Wednesday 4 July 2018
22 bis Rue des Taillandiers
75011, Paris, France
On Wednesday 4 July 2018, at Le Tank: François Rappo. Facilitator: Benjamin Blaess. This is a linked event, any registration for one of the speakers gives you access to the other talk without additional registration.
The TypeParis evening Talks (in english) open its doors at 19:00 at le Tank, Paris.
Our free talks open to the public will include two speakers: graphic designer as well the weekly #typeparis18 international guest critic. The venue is limited to 130 people, after this limit, you will be added to the waiting list, and your entry will not be fully guaranteed. Our Talks will be given in English, no livestream, but available videos at a later date. Being present on the spot is the best way to miss nothing. Meanwhile, as the #tptalks18 are organized in Paris, France, most of attendees will be Parisians. Le Français sera largement employé par les participants lors de l’inscription et des échanges nombreux durant la soirée.
Official hashtags are #typeparis18 #typeparis
Official hashtag for TypeParis Talks 2018 is #tptalks18
Please use them for any of your social networks!
Your tweets, instagrams will appear on a dedicated page following the event.
Graphic designer, born in 1955, trained at ECBA Ecole cantonale des beaux-arts, Lausanne, Switzerland. François Rappo started type design in 1998, collaborating with Optimo type foundry since then: Didot Elder, Theinhardt Grotesk, Genath, Antique, Plain Grotesque, Clarendon Graphic, Practice, Apax, Jannon. His portfolio includes projects for The New York Times Magazine, ICA Institute of Contemporary Art London, Apple, Basel Art Fair. François is teaching type and graphic design at ECAL Ecole cantonale dart de Lausanne. He received the Jan-Tschichold award in 2013.
Brambly is a text typeface designed under the guidance of Jean François Porchez, Malou Verlomme and Mathieu Réguer during the type@paris 2015 summer session.
Brambly originated from calligraphic and then typographic experiments I made during the masterclass. Mostly based on the humanistic proportions and keeping the traditional oblique axis, I tried to reincorporate some of the features I found in my calligraphy and make the design more contemporary. The design evolved, in a very organically way during the different stages. The typeface was build, refined, step by step, shaped with trials, sometimes fails and multiple directions exploration; always trying to make the system work together. Brambly is more a learning–typeface–project than a finished piece. It has yet steady serifs, letting the typeface be used in text and some sharpness in the drawing, reinterpreted from calligraphic details, giving to it this crispy texture.
There was no starting plan, with a predefined goal to reach. There was however a starting point, and then an iterative process, leading to different stages, some were working, some other wasn’t and leads towards new ways.
We can make a parallel with the gardener vs architect theory Peter Bilak talked about. I let the design grew organically, seeing where I had to interact to make it work as a type system.
The result is a crispy textured typeface, suitable for text. Combining round and more vegetal shapes with the sharp angles, even sometimes sharps as knife. The brambles are a perfect metaphor for the design process but also the look & feel the typeface has.
Brambly is now a family of two cuts: Regular and black. I decided to use the interpolation process to add some weights, and the future plan is to complete the matching italic.