Poster announcing an exhibition about Alfred Nobel held at the Palais de la découverte, Paris, 2008. For the design, Philippe Apeloig made use of an early version of his typeface A. Poudre under the name of A. Nobel. The poster measures 175 × 118.5 cm and was screen-printed by Sérica.

This poster is a later version than the one produced for the client.

Poster announcing concerts by Brad Mehldau and Bobby McFerrin at Théâtre du Châtelet, Paris, 2007. The poster, part of a series, measures 100×150 cm and was screen-printed at Sérilor, Lille. For the design, Philippe Apeloig made use of a early version of his typeface A. Octobre.

Poster designer by Philippe Apeloig on the occasion of his retrospective Typorama held at Musée des Arts décoratifs, Paris, 2013.

The poster measures 100×150 cm and was screen-printed by Lézard Graphique, Brumath (Alsace).

Poster made on the occasion of the exhibition L’Art de l’automobile. Chefs-d’œuvre de la collection Ralph Lauren held at the Musée des Arts Décoratifs, Paris, 2011.

The poster measures 100×150 cm and was screen-printed at Sérica, Nancy. Philippe Apeloig made early use of his A. Coupé and combined it with Foundry Sterling.

Number 386, set in Clifton (205TF). Note the footpath, set in brackets, parentheses and other punctuation.

Along other independent type foundries we have been invited to participate with a selection of our typefaces (mainly from the Apeloig Type Library) to the typographic Gutenberg car park in Strasbourg, France. Because it bears the name of Johannes Gutenberg, this car park is only about type.

From the design studio Dix—Milliards—Humains (auto-translated):

As part of its rehabilitation, the Gutenberg car park in Strasbourg becomes a place dedicated to typography. This proposal, carried by Ruedi Baur and Dix—Milliards—Humains, won over the Parcus company, which manages this parking space located in the city center.

Thus, like an ascending chronological adventure, the three levels of the car park will tell the typographical story, from Gutenberg (level -3) to the latest contemporary creations (level -1). All the signage media (place numbering, pedestrian information, directions, ground markings, etc.) will be all available media to enhance and promote typographic creation.

Four typefaces from Philippe Apeloig’s eponymous collection which is available at Nouvelle Noire are shown here, used in various ways amongst a wide range of old and new typefaces: A. Ndebele, A. Poudre, A. ABF Petit, and A. Coupé.

A. Ndebele, designed by Philippe Apeloig, is used for all text on the billboard made for parking spot number 111.

Driveway, with a wide selection of arrows pointing out the right direction.

A row of numbers (amongst which Ndebele and Poudre from the Apeloig collection) indicate the floor level.

Billboard for number 107. Quote and type (Poudre) by Philippe Apeloig.

Walking path routing, detail.

Wim Crouwel’s New Alphabet is used to set the number 265.

Number 304, with a quote by Stanislas Jerzy Lec; all text set in Leslie Usherwood’s Caxton.

Poster for the opening of the new signage. The big text is set in a selection of the typefaces used for the signage inside the parking garage. Amongst them: Apeloig’s Petit, used for the first E.

The Folio SF pocket collection – an imprint of Gallimard – offers stories and novels from all walks of life, open to all worlds: science fiction, fantasy, fantasy, but also unclassifiable works, at the crossroads of genres. ABF Linéaire, designed by Philippe Apeloig and published by Nouvelle Noire is used as a main typeface for titling on various Folio SF book covers. Author’s names are set in Univers Condensed, and the Folio logo seems to be based on Adobe Garamond.

Each year ESPN magazine dedicates an issue to the statistics of the NBA. Octobre designed by Philippe Apeloig and developed by Nouvelle Noire is featured as the main typeface for the titling throughout the illustrations.

The other typefaces are part of ESPN magazine’s default type palette: various widths and weights of Emtype Foundry’s Geogrotesque / Geogrotesque Condensed Series, Hoefler & Co’s Tungsten (used for the big numbers on these spreads), and a serif typeface that is shown too small in these images to be recognizable.

Irene Themann designed the visual identity for the Jazzwoche (“Jazz Week”), which is organized annually by the Jazz Musiker Initiative Hannover e.V.

Coupé (Nouvelle Noire) is used for titles. The stencil face by Philippe Apeloig is paired with Hannes von Döhren’s Pluto Sans (HvD Fonts) for text. The images show posters and brochures from the 2017 (red) and 2018 (orange) editions of the festival. See more images on Irene Themann’s portfolio website.

À la racine des Lettres (French edition)

On the occasion of Philippe Apeloig’s lecture “Abstract or not” at Mudam Luxembourg, Design Friends published a 24-pages catalogue in French and English. The interview was conducted by Arthur Dreyfus.

The Substance of Letters (English edition)

Poster for the grand opening of a fashion boutique in Łódź, Poland. Designed by Krzysztof Iwanski and screen printed by Mistrzowie Zmianowi.

The poster was printed with silk screen inks on violet Chromolux sparkling paper / 40 and deep blue pasteboard / 20.