By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. Some will spot specific traits as in Futura, others in Metro or Kabel.
The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases.The Ysans, a typeface between diversity and synthesisThere are several ways to approach the design of a new geometric sanserif. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used.Details of Ysans drawingsNevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions.Audace, between geometry and shapes inspired by natureįashion style meets typography in 9 stylesThe Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. This is a consequence of the influence of forms from design and art in the design of the Audace. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context.Audace - like the works of those artists, designers, architects - is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality.
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Between geometry & shapes inspired by nature, in 4 fontsAudace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings.
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