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THE LANGUAGE OF TYPOGRAPHY

THE LANGUAGE OF TYPOGRAPHY

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Biography of Pierre Duplan: Former student of the École normale supérieure de l'Enseignement technique, Pierre Duplan is an honorary professor at the École supérieure Estienne des arts et industries graphiques, better known as the École Estienne. 

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- Publisher : Atelier Perrousseaux

- Presentation : Paperback

- No. of pages: 157 pages

- Weight: 0.417 Kg

- Dimensions: 16.0 cm × 23.0 cm × 1.2 cm

In 1982, together with Roger Jauneau (then deputy headmaster of the École Estienne), he produced an important and remarkable work entitled Maquette et mise en page, which is now in its fifth edition (2004).

Encouraged by former pupils and students, he now delivers, in the form of illustrated and didactic works, some of the courses he used to give on letter and image. The writer sees on his computer screen the content of his work, the text itself, being shaped in all its appearances, with a speed and flexibility unknown until then.

The writer sees on his computer screen the content of his work, the text itself, in all its appearances, with a speed and flexibility unknown until then. This living flesh is likely to be questioned, it will espouse all the successive desires of the author, who can manipulate it without limits, in all the digitized characters that he will have put in his computer, as in infinitely variable presentations-positions. The essential interest of computer science is that creation is worth execution; it is stimulated at the same time as repentance is allowed. This implies perfect knowledge and perfect control of the meaning added by the choices of typographic form, character, justification, invariants, rasters, colours, etc., which are made by the computer. What's up? Which treatments and for which texts? New techniques, well used, offer the reader remarkable pages. Badly conceived, they transform our reading landscape into catalogues of characters, innumerable as well as different, no doubt, but above all inappropriate for the roles distributed by graphic designers, often more plastic artists than convinced semiologists.

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