Ilya Ruderman and Yury Ostromentsky (CSTM Fonts) He is a typography columnist and editor on. ![]() Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design and at the University of Corte. He is a board member at ATypI (Association Typographique Internationale) and consults as a design expert advisor for the French Public Investment Bank (BPI) where he is contributing to the spread of design in innovative businesses. It is featured in the permanent collections of the French national library (BnF), the Decorative Arts museum of Paris and the National Center of arts (Cnap) of the Newberry Library in Chicago, and several printing museums in Europe. His work has won multiple awards and has been shown internationally in group and solo shows. He is the founder of the independent foundry Production Type, and a partner in tech startup Prototypo. Levée has designed over a hundred typefaces for industry, moving pictures, fashion and media. He manufactures functional, yet versatile digital platforms for designers to build upon. Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. ![]() Despite these contradictions, its posture is nothing less than sturdy and forthright. Its pedigree is varied, vacillating between Egyptian and Modern, round and edged, even sans and slab. Drawing from an early German sans serif used for catalog text, Proto Grotesk revives an era when clunkiness was a virtue. That makes some sense, but there’s no reason type can’t be both steadfast and peculiar. Over the last hundred years or so, utilitarian typefaces have shed most of their quirks and eccentricities on the way to becoming more versatile and universal. ![]() ![]()
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