Inès Davodeau’s typographic practice brilliantly revives fonts from over 100 years ago


As an only child, Inés shares much of the time she had to occupy her own time – inventing games, objects and stories. It is all these things, in addition to her love of drawing and creation, that have fueled Inés’ creativity. When it came to deciding on a degree to study, Inés planned to take engineering as a way to express her creative yet logical mind. But, on her way to a student fair to explore engineering, Inés instead stumbled across the graphic design booth. “In the end, I left with only design school brochures,” she says. That’s right. While studying design, Inés first felt drawn to editorial design and page layout, before becoming more interested in typographic design during her third year of school. So much so that she decides to take part in an introductory course in typography and a workshop, during which Inés is invited to design a display font. It didn’t take long for Inés to design her first type, Asfen. “It was my first experience as a guy and I loved it,” she recalls.

Recently, Inés completed a project for New York art director Ceclia Azcarate, creating a custom typeface for her design identity, under the art direction of Auroe Chauve. Starting from the idea of ​​creating a typeface inspired by the pre-Romantic Greco-Roman era and the frescoes and engravings of this period, the objective was to build an imperfect or even “weird” typeface. “What we were looking for were those imperfections that appear because of the engraving process and the test of time and translate them into a digital design,” Inés explains. The process took three months and, among the inspirations Auroe gave Inés, she was given a set of engravings with letters of a smaller and taller height to refer to. This prompted Inés to create a set of glyphs where each vowel and a few other letters have three different versions, giving the appearance of “dancing” – allowing you to “play” with the composition. Fun, stylish and brimming with mythical and biblical imagery, the Cecila font is another indication of Inés’ brilliant ability to reinvigorate, reinvent and bring to life the fonts and lettering of history.


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