![]() ![]() The introduction of the computer generation had the impact of electroshock. I try to give the poster a coherent sensibility and style so that an emotional resonance and tension accrues from its unpredictable formalism.Ĭan you tell us how your process has changed from 20 years ago to today?Ĭlearly the technologies have changed our methods of working. A poster should sustain visual vitality and richness, which can happen through an unexpected mix of graphic shapes: grids, letters, symbols, photos. ![]() With type elements, I use repetition and overlapping signs (like kaleidoscopic patterns) to explore synchronicity or de-synchronicity, patterning and rhythm. My imagery connects to the human figure in motion. These subjects helped me veer away from a conventional typography approach or severe functionalism into ambiguity and vitality. While studying art and design, I signed up for modern dance classes and attended many performances. Originally I wanted to be a painter, a set designer for theater or a choreographer, but I was also attracted by literature and philosophy. How do you refrain from making the final product overwhelming and finding that balance of energy? You’re known for capturing life and movement within your typography and posters. We spoke with Apeloig to dig a little deeper. The section of sketches is what proves to be most illuminating the stormy mind of Apeloig unfolds as he brainstorms and experiments on paper and in digital form. More than just a collection of images, each project is accompanied by an explanation of the brief, sources of inspiration and how the idea came to realization-a rare look into a distinguished graphic designer’s creative process. The mammoth monograph (384 pages) features a selection of Apeloig’s designs organized by thematic chapters: museums, performing arts, publications, posters and typography, logotypes and visual identities and, at the end, sketches. For those who aren’t able to visit in person, a hardcover book of the same name will soon be hitting stores in North America. While still only mid-career, Apeloig is already the subject of a retrospective exhibition “ Typorama,” at Paris’ Musée des Arts Décoratifs that highlights more than 30 years of work. Never one to approach a project the same way, Apeloig captures a lively, impulsive essence in his visual imagery, largely thanks to his bespoke typography and steady consumption of culture. Graphic designer Philippe Apeloig takes lines, letters and shapes and transforms them into captivating structures of movement-which explains why he compares his craft to that of an actor or a dancer. His brilliance has the rest of the world requesting his art, too, including Gagosian Gallery, Design Museum London, Phaidon Press and more. The unofficial French ambassador happens to be a trusted messenger for the cultural powerhouses-museums such as the Louvre and Musée d’Orsay, publishers such as Éditions de La Martinière and Robert Laffont and luxury brands such as Hermès and Yves Saint Laurent. ![]()
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