![]() ![]() In your opinion, what is the point of creating a new typeface when so many already exist? I could also happily mention a few contemporary foundries-Underware, Klim Type, Bureau Brut and Julien Priez-whom I admire for their creativity, mastery, and ability to innovate with each new release. Of course, the work and approach of several emblematic personalities have greatly inspired me, including Hermann Zapf, Adrian Frutiger and Roger Excoffon. Throughout my career, I have been extremely fortunate to have crossed paths with passionate individuals-teachers and collaborators-who, on various levels, have contributed significantly to nurturing and shaping my practice. What influences you? Are there type designers whose work you appreciate in particular? Subsequently, I joined the ANRT to embark on 24 months of research around developing a digital typeface of Mayan hieroglyphs. ![]() After completing my studies, I worked in a foundry, further honing my skills. I perceived this field to be highly complex, and paradoxically, this piqued my interest and curiosity. ![]() I discovered type design during my masters at the École de Communication Visuelle (ECV) in Paris. How did you get involved with typeface design? What led you to this practice? ![]()
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