Apolline Font
Venice
Initially Jean Franois made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details.
Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8 degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes.
The next step was digitising the drawings with Ikarus (the pre-Bzier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bzier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on.
Before meeting at The Glasgow School of Art, Alessandro studied in San Marino Republic, completing a series of design internships including one at a photography collective with a focus on independent publishing. As for Apolline, the French graphic designer studied in Bordeaux before venturing to London where she worked on a number of internships included a stint at art book publishers, Koenig Books. When it came to the design of Diaspora however, the two designers unearthed a fascination in this historic Scots-Italian heritage.
In turn, Diaspora not only explores the migration of letters through its characteristics, it also translates the idea of immigration through its structure. Ultimately, it represents the movement of Italians to Scotland and their plight in adapting to a new culture which they later fused with. The Classic and Gaelic letters gracefully coexistent through the display font while the alternate letters add extra personality, a nod to the arrival of Italians and the enrichment of society. Integrating a sense of curvy Gaelic-style lettering to the classical alphabet, eventually, Apolline and Alessandro found a half Scottish and half Italian balance for Diaspora.
Introducing Apolline, the latest creation by renowned type designer Jean Francois Porchez in collaboration with Typofonderie. This font, available in Version 1.6, is a true masterpiece that will elevate any design to new heights.
With its clean and legible letterforms, Apolline is a dream to work with. Its readability makes it ideal for both large headlines and small body text, ensuring that your message comes across loud and clear.
Fresh, elegant fonts like Apolline are hard to come by, making it a must-have for any font enthusiast. Its cool, sophisticated style will make your designs stand out from the crowd and leave a lasting impression.
Crafted with precision and attention to detail, Apolline is a true work of art that will elevate your design to new levels. Its versatility, readability, and unique charm make it a font that is both functional and visually stunning.
Freight Sans and Freight Text each come equipped with six weights with corresponding italics. They were built with the same chiseled edges, cap height, x-height (the height of the lowercase letters typically illustrated by the letter x), and baseline. Because each was designed with the other in mind, text occupies the same line length and height no matter which face is used; this means either can take the lead as a headline and you can mix them together seamlessly.
I completely agree. As paying customers, we need more of these articles. Especially for those of us that are type challenged (ME). Also, I would like to see Typekit implement some kind of font pairing system where you can test multiple fonts together.
Thanks for the feedback. We are indeed considering ways to help our users pair fonts better. You can also check out the About Face articles ( -face/) for good pairing suggestions. Often when we release new fonts we also show off some good pairings ( -fonts/).
Designed with course mate Alessandro Prepi, the specimen is printed on newspaper paper on a tabloid format creating a direct connection with their research. Indeed, the two designers researched extensively through library archives, and newspapers were a focal point. The specimen presents the whole project, from the story it tells, to the technical parts of the font right through to examples of the font in use.
Apolline de Luca is a graphic designer who focuses on editorial and type design. During her studies at GSA, she experimented with book design and its components such as printing techniques, book binding, and layout design, working both with clients and for her personal research. Her design practice is research based and she finds interest in telling stories through design creating physical or emotional experiences for the user/reader/viewer.
Alongside her graphic design practice, she specialised in type-design. During her final year at GSA, she designed Diaspora (a display font exploring Italian immigration to Scotland) with her class mate Alessandro Prepi. From this collaboration and love for type-design, they are now launching their own type foundry, GoodEggs TypeFoundry, to release Diaspora and future projects: goodeggstypefoundry.com
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Apolline Taillandier a soutenu sa thse intitule "In the Name of Posthumanity: Visions and Justifications of Liberal Order in Contemporary Anglophone Transhumanism" le 28 mai 2021 au Centre d'tudes europennes et au MaxPo, sous la direction de Jenny Andersson. Elle est actuellement chercheuse postdoctorale POLIS (Department of Politics and International Studies) et au Leverhulme Centre for the Future of Intelligence de l'Universit de Cambridge, et au Center for Science and Thought de l'Universit de Bonn. Son projet postdoctoral porte sur le rle des thories et mouvements fministes dans l'histoire des technologies informatiques et des projets d'intelligence artificielle (IA) depuis les annes 1980. Dans le contexte d'une attention croissante porte aux effets discriminants des systmes d'IA, elle tudie la circulation transnationale des thories du genre et de la justice, et les interprtations et appropriations dont elles font l'objet dans la recherche et l'industrie, notamment en France, aux Etats-Unis et en Grande-Bretagne.
Apolline Taillandier a rejoint POLIS (Department of Politics and International Studies) et le Leverhulme Centre for the Future of Intelligence de l'Universit de Cambridge, et le Center for Science and Thought de l'Universit de Bonn, pour un projet postdoctoral de quatre ans soutenu par la Fondation Thomas and Ulla Kolbeck. Dans ce cadre, Apolline tudie le rle des thories et des mouvements fministes dans l'histoire des technologies informatiques et des projets d'intelligence artificielle (IA) depuis les annes 1980. Dans le contexte d'une attention croissante porte aux effets discriminants des systmes d'IA, elle tudie la circulation transnationale des thories du genre et de la justice, et les interprtations et appropriations dont elles font l'objet dans la recherche et l'industrie, notamment en France, aux Etats-Unis et en Grande-Bretagne.
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