These typefaces are full of such idiosyncrasies, which I don’t consider as defaults, but rather as traces of the process. The bowl of italic lowercase k is ridiculous: the reason why is that this detail did not appear systematically in previous generations. I also add an evolutionist italic for the text one, and get a small family of three fonts. I wanted to see, in this way, if something acceptable could come out of this mess. To obtain a correct weight and proportions, these are not simple copy / paste, but rather interpretations. Sometimes even in the same letter, like the C. Some letters intersect vertically, others horizontally, or obliquely. Rather than interpolating these drawings, I chose a few letters in each, without changing it. To accompany the text typeface, I wanted « fixist » a bold sans serif, which would be created from models of this family. I used the amazing « Blend Fonts » feature in FontLab Studio and crossed the species over 4 generations, to get an average font, a kind of typographic chimera. I picked 8 different text typefaces, very famous, which represent the main periods in the history of typography: Jenson, Garamond, Caslon, Baskerville,Bodoni, Century, Times New Roman, and Georgia. I wondered, for the visual identity of the Musée de Montbéliard, if I could create two types of characters: one based on evolutionist theories, the other on fixist theories. On the contrary, he believed that the species appeared and then suddenly disappeared, without changing during their existence. Evolutionists believed in the gradual transmutation of one form into another: this led to the famous Darwin theories a little later.Ĭuvier strongly disagreed. To be short, On the one hand there were the evolutionists, like Lamarck, and on the other the fixists, like Cuvier. I took a closer look at Cuvier's theories, and in particular the fairly virulent debates that animated the Paris Academy of Sciences at the beginning of the 19th century. Seeing this work, I wondered if we could do the same thing, not with faces but with typefaces.Īt the same time, I started working for the visual identity of a museum in Montbéliard, which holds important galleries devoted to natural history galleries, and in particular to the evolution of species: a famous zoologist and naturalist, Georges Cuvier, was born in Montbéliard in 1769. The result was surprising: a face that does not exist, certainly, but very beautiful. She had photographed the portraits of many girls in the school, and superimposed them: around forty faces, with low opacity, produced a new face. Ten years ago, when I was teaching at the school of fine arts in Besançon, one of my students, Julie Chu, carried out a very interesting project for her Master's degree, on the subject of interbreeding.
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