Ads via The Deck
Nameplate set in Tenez. Your typeface could be next. Learn more.
Typeface Review

Apeloig Type Library

Reviewed by Conor Mangat on March 11, 2014

Perhaps it’s his preferred medium of the poster that has afforded such freedoms, but Philippe Apeloig’s typeface designs represent a spirit of exploration that is rarely man­age­able in commercial design work these days.

Born from specific poster commissions over the past two decades, the typefaces represent his response to topics as diverse as how patrons move through the stacks of a library, to a score based upon Nietzsche’s poetry, to South African tribal marking systems, to the subatomic discoveries of Alfred Nobel. Though these designs are not new, their 2013 public release merits their inclusion here.

Seeing these typefaces in their original display context demonstrates the importance of complete typography in Apeloig’s body of work; such results would have been impossible had off-the-shelf typefaces been employed. Every type design carries baggage, after all (some more than others, of course); Apeloig’s crea­tions free him of that encumbrance to allow the pro­duction of original and artfully inte­grated typo­graphic design. Scale, rhythm, harmony, proportion — all design fundamentals, and simul­taneously addressed at both micro and macro levels in the poster format.

Apeloig’s investigations of figure and ground, legi­bility, and systematic letterform construction are clearly reminiscent of the typographic explorations of both Pierre di Sciullo and Wim Crouwel. But Apeloig’s conceptual approach results in faces that are more usable than di Sciullo’s decidedly academic studies, and less rigid than Crouwel’s. That said, some designs are more successful than others, both in terms of aes­the­tics and leg­ibility; such is the nature of experi­mental typography.

To describe Apeloig’s designs as playful would be doing him a disservice, yet there’s an undeniable human­ity and wit to these typefaces. They are not per­fect by any means, but are exemp­lary for their process of consideration, which is something to which we can all aspire.

Conor Mangat is a typographic designer from London. Educated to ideological extremes (Ravensbourne, CalArts, Reading), his exploits so far encompass areas of graphic, interaction, typeface and information design. He currently resides in the San Francisco Bay Area.

Post a Comment

Comments at Typographica are moderated and copyedited, just like a “Letter to the Editor” in a newspaper. Abusive or off-topic comments will not be published. Compliments are appreciated, but will not be published unless they add to the conversation. Thank you!


Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles with Caren Litherland and designed by Chris Hamamoto. Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Hamamoto.

Set in Bureau Grot by Font Bureau, Nocturno Display by Nikola Djurek, Fern (unreleased) by David Jonathan Ross, and JAF Bernini Sans by Tim Ahrens.

Brought to you by this month’s nameplate sponsor, Fontspring, MyFonts, FontFont, Wordpress, Fused, and the letter B. Read our editorial policy.