Articles liés à I love avant garde: Edition anglais

I love avant garde: Edition anglais - Couverture souple

Gingko Press

 
9789881732873: I love avant garde: Edition anglais

Synopsis

Every typeface has its own charisma. Not only does its presence in design lend an attribute to the identity of a product or project, but also reflect the taste, personality and attitude of the designer behind. Most designers keep a list of favourites with no more thon ten typefaces throughout their trajectory. Some make a statement by sticking to just one typeface in every piece of their work. The choice for typeface is the flag held high by designers. I Love Type is a collaboration between Viction : ary and TwoPoints. Net. The type collection series, with focus on one specific typeface at a time, documents the fashionable comeback of a selection of timehonored typefaces in a myriad of contemporary designs gathered from around the world. I Love Futura and I Love Avant Garde are the first to delight the fans of classic types!

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Présentation de l'éditeur

Every typeface has its own charisma. Not only does its presence in design lend an attribute to the identity of a product or project, but also reflect the taste, personality and attitude of the designer behind. Most designers keep a list of favourites with no more thon ten typefaces throughout their trajectory. Some make a statement by sticking to just one typeface in every piece of their work. The choice for typeface is the flag held high by designers. I Love Type is a collaboration between Viction : ary and TwoPoints. Net. The type collection series, with focus on one specific typeface at a time, documents the fashionable comeback of a selection of timehonored typefaces in a myriad of contemporary designs gathered from around the world. I Love Futura and I Love Avant Garde are the first to delight the fans of classic types!

Présentation de l'éditeur

First designed by Herb Lubalin as a logo, not a typeface, Avant Garde has had a tumultuous history. Once a representation of innovation and singularity, its popularity in the 1970s has given it a distinctly retro connotation in modern times. Its complex ligatures, particularly the distinctive dramatically-slanted ""A,"" are a challenge for any designer to master, and the ongoing debate continues over whether anyone has been able to use it correctly since Lubalin himself.

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