. Transmitter of knowledge and discoverer of talents, teamwork is at the heart of his concerns. It is also for these reasons that he launched TypeParis in 2015. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces. Introduced to French Who’s Who in 2009. In 2014, Perrousseaux publishes his monograph. Knight in the order of Arts and Letters in 2015. The President of France, Emmanuel Macron use his typefaces for his communication since 2017.
Julien Priez (1986) studied Graphic Design and Type Design between 2004 and 2010. After working for three years as a freelance typographer and calligrapher for several agencies he left to work as an employee for Fontyou. His first and original typeface, Mandinor FY, was published in June 2014. He now works as an independent calligrapher, type & graphic designer and teaches for several schools in Paris.
Mathieu Réguer is an independent typeface designer based in Paris. He designed and produced custom font families for institutions and brands such as the French State, the Tasmanian West Coast, Culture Amp, Evolved by Nature or World Rugby. Mathieu enjoys programming tools and taking fonts apart. He is one of the founders of the typeface design programme at TypeParis, and has been a core instructor since the first session in 2015.
Emery is inspired by an eye-opening experience I encountered while visiting Paris. Where I am from, in Singapore, burial grounds are dreary places rarely visited. In contrast, Parisian cemeteries are strikingly beautiful park-like places frequently enjoyed by visitors. Intrigued by this discovery, I decided to develop Emery as a way to capture and celebrate the ornate and classical elements of these sacred spaces.
Comptine is a playful typeface, made for children’s books. Based on the humanist model, it is a low contrast semi-serif, with angles that reveal the calligraphic process followed during it’s creation. Designed specifically for children learning to read, the informal shapes have been streamlined to aid legibility. I tried to find the right balance between the rounded outside shapes and the pointy angles of the counters. Comptine comes in Regular, Bold and Black weights.
Basgar started with exploring the connections between the sister cities Bristol and Bordeaux, which I am both familiar with. Town twinning – the modern concept born out of WWII to maintain and promote international peaceful relationships – materialises through trading and socio-cultural exchanges. My investigations led me to devise the idea of a typeface that would celebrate the common history and culture the two cities share.
Kiosque is a contemporary humanistic serif typeface that was created during the five weeks of Type Paris 2017. It comes in 5 weights and 10 styles, both roman and italic. Based on the humanistic script, constructed and simplified, it would probably be categorized as “garalde”. The counters have corners in the middle of curves, revealing the translational construction of the stroke. Some letters – like ‘R’ – have a pointed leg, tapering down almost straight to give the typeface character.
How do you find your own anchor in a highly fast paced life. Sometimes it’s a matter of not accepting more than we can handle. Putting your foot down. Proclaiming, “That‘s enough”Just like finding ones balance, Ancor typeface is finding the right balance.
Fuqua is a text typeface dedicated to the city of Pittsburgh, Pennsylvania. It references the character and personality of its people, its industrial history, and the identity of its football team, the almighty Steelers. The design is meant to be tough, sturdy, welcoming, and friendly.
Chocolat is a typeface created during my five weeks at TypeParis. My process started with calligraphy, in order to understand its shapes and angles by exploring the movements of the pen. After practicing a lot, I started to work with the tracing paper when I refined the letters and its terminals. It was very challenging to work with this typeface once it consists in a combination of two opposing aspects – a structure and a square-like counter shape, together with a round, soft and fluid outside contour,
such as the brush.
Raster is a typeface that has been specifically designed to tacle with screens and small text issues – pixels, in other words. I’ve always been fascinated with the concern of legibility and the technical constraints that can be applied to type. So I decided I would try to understand really what it is to design with pixels in mind.
Xavier Cédric Gareau Bergeron
Jourdain is a text Typeface designed under the guidance of Jean François Porchez, Mathieu Réguer, Julien Priez, Xavier Dupré and Stéphane Elbaz. It started with calligraphic exercises and experimentation with tracing paper. The result from these exercises is the sharp counters that give all the character to the typeface. It also defines some key features of the typeface such as the straight edges of the serifs and the flattened upstrokes
FD Slab is a utilitarian typeface with a utilitarian name. Inspired by American firemen, the slab serif allows for a strong and stable balance in the design. This typeface was derived from a Didot with a moderate contrast to keep a modern feel and keep a sense of sophistication. The ball terminals were added to portray tradition and approachability. Figures were designed to stand out with the possibility to be used in display formats. As most Firemen are connected to a specific station number, this represents their home and community.
Opaline is a typeface designed in 5 weeks at TypeParis. Opaline is graceful like a Didot and can be legible for body copy as well. Opaline features flare serifs and a moderately high contrast. It could be seen as a latin typeface: mid ninety century style in use by Bibliothèque Elzévirienne.
Tak Fung Chan
The design objective is to make the typeface which is ideal for bilingual typesetting (Latin & Chinese serif). We have seen a lot of Chinese typography and type design inspired by Latin typeface so this is an exercise to do the opposite, to design a Latin typeface to fit with Chinese characters.Not to borrow the Chinese strokes directly but keep the spirit of the typeface and apply effects on the Latin type design. Hence the Latin typeface is good to be use alone and also for bilingual use.
Domenico is a typeface with 18th century roots. The text that inspired this design is from Urbino, Italy and published in 1723. The typeface originates from this period’s printing process, which created uneven shapes and vagueness in the letterforms. These details were left up to reinterpretation as new terminals and junctions that give it a unique look and feel.
Binge Watcher, a low contrast slab serif, was created to create personable, big, bold messaging. My career experience using type for video and motion design purposes led me to want to create a vertically efficient typeface for punchy two-to-three line messaging. Binge Watcher’s features include a high x-height, compact ascenders and descenders, slightly squarish proportions inspired by Aldo Novarese’s Eurostile.
Deslis Frère, also called Deslis Fr, is a multiform type family forming a link between humanistic drawing and contemporary details. The project is inspired from two phonebooks printed by my grand-grand-father.The range of typefaces used in these phonebooks is incredibly diverse and each of them has peculiarities. The type is composed of 5 different styles in order to create a rich type variety.