ROGER EXCOFFON (1910-1983) AIR FRANCE / SPECIALISTE DES VOYAGES LONG - COURRIERS. 1964. 27 1/2x27 inches, 70x68 1/2 cm. Condition A-: minor repaired tears at edges; creases, minor scuffing and restoration in image. Excoffon's career began as an art school reject, a soldier serving in the south of France and a draftsman at an ad agency. He was finally hired by Marcel Olive, his brother in law, to work in the Paris branch of his type foundry. This long and prosperous partnership produced several iconic postwar fonts, turning Excoffon into one of France's preeminent typographers and graphic designers. He became the artistic director of Air France in 1956, and is responsible for developing their iconic red and blue logo, which the company continued using through 2008. Excoffon's poster work combines his love for painting with that of typography, in this instance utilizing broad and elegant brush strokes in conjunction with his own thick architectural type (Antique Olive) to convey the speed, elegance and strength of Air France. His abstract interpretations of objects, such as this plane, are "simplified to the extreme, becoming graphic signs at the edge of the recognizable," (Gérard Blanchard) making his ads at once identifiable yet subjective, innovative yet timeless.
ROGER EXCOFFON (1910-1983) AIR FRANCE / SPECIALISTE DES VOYAGES LONG - COURRIERS. 1964. 27 1/2x27 inches, 70x68 1/2 cm. Condition A-: minor repaired tears at edges; creases, minor scuffing and restoration in image. Excoffon's career began as an art school reject, a soldier serving in the south of France and a draftsman at an ad agency. He was finally hired by Marcel Olive, his brother in law, to work in the Paris branch of his type foundry. This long and prosperous partnership produced several iconic postwar fonts, turning Excoffon into one of France's preeminent typographers and graphic designers. He became the artistic director of Air France in 1956, and is responsible for developing their iconic red and blue logo, which the company continued using through 2008. Excoffon's poster work combines his love for painting with that of typography, in this instance utilizing broad and elegant brush strokes in conjunction with his own thick architectural type (Antique Olive) to convey the speed, elegance and strength of Air France. His abstract interpretations of objects, such as this plane, are "simplified to the extreme, becoming graphic signs at the edge of the recognizable," (Gérard Blanchard) making his ads at once identifiable yet subjective, innovative yet timeless.
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