Revue Faire #50 - A Site: The Palace of Typographic Memory
Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole. Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices.
This issue:
The “About” section of the Palace of Typographic Masonry website reads as follows: “The Palace of Typographic Masonry was established as a foundation on May 15, 2018. The foundation pursues the following objectives:
1. Provide a physical and/or virtual environment for the creation of graphic design and a platform for the publication and presentation of associated work-graphic or otherwise;
2. Build a reference framework for graphic design;
3. Familiarize a diverse audience with a varied and relevant graphic design landscape;
4. Draw attention to graphic design as a unique discipline and profession;
5. Promote the recognition of individuals who have proven important to graphie design as a profession and/or the development of the field.”
Over the course of four epistolary exchanges, Thierry Chancogne and Richard Niessen have a palatial discussion of the content, issues, and the principles of classification of this palace of “the splendor and variety of graphic languages,” a place dedicated to the promotion, dissemination, and support of an open and adventurous approach to our discipline of graphism, graphic design, and typography.
Original: $14.60
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$5.11Revue Faire #50 - A Site: The Palace of Typographic Memory
Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole. Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices.
This issue:
The “About” section of the Palace of Typographic Masonry website reads as follows: “The Palace of Typographic Masonry was established as a foundation on May 15, 2018. The foundation pursues the following objectives:
1. Provide a physical and/or virtual environment for the creation of graphic design and a platform for the publication and presentation of associated work-graphic or otherwise;
2. Build a reference framework for graphic design;
3. Familiarize a diverse audience with a varied and relevant graphic design landscape;
4. Draw attention to graphic design as a unique discipline and profession;
5. Promote the recognition of individuals who have proven important to graphie design as a profession and/or the development of the field.”
Over the course of four epistolary exchanges, Thierry Chancogne and Richard Niessen have a palatial discussion of the content, issues, and the principles of classification of this palace of “the splendor and variety of graphic languages,” a place dedicated to the promotion, dissemination, and support of an open and adventurous approach to our discipline of graphism, graphic design, and typography.
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Description
Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole. Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices.
This issue:
The “About” section of the Palace of Typographic Masonry website reads as follows: “The Palace of Typographic Masonry was established as a foundation on May 15, 2018. The foundation pursues the following objectives:
1. Provide a physical and/or virtual environment for the creation of graphic design and a platform for the publication and presentation of associated work-graphic or otherwise;
2. Build a reference framework for graphic design;
3. Familiarize a diverse audience with a varied and relevant graphic design landscape;
4. Draw attention to graphic design as a unique discipline and profession;
5. Promote the recognition of individuals who have proven important to graphie design as a profession and/or the development of the field.”
Over the course of four epistolary exchanges, Thierry Chancogne and Richard Niessen have a palatial discussion of the content, issues, and the principles of classification of this palace of “the splendor and variety of graphic languages,” a place dedicated to the promotion, dissemination, and support of an open and adventurous approach to our discipline of graphism, graphic design, and typography.
