Philippe Apeloig is an influential French graphic designer. His approach to a given assignment, whether it is a poster, logotype, or font, shows an impressive amount of both thoughtfulness and understanding of the subject matter at hand. His typographic solutions are skilfully crafted and demonstrate great attention to detail. He always aims to get the maximum effect with the minimum of means. Apeloig is a master of typographic interpretation. His work is idea-oriented and process driven. He can thoughtfully play with words and images in order to transmit concepts that are aesthetically appealing, perfectly balanced, and intelligent.
Most of the time I start from a text, from typography and I continue with images. I use the editing techniques from film editing. I carve my ideas into pieces and then reassemble them in a different order. I manipulate them until the composition is right and it is strong enough to fix itself in the visual memory of the public.
When you read a text most of the time it’s very static—you don’t even look at the shape of the letters, you consider the meaning—but one of the goals of the designer is to make text appear spectacular, like a show that really catches your eye.
The challenge is to be persuasive: like an actor who convinces the audience to suspend disbelieving. He has to interpret his role so vividly that he and his character become one.
Last Wednesday Philippe Apeloig came to Mudam, Luxembourg to talk about his work. It was one of the events organised by Design Friends. I was given the opportunity to coordinate this talk. On this occasion DF published a little catalogue featuring some of the projects Philippe Apeloig Studio worked on and an interview with the designer. The book will be available to buy on DF’s website soon.
The Typorama finished a couple of weeks ago and I am still thinking about the walls of the Museum of Decorative Arts in Paris filled with Apeloig’s fonts, Metro-size posters and the music used for his animations composed by Barbatuques, Iannis Xanakis, Maurice Ravel and Laurent Rochelle, among others. Typorama, the exhibition and the catalogue, presents the panorama of Philippe Apeloig’s work which is conceptual, functional and artfully crafted.
For me, the most important thing in the exhibition were Apeloig’s sources of inspiration, his Jewish roots, the fact that his grandparents came from Kazimierz Dolny in Poland, his fascination with movies like, 8 ½, Orfeo Negro and Battleship Potemkin.
The way Philippe Apeloig presented 30 years of his work made me think of Alexander Dorner’s “Atmosphere Rooms”.
Across the Atlantic, the German curator Alexander Dorner was experimenting with a different approach to explaining the relationship between art, design and architecture as director of the Landesmuseum in Hanover. Since the mid 1920s he had used pieces from its archive to depict the cultural history of particular eras by creating what he called “Atmosphere Rooms”. The grand finale was the Raum der Gegenwart, or Room of Today, for which Dorner commissioned Moholy-Nagy to create an immersive sequences of images depicting glimpses of contemporary art, architecture, design, theater and sport with screening of experimental Soviet films including Sergei Eisenstein’s “Battleship Potemkin” and Dziga Vertov’s “Man with a Movie Camera”.
Alice Rawsthorn, Hello World
In this post I gathered some quotes and images which are glimpses of culture, design and art that I wanted to dedicate to Monsieur Apeloig.
I begin with a small town in Poland, Kazimierz Dolny. Then I move on to Malevich’s Black Square, Dutch Design, Wolfgang Weingart’s Line Pictures for Armin Hofmann, Phillippe Petit’s tightrope walking at the World Trade Center in 1974, and, finally, Pina Bausch’s Nelken from 1982.
Kazimierz Dolny in Poland used to be a place of two cultures and two religions, Catholic and Jewish. They existed next to each other till the Soviet and German occupation almost wiped the Jewish out of the town, out of the whole country. But, there are people, young people who want to remember that Jewish culture influenced Polish culture and that it is an important part of our heritage.
Jaśmina Wójcik is a Polish multimedia artist. In 2011 she created the acoustic walk around Kazimierz Dolny. It was a project with audio guides in which she used stories about Jewish that don’t live in Kazimierz any more, but are still present in the memory of its inhabitants.
…the acoustic walk around Kazimierz Dolny consists of prints of Jaśmina Wójcik’s drawings hung on the facades of houses. The drawings are the central part of the project, and create the points on the walk’s map. The path is created by places – existing or not – where Jews used to live (e.g. the cheder, the mikveh, the Tzadik house, the synagogue, the kosher slaughterhouse). Each participant gets an MP3 player, a map and an instruction. The MP3 player becomes a personal guide.This is a personal and alternative way of touring around the town–through something that does not exist anymore, or what remained in a very small scale. Yet it constitutes a very important part of the town’s history and heritage. The project aims at creating a universal message relating also to contemporary events. In their headphones the participants hear real memories of the pre-war life in Kazimierz Dolny (archived by Bożena Gałuszewska and the Brama Grodzka Center – NN Theatre in Lublin). The town used to be bicultural – Poles and Jews where neighbours here. After WWII the Jewish community vanished completely. The project is an expression of memory about them. Of respect. Of preserving their presence… of their metaphysical return…
The Last Futurist Exhibition 0.10 in 1915 … the placement of the suprematist paintings suggested the way icons were hung; … Black Square, which was, with total explicitness presented as an icon, or rather, in the position of an icon.
Van Doesburg’s upper-case alphabet was constructed from vertical and horizontal slabs of the same thickness and could be stretched vertically and horizontally to force texts to fit any format. Neither aesthetic nor legibility were major considerations, and the assumption that conveying information is a primary objective of typography as of marginal concern. Perhaps Moholy-Nagy was referring to Van Doesburg when he wrote that ‘clarity is the first prerequisite of all typography. For the sake of legibility the message must never suffer from a priori aesthetics. The letter types must never be forced into a pre-planned form, for instance into a square’. Yet, as demonstrated by the cover for the published 1920 Antwerp lecture Klassiek Barok Modern, Van Doesburg could use his alphabet quite effectively.
Dutch Graphic Design: A Century of Innovation by Alston W. Purvis andCees W. De Jong
Not able to sit still during Hofmann’s class for an entire day, and to avoid having to draw lines with a ruling pen, I found refuge in the typeshop. There I was in my element. In a thin, square slab of wood I drilled one hundred holes, a grid of ten by ten, into which I then screwed one hundred L-hooks. With this construction it was easy to turn and twist the hooks into any desired direction or pattern. The technical problem of designing the Line Pictures for Hofmann was solved. By securing my construction in the bad of the letterpress I could print many variations by adjusting the height of selected hooks to the exact height of standard metal type. The hooks of the grid not intended to print were screwed deeper into the wood, too low to be inked by the rollers.
Tightrope Walking at the World Trade Center, New York, 1974
Petit was charged with disorderly conduct and criminal trespass and received a quick sentence doing a free show for children in Central Park.
What inspires me is the fact that I learn how to stop to look at things at one point. You need to learn how to seek, not to look and then you’ll refresh your eye, then you can meditate more about what you can do. That’s the way to find the best inspiration. … It has to be playful.