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Fig. 22 Playbill (1938) Stephenson Blake (image: ralf-herrmann.de) Crous-Vidal registered more typefaces than those cited in this research at S.P.A.N.D.E.M., the copyright protection organization. He cites in his mem- oires !8 that this office had to intervine because of charges of plagiarism against his typefaces, Crous-Vidal does not give names on the pagiated typefaces. It is crucial to see how sometimes the dates Crous typefac- es were released before a similar typeface that appears to be more well known. es were released before a similar typeface that appears to be more well

Figure 22 Playbill (1938) Stephenson Blake (image: ralf-herrmann.de) Crous-Vidal registered more typefaces than those cited in this research at S.P.A.N.D.E.M., the copyright protection organization. He cites in his mem- oires !8 that this office had to intervine because of charges of plagiarism against his typefaces, Crous-Vidal does not give names on the pagiated typefaces. It is crucial to see how sometimes the dates Crous typefac- es were released before a similar typeface that appears to be more well known. es were released before a similar typeface that appears to be more well

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TYPE DESIGN AND IDEOLOGIES (1949-1966, Enric Crous-Vidal and His Role in French Type Design Back page of the promotional specimen of the typeface Paris, designed by Enric Crous-Vidal for Fonderie Typographique Francaise. (Paris, 1953). Original size 21 x 28 cm Claudia Rifaterra Amenos Department of Typography and Graphic Communication, University of Reading, September 2019 Dissertation submitted in partial fulfilment of the requirements for the MA Typeface Design
TYPE DESIGN AND IDEOLOGIES (1949-1966, Enric Crous-Vidal and His Role in French Type Design Back page of the promotional specimen of the typeface Paris, designed by Enric Crous-Vidal for Fonderie Typographique Francaise. (Paris, 1953). Original size 21 x 28 cm Claudia Rifaterra Amenos Department of Typography and Graphic Communication, University of Reading, September 2019 Dissertation submitted in partial fulfilment of the requirements for the MA Typeface Design
Fig. 1 Paris and Flash typeface poster with Enric Crous-Vidal at his exhibition in Galerie d’Orsay, Paris 1952 1.General Background
Fig. 1 Paris and Flash typeface poster with Enric Crous-Vidal at his exhibition in Galerie d’Orsay, Paris 1952 1.General Background
Fig. 2 Art, Revista Internacional de les arts (1932-1933) by Enric Crous Vidal Josep Viola, Leandre Cristofol and Antoni G. Lamolla.
Fig. 2 Art, Revista Internacional de les arts (1932-1933) by Enric Crous Vidal Josep Viola, Leandre Cristofol and Antoni G. Lamolla.
Fig 3 Lettering for Draeger (60% of original) Fig 4 Freelance work at for Revillon (54% of original)
Fig 3 Lettering for Draeger (60% of original) Fig 4 Freelance work at for Revillon (54% of original)
Fig. 6 Air France Revue (20% of the original size) Fig. 5 Packaging for Jaz, a clock's brand. (30% of the original size)
Fig. 6 Air France Revue (20% of the original size) Fig. 5 Packaging for Jaz, a clock's brand. (30% of the original size)
10 Studi d'Art collective was found in Lleida in 1932 by Josep Viola, Lean- dre Cristofol, Antoni Garcia Lamolla. Enric Crous-Vidal. De la publicidad a la tipografia https://www.ivam.es/es/ exposiciones/enric-crous-vidal-de-la- publicidad-a-la-tipografia-2/ (accessed May 23rd, 2019). 1.2.1 Work background
10 Studi d'Art collective was found in Lleida in 1932 by Josep Viola, Lean- dre Cristofol, Antoni Garcia Lamolla. Enric Crous-Vidal. De la publicidad a la tipografia https://www.ivam.es/es/ exposiciones/enric-crous-vidal-de-la- publicidad-a-la-tipografia-2/ (accessed May 23rd, 2019). 1.2.1 Work background
Fig. 7 Vox, Maximilien. Caractére, Industries et Techniques Papetiéres et Graphiques, n°1 February, Paris, 1950. (18% of the original size) 18 For further references see: Bibliotheque nationale de France, Cahier d'Estienne https://data.bnf. fr/fr/12474464/ecole_estienne_paris/ (accessed August 2nd 2019)
Fig. 7 Vox, Maximilien. Caractére, Industries et Techniques Papetiéres et Graphiques, n°1 February, Paris, 1950. (18% of the original size) 18 For further references see: Bibliotheque nationale de France, Cahier d'Estienne https://data.bnf. fr/fr/12474464/ecole_estienne_paris/ (accessed August 2nd 2019)
Fig. 9 Crous-Vidal, Enric, Richesse de la Graphie Latine transcribed in Cahiers d’Estienne, Paris, n.17, Febru- ary, 1951) (18% of the original size) Fig.8 Lettering experiment in the essay called Latinité by Crous-Vidal. Caractére (1950) (30% of the original size) Pour une graphite latine in Caractere, Industries et Techniques Papetieres et Graphiques, Paris n°1 February 1950. Caractére magazine (Fig.7)was an important publication that specialised in printing and was aiming for the printing sector where he could show his lettering design in Draeger. Vox edited the magazine with cover illustration by Crous-Vidal, not the let- tering. On the first page presented in an article by Vox Pour une Graphie Latine with a quotation by Paul Iribe from 1930 in his publication Croix: "Between the European cube and larabesque France, the time has come to choose". On the next page of the magazine there is the presentation of the foundations of Graphie Latine and following that article, Vox presents Crous-Vidal work at Draeger and his works as a freelance for Revillon, illustrated with letterings and his Arabesque typeface. Vox was promising the readers a new type designer for this Graphique Latine movement. In the same publication, Crous-Vidal presents an article called Latinité: his first reflections related to the Graphie Latine. One such publication is an essay called Latinité by Crous-Vidal where he glorifies the Latin style and attributes its beginnings in Lombard art and their religious epigraphy, as pure Romanesque. He shows a drawing of an alphabet using a Lombardic calligraphy approach (Fig.8).
Fig. 9 Crous-Vidal, Enric, Richesse de la Graphie Latine transcribed in Cahiers d’Estienne, Paris, n.17, Febru- ary, 1951) (18% of the original size) Fig.8 Lettering experiment in the essay called Latinité by Crous-Vidal. Caractére (1950) (30% of the original size) Pour une graphite latine in Caractere, Industries et Techniques Papetieres et Graphiques, Paris n°1 February 1950. Caractére magazine (Fig.7)was an important publication that specialised in printing and was aiming for the printing sector where he could show his lettering design in Draeger. Vox edited the magazine with cover illustration by Crous-Vidal, not the let- tering. On the first page presented in an article by Vox Pour une Graphie Latine with a quotation by Paul Iribe from 1930 in his publication Croix: "Between the European cube and larabesque France, the time has come to choose". On the next page of the magazine there is the presentation of the foundations of Graphie Latine and following that article, Vox presents Crous-Vidal work at Draeger and his works as a freelance for Revillon, illustrated with letterings and his Arabesque typeface. Vox was promising the readers a new type designer for this Graphique Latine movement. In the same publication, Crous-Vidal presents an article called Latinité: his first reflections related to the Graphie Latine. One such publication is an essay called Latinité by Crous-Vidal where he glorifies the Latin style and attributes its beginnings in Lombard art and their religious epigraphy, as pure Romanesque. He shows a drawing of an alphabet using a Lombardic calligraphy approach (Fig.8).
Fig. 11 Crous-Vidal, Doctrine & Action: Paris 1954 (42% of the original size) Fig. 10 Crous-Vidal, Grace & Har- monie du Graphisme Latin & Autres Remarques, 1952 (42% of the original size) In contrast, the only thing Crous-Vidal says relative to type is: ‘To estab- lish a typographical model, it is necessary to have a sense of typographical colour and to simultaneously have the knowledge of a painter and an ar- chitect'?°, very much cohering with the Walter Gropius program for the Bauhaus studies in Weimar’. Crous-Vidal reveals two points that seem to contradict the movement he belonged to. It acknowledges that German typographers are the masters of the black and white (texture) but they lack the shadows (volume)?° and that the renovation of the graphie latine is not a panacea as no formula exists to obtain the success in the graphic arts’. 2! In 1952, the year of the publication, Crous-Vidal also published his freelance typefaces with FTF but he would not become the artistic director of FTF for two more years.
Fig. 11 Crous-Vidal, Doctrine & Action: Paris 1954 (42% of the original size) Fig. 10 Crous-Vidal, Grace & Har- monie du Graphisme Latin & Autres Remarques, 1952 (42% of the original size) In contrast, the only thing Crous-Vidal says relative to type is: ‘To estab- lish a typographical model, it is necessary to have a sense of typographical colour and to simultaneously have the knowledge of a painter and an ar- chitect'?°, very much cohering with the Walter Gropius program for the Bauhaus studies in Weimar’. Crous-Vidal reveals two points that seem to contradict the movement he belonged to. It acknowledges that German typographers are the masters of the black and white (texture) but they lack the shadows (volume)?° and that the renovation of the graphie latine is not a panacea as no formula exists to obtain the success in the graphic arts’. 2! In 1952, the year of the publication, Crous-Vidal also published his freelance typefaces with FTF but he would not become the artistic director of FTF for two more years.
Grace & Harmonie du Graphisme Latin & Autres Remarques Paris, 1952. (Fig.g) It contains Maximilen Vox’s speech at the opening of the solo exhibition of Crous-Vidal typefaces at the Galerie d’Orsay, 16th October 1952 and claimed that purpose of the exhibition was to present the new FTF typefaces Paris and Flash (1952). Vox highlighted how type was now exhibited as art, linking Vox claims to consider type design and typogra- phy as art. Three years later, Crous-Vidal proposes the denomination of typographer artist instead of Graphiste. For the professionals that create characters or design with them, yet again to glorify the Latin Move- ment, citing Times New Roman as a good example of a latin typeface and blaming the doctrines of Walter Gropius for the prevalence of sans-serifs typefaces across Germany and Switzerland. He also explains the change- ing role of the type founder brought about by the innovation of Photo- composition. 21 Pelta, Raquel Enric Crous-Vidal y la grafia latina http://www.monografica. org/04/Art%*C3%ADculo/6007 (accessed June 23rd, 2019). Doctrine & Action Paris 1954, Pour le renaissance du Graphisme Lat- in, text by Alain Fouquet and Crous-Vidal. (Fig.11) This publication overlapped with Crous-Vidal's appointment as artistic director of the Fonderie Typographique Francaise, an essay dedicated to Maximilien Vox, Robert Ranc (director of Ecole Estienne) and the FTF, he seems to consider Crous-Vidal as a theorist of Latin graphism. In this publication, Crous-Vidal shows a more theoretical typographical knowledge. He writes for the first time about the New School of Paris 1954, an artistic movement and brand of creatives in Paris that are following the Graphie Latine movement. 1
Grace & Harmonie du Graphisme Latin & Autres Remarques Paris, 1952. (Fig.g) It contains Maximilen Vox’s speech at the opening of the solo exhibition of Crous-Vidal typefaces at the Galerie d’Orsay, 16th October 1952 and claimed that purpose of the exhibition was to present the new FTF typefaces Paris and Flash (1952). Vox highlighted how type was now exhibited as art, linking Vox claims to consider type design and typogra- phy as art. Three years later, Crous-Vidal proposes the denomination of typographer artist instead of Graphiste. For the professionals that create characters or design with them, yet again to glorify the Latin Move- ment, citing Times New Roman as a good example of a latin typeface and blaming the doctrines of Walter Gropius for the prevalence of sans-serifs typefaces across Germany and Switzerland. He also explains the change- ing role of the type founder brought about by the innovation of Photo- composition. 21 Pelta, Raquel Enric Crous-Vidal y la grafia latina http://www.monografica. org/04/Art%*C3%ADculo/6007 (accessed June 23rd, 2019). Doctrine & Action Paris 1954, Pour le renaissance du Graphisme Lat- in, text by Alain Fouquet and Crous-Vidal. (Fig.11) This publication overlapped with Crous-Vidal's appointment as artistic director of the Fonderie Typographique Francaise, an essay dedicated to Maximilien Vox, Robert Ranc (director of Ecole Estienne) and the FTF, he seems to consider Crous-Vidal as a theorist of Latin graphism. In this publication, Crous-Vidal shows a more theoretical typographical knowledge. He writes for the first time about the New School of Paris 1954, an artistic movement and brand of creatives in Paris that are following the Graphie Latine movement. 1
Fig.13 Catalanes typeface (1952), cov- er of Vox, Maximilien. Caractére Noél 62’, Numéro 13 spécial, Paris. 1962. Fig. 12 Pour la renaissance du graphisme latin, Suite Doctrinale du movement graphique: Paris, 1956 (50% of the original size)
Fig.13 Catalanes typeface (1952), cov- er of Vox, Maximilien. Caractére Noél 62’, Numéro 13 spécial, Paris. 1962. Fig. 12 Pour la renaissance du graphisme latin, Suite Doctrinale du movement graphique: Paris, 1956 (50% of the original size)
22 For further references see (p. 64) Balius, Andreu, Pelta, Raquel.Latin letters a study of technical descrip- tion of the typographical design of Enric Crous-Vidal.
22 For further references see (p. 64) Balius, Andreu, Pelta, Raquel.Latin letters a study of technical descrip- tion of the typographical design of Enric Crous-Vidal.
Fig.1 Caravelle by Konrad Bauer et Walter Baum. Fonderie Typo- graphique Frangaise commercialised in 1960. Originally sold as Folio by Bauer (1956) 4 For further references see (p. 293) Morlighem, Sébastian; Pelta, R. (ed.): Crous Vidal i la grafia Ilatina, Institut Municipal d'Accio Cultural de Lleida, Lleida, 2008.
Fig.1 Caravelle by Konrad Bauer et Walter Baum. Fonderie Typo- graphique Frangaise commercialised in 1960. Originally sold as Folio by Bauer (1956) 4 For further references see (p. 293) Morlighem, Sébastian; Pelta, R. (ed.): Crous Vidal i la grafia Ilatina, Institut Municipal d'Accio Cultural de Lleida, Lleida, 2008.
Fig.2 Psitt by René Ponot for Fonderie Typographique Frangaise (1955)
Fig.2 Psitt by René Ponot for Fonderie Typographique Frangaise (1955)
Fig.4 Super Veloz by Joan Tro- chut-Blanchard (1942), published by Fonderie Typographique Frangaise (1949) Fig.3 Fonderie Typographique Francaise stationary with the Ecole Graphique de Paris (20x28cm)
Fig.4 Super Veloz by Joan Tro- chut-Blanchard (1942), published by Fonderie Typographique Frangaise (1949) Fig.3 Fonderie Typographique Francaise stationary with the Ecole Graphique de Paris (20x28cm)
Fig.5 Psitt by René Ponot for Fonderie Typographique Frangaise (1955)
Fig.5 Psitt by René Ponot for Fonderie Typographique Frangaise (1955)
7 For further references see (p. 295) Morlighem, 2008.
7 For further references see (p. 295) Morlighem, 2008.
Parade (c.1949), arabesque series of 154 or 155 decorative vignettes, gen- erated from four modules with undulating shapes with (no angles), that illustrate figures of animals and people in movement. Crous-Vidal had used those figures for patterns for packs and posters at Draeger. This serie were officially presented at Publimundial, Revue Internationale des Arts Graphiques, under the name of Parade, Ballet Typographique.(Fig.6,7)A shorter series was commercialised by Deberny & Peignot in electrotype under an unknown name. Parade arabesque series are not digitised in the present. Fig.6 Publimondial cover (1950) (24x31cm)
Parade (c.1949), arabesque series of 154 or 155 decorative vignettes, gen- erated from four modules with undulating shapes with (no angles), that illustrate figures of animals and people in movement. Crous-Vidal had used those figures for patterns for packs and posters at Draeger. This serie were officially presented at Publimundial, Revue Internationale des Arts Graphiques, under the name of Parade, Ballet Typographique.(Fig.6,7)A shorter series was commercialised by Deberny & Peignot in electrotype under an unknown name. Parade arabesque series are not digitised in the present. Fig.6 Publimondial cover (1950) (24x31cm)
2.4 Comparative analysis of his typefaces to each other
2.4 Comparative analysis of his typefaces to each other
Fig.8 Fuga de Arabescos published by Fundicion Tipografica Nacional (1950) (90% of the original size) cional (1954), Lettergieterij Amsterdam (1952) Digitalized by Neufville as
Fig.8 Fuga de Arabescos published by Fundicion Tipografica Nacional (1950) (90% of the original size) cional (1954), Lettergieterij Amsterdam (1952) Digitalized by Neufville as
Fig 9 Catalanes typeface, 1952 un- published. Fig 10 Catalanes typeface, in Publi- mondial n.51, 1953 11 Vox, Maximilien. Typographie a la Manosquine. A Ia rencontre de Jean Giono. Caractére Noél:numéro spé- cial d’art graphique frangais, Com- pagnie frangaise d’éditions, Paris, December 1952
Fig 9 Catalanes typeface, 1952 un- published. Fig 10 Catalanes typeface, in Publi- mondial n.51, 1953 11 Vox, Maximilien. Typographie a la Manosquine. A Ia rencontre de Jean Giono. Caractére Noél:numéro spé- cial d’art graphique frangais, Com- pagnie frangaise d’éditions, Paris, December 1952
(1953) and with some positive comments inside from Jean Giono and about
(1953) and with some positive comments inside from Jean Giono and about
Fig. 12 Paris and Flash (1952) promo- tional specimen for FTF (20% of the original size)
Fig. 12 Paris and Flash (1952) promo- tional specimen for FTF (20% of the original size)
riy- iv llerda (1954) specimen for FTN (60% of the original size) llerda soal/2Z Iratado de las enfermedades ners T2345 ABCDEFCHIJHLMAOPORSTUVIWNYZ C7090
riy- iv llerda (1954) specimen for FTN (60% of the original size) llerda soal/2Z Iratado de las enfermedades ners T2345 ABCDEFCHIJHLMAOPORSTUVIWNYZ C7090
Fig. 12 Ilerda (1954) specimen for FTN (20% of the original size) 15 For further references see (p. 310- 316) Balius, Andreu; Pelta, R. (ed.): Crous Vidal i la grafia Ilatina, Institut Municipal d'Accio Cultural de Lleida, Lleida, 2008.
Fig. 12 Ilerda (1954) specimen for FTN (20% of the original size) 15 For further references see (p. 310- 316) Balius, Andreu; Pelta, R. (ed.): Crous Vidal i la grafia Ilatina, Institut Municipal d'Accio Cultural de Lleida, Lleida, 2008.
Fig. 15 Ile-de-France (1959) specimen for FTF (20% of the original size) The only digitalization is the Anomique (2014) commertialiced by Abstract Fig. 16 Ile-de-France in use (1959) in- vitatio for the Crous-Vidal exhibition at the Marcel Berheim in 1965 (40% of the original size) soit-il, ot! on ne sente le ~ poids du corps” tout entier. Le monde, pour Crous, est une page d’écriture : il n’est rien, depuis la ligne. en passant par la couleur, jusqu’au volume, qui ne se représente a son cerveau sous forme de traits pleins ou déliés, de boucles, de flammes, d’entrelacs, de paraphes multipliés, d’ “arabesque”. enfin - mot supréme qui le régale intérieurement et fait briller son regard d’un éclat noir. Avec une application presque mystique. et la flamme espagnole d’un croyant. Crous-Vidal transcrit les secrets de son coeur et de sa pensée en signes mystérieux d’une langue de mystére qu'il serait seul a parler, mais que lunivers entier pourrait com- prendre. Flamboyance, aussi, gotit de l’aventure qui enverra irrésistiblement l'artiste chercher de I’inédit. voire du dangereux. le long de voies aban- données, depuis que |I’école typographique et décorative de 1900 ett jeté son dernier feu. L’art francais si fécond, si inventif des Grasset, des Bellery. et du délicieux Georges Auriol, s’il projette demain vers l’avenir des ramu- res inconnues, il le devra a Crous-Vidal. Que nous sommes donc loin, avec ce Catalan vibrant et sombre, de tous les constructivismes, de tous les germanismes si fort a la mode il y a seulement dix ans, des puritanismmes perpendiculaires. des gnoses asiatiques, de la séduction kyrillique... Avec lui. c’est la Latinité qui fait sa rentrée. vivace. ardente et libre - de la liberté de la Foi. Le voici en route, alleégre et grave, les yeux dans le soleil, a la découverte du nouveau. Et le burin qu'il tient a la main est un morceau d’épée.
Fig. 15 Ile-de-France (1959) specimen for FTF (20% of the original size) The only digitalization is the Anomique (2014) commertialiced by Abstract Fig. 16 Ile-de-France in use (1959) in- vitatio for the Crous-Vidal exhibition at the Marcel Berheim in 1965 (40% of the original size) soit-il, ot! on ne sente le ~ poids du corps” tout entier. Le monde, pour Crous, est une page d’écriture : il n’est rien, depuis la ligne. en passant par la couleur, jusqu’au volume, qui ne se représente a son cerveau sous forme de traits pleins ou déliés, de boucles, de flammes, d’entrelacs, de paraphes multipliés, d’ “arabesque”. enfin - mot supréme qui le régale intérieurement et fait briller son regard d’un éclat noir. Avec une application presque mystique. et la flamme espagnole d’un croyant. Crous-Vidal transcrit les secrets de son coeur et de sa pensée en signes mystérieux d’une langue de mystére qu'il serait seul a parler, mais que lunivers entier pourrait com- prendre. Flamboyance, aussi, gotit de l’aventure qui enverra irrésistiblement l'artiste chercher de I’inédit. voire du dangereux. le long de voies aban- données, depuis que |I’école typographique et décorative de 1900 ett jeté son dernier feu. L’art francais si fécond, si inventif des Grasset, des Bellery. et du délicieux Georges Auriol, s’il projette demain vers l’avenir des ramu- res inconnues, il le devra a Crous-Vidal. Que nous sommes donc loin, avec ce Catalan vibrant et sombre, de tous les constructivismes, de tous les germanismes si fort a la mode il y a seulement dix ans, des puritanismmes perpendiculaires. des gnoses asiatiques, de la séduction kyrillique... Avec lui. c’est la Latinité qui fait sa rentrée. vivace. ardente et libre - de la liberté de la Foi. Le voici en route, alleégre et grave, les yeux dans le soleil, a la découverte du nouveau. Et le burin qu'il tient a la main est un morceau d’épée.
Fig. 20 Alphabets registered from 1960 untill 1966 at S.R.A.D.E.M. n. 35 590
Fig. 20 Alphabets registered from 1960 untill 1966 at S.R.A.D.E.M. n. 35 590
Fig. 19 Alphabets registered from 1960 untill 1966 at S.P.A.D.E.M. n. 35 590
Fig. 19 Alphabets registered from 1960 untill 1966 at S.P.A.D.E.M. n. 35 590
Fig. 20 Catalanes in Doctrine & Action (1954) Fig. 21 /talienne (unknown date) Deberny & Peignot (image: typofon- derie.com)
Fig. 20 Catalanes in Doctrine & Action (1954) Fig. 21 /talienne (unknown date) Deberny & Peignot (image: typofon- derie.com)
3.1 Connections between Crous-Vidal typefaces in the wider type design context
3.1 Connections between Crous-Vidal typefaces in the wider type design context
Fig. 24 Champs Elysées (detail) (1956) Fig. 23 Ilerda (1954) FTN
Fig. 24 Champs Elysées (detail) (1956) Fig. 23 Ilerda (1954) FTN
Cristal de roche RENAISSANGE Fig. 26 Corvinus by Imre Reiner (1929-1934) Bauer Foundry and Neufville Spain 19 For further references see: (p. 216) Sesma (2015)
Cristal de roche RENAISSANGE Fig. 26 Corvinus by Imre Reiner (1929-1934) Bauer Foundry and Neufville Spain 19 For further references see: (p. 216) Sesma (2015)
Fig. 25 Bisonte by Joan Trochut (1940-1954) for Fundacion Tipografi- ca José Iranzo
Fig. 25 Bisonte by Joan Trochut (1940-1954) for Fundacion Tipografi- ca José Iranzo
Fig. 30 Pascal from José Mendoza y Almeida (1961) published at Fonderie Amsterdam Fig. 29 Optima from Hermann Zapf (1952-1955) Stempel in Frankfurt
Fig. 30 Pascal from José Mendoza y Almeida (1961) published at Fonderie Amsterdam Fig. 29 Optima from Hermann Zapf (1952-1955) Stempel in Frankfurt
Fig. 27 Ile-de-France (1959) FTF Ile-de-France, (1959)(Fig.27, 28) "Incised typefaces were the trend," as Gérard Blanchard tions !° in Une grande enquéte sur les linéales, the future is in the lineals, but with humanistic constructions, including then the Incised typefaces like Paris (Fonderie Typographique Francaise, 1952) and Tlle- de-France (Fonderie Typographique Francaise, 1959) and later Structura (1966). Other examples incised typefaces during the 1950s and 1960s where Optima from Hermann Zapf (1952-1955) (Fig. 29) published by Stempel in Frankfurt or Pascal (Fig. 30) (1961) from José Mendoza y Almeida published at Fonderie Amsterdam, Paris represents better the new trend of roman lapidarian contrast modulation that the other two examples.
Fig. 27 Ile-de-France (1959) FTF Ile-de-France, (1959)(Fig.27, 28) "Incised typefaces were the trend," as Gérard Blanchard tions !° in Une grande enquéte sur les linéales, the future is in the lineals, but with humanistic constructions, including then the Incised typefaces like Paris (Fonderie Typographique Francaise, 1952) and Tlle- de-France (Fonderie Typographique Francaise, 1959) and later Structura (1966). Other examples incised typefaces during the 1950s and 1960s where Optima from Hermann Zapf (1952-1955) (Fig. 29) published by Stempel in Frankfurt or Pascal (Fig. 30) (1961) from José Mendoza y Almeida published at Fonderie Amsterdam, Paris represents better the new trend of roman lapidarian contrast modulation that the other two examples.
Fig. 28 ile-de-France (1959) FTF
Fig. 28 ile-de-France (1959) FTF
Fig. 31 Flash specimen (1952) FTF
Fig. 31 Flash specimen (1952) FTF
Fig. 32 Landi Echo from Alessandro Butti (1939) published at Nebiolo Foundry Turin Fig. 33 Vox, Maximilien, Caractére Noél (1955)
Fig. 32 Landi Echo from Alessandro Butti (1939) published at Nebiolo Foundry Turin Fig. 33 Vox, Maximilien, Caractére Noél (1955)
Fig. 1 4 Vents Parfum (1952) from Revillon sample 37 For further references see: Wlassikoff, Michel. Historie du gra- phisme en France, Dominique Carré Editeur, Paris. 2005 The registration of his last typeface in 1966 is coincidently the same date a his last refusal of entry to Spain. Also as Crous-Vidal's vision deteriorated, he abandoned type design and started working as a guard in an aircraft factory, where in the night shifts he had time to write his memoirs. In his apartment he honed his painting skills and painted abstract paintings based on his arabesques that had brought him so much success in his packaging designs from 15 years before.
Fig. 1 4 Vents Parfum (1952) from Revillon sample 37 For further references see: Wlassikoff, Michel. Historie du gra- phisme en France, Dominique Carré Editeur, Paris. 2005 The registration of his last typeface in 1966 is coincidently the same date a his last refusal of entry to Spain. Also as Crous-Vidal's vision deteriorated, he abandoned type design and started working as a guard in an aircraft factory, where in the night shifts he had time to write his memoirs. In his apartment he honed his painting skills and painted abstract paintings based on his arabesques that had brought him so much success in his packaging designs from 15 years before.
Fig. 2 Presentation of Revillon with of 4 Vents Parfum (1952) the identily of the parfum is applied to the models that would distribute samples of the parfum. Crous-Vidal, (1.191) Memories (2007)
Fig. 2 Presentation of Revillon with of 4 Vents Parfum (1952) the identily of the parfum is applied to the models that would distribute samples of the parfum. Crous-Vidal, (1.191) Memories (2007)
Related topics:
History of Graphic DesignTypeface and TypographyHistory of TypographySpanish Refugees In France
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