Since its beginnings, Libe?ration has been characterized by a very distinctive use of typeface, to such an extent that Libe? has put its mark on fonts from across different eras, appropriating these in a certain way.

小號因斯它的起點， 解放前的特點是非常鮮明的使用字體的，到這樣的程度，Libé已經把其上的字體標記來自全國各地不同的時代，以一定的方式挪用這些。

The iconic newspaper launched in 1973 by a group inspired by the revolutionary spirit of Paris in 1968. The vision of its founders, which included Jean-Paul Sartre, was of a newspaper owned by its workers and committed to journalistic integrity. Taking its name from a 1941 French Resistance newspaper with ties to the Communist Party, which closed in 1964, the new daily maintained independence from any party while espousing its leftist, socially progressive position. This rebellious notion is present through the stories it covers and also the visual language it uses to connect with their demographic.

該標志性報紙是由一群受1968年巴黎革命精神啟發的團體于1973年創立的。其創始人的愿景包括讓·保羅·薩特(Jean-Paul Sartre)都是其工人所有的報紙，致力于新聞業的誠信。 這份新日報的名字取自1964年與共產黨有聯系的1941年法國抵抗運動報紙，該新日報在保持其左翼，社會進步地位的同時，保持了與任何政黨的獨立。 這個叛逆的概念通過它所涵蓋的故事以及與他們的人口統計聯系在一起的視覺語言得以體現。

In 2016, the awarding of the Nobel Prize in Literature to Bob Dylan was an opportunity for Libe?ration to make a play on words, in English, on its front page. The striking two-tone image is in yellow and black. (Newspaper Design)

2016年，鮑勃·迪倫(Bob Dylan)獲得了諾貝爾文學獎，這是利貝拉廷在其頭版上用英語玩耍的機會。 醒目的兩色調圖像為黃色和黑色。 (報紙設計)

In 1978, Claude Maggiori made the first-ever retouch to the original design and introduced American Typewriter. In 1981, he based his “Libe? 2” project on Franklin Gothic Condensed. In 1994, the “Libe? 3” project was built around Franklin Gothic and Bureau Eagle.

1978年，克勞德·馬焦里(Claude Maggiori)對原始設計進行了首次修飾，并推出了美國打字機。 1981年，他將他的“Libé2”項目基于Franklin Gothic Condensed。 1994年，“富蘭克林3號”項目圍繞富蘭克林·哥特式和局鷹號建造。

After the failure of that project, Trade Gothic was used in place of Franklin Gothic and for a decade became the default font for Libe?ration. During those years, Matrix was used as an expressive counterpoint. In 2003, Mario Garci?a redesigned Libe? and used Gotham Condensed in place of Trade Gothic, and Chronicle in place of Matrix. The original Smoothie, with its calligraphic air, was reserved for a few elements of signage and brought a note of expressiveness that had previously been missing. The 2007 project opted for a slab (Soho) that was a clear departure from the typographical traditions of the newspaper.

該項目失敗后，Trade Gothic代替了Franklin Gothic，并在十年后成為Libération的默認字體。 在那些年中，Matrix被用作表達對立面。 2003年，馬里奧·加西亞(Mario Garci'a)重新設計了《利伯》(Libe)，并使用哥譚濃縮(Gotham Condensed)取代了貿易哥特式貿易，并使用編年史(Chronicle)取代了矩陣(Matrix)。 帶有書法氣息的原始冰沙被保留用于標牌的一些元素，并帶來了以前缺少的表現力音符。 2007年的項目選擇的平板(Soho)與報紙的印刷傳統明顯不同。

This double-page demonstrates the importance of typography as an expressive factor in Libe?ration. The ultra- condensed variants of the Libe? Sans typeface are used on a large scale and for very short headlines, becoming images in their own right. (Newspaper Design)

此雙頁顯示了版式作為Libe′ration中表達要素的重要性。 LibésSans字體的超濃縮變體被大量使用且標題非常短，它們本身就是圖像。 (報紙設計)

The 2009 redesign by Javier Errea aimed to distance the newspaper from the dominant visual aesthetics of the day. All uses of the Soho font were removed and Trade Gothic was brought back. This condensed sans-serif font is clean and neutral and became characteristic of Libe? in the 1990s. Together with Trade Gothic, which was used only for the front page and major stories, Glosa Display was given a starring role. Glosa Display, in all its variations, allowed the newspaper to unfold majestically and to pace its rhythm, differentiating the hard news from other reporting and the cultural sections. For navigation, Neutraface by Christian Schwartz was used.

哈維爾·埃雷亞(Javier Errea)在2009年進行的重新設計，旨在使報紙擺脫當今主流視覺美學的影響。 Soho字體的所有使用都被刪除，Trade Gothic被帶回。 這種簡潔的無襯線字體簡潔，中性，在1990年代成為Libe的特色。 與僅用于頭版和主要故事的Trade Gothic一起，Glosa Display擔任了主角。 Glosa Display的所有變化形式都使報紙雄偉壯觀地展開并保持節奏，將重磅新聞與其他報道和文化部門區分開。 對于導航，使用了Christian Schwartz的Neutraface。

The typographical personality was also crucial to the 2015 project. Windsor was brought back for the signage on the opinion pages. Graphique Pro, a classic typeface with an outline-shadow style, became the base for the navigation system. Above all, the goal was to have typography that could be rounded and versatile, condensed, yet simultaneously expansive, thus establishing the visual temperature of the new newspaper.

印刷個性對于2015年項目也至關重要。 溫莎在評論頁面上被帶回標牌。 帶有輪廓陰影樣式的經典字體Graphique Pro成為導航系統的基礎。 最重要的是，目標是使版式具有圓形，通用性，簡潔性和同時擴展性，從而確定新報紙的視覺溫度。

The design calls for experimenting with condensed or expanded treatments, or even combining both variants in a single headline. Lines that accentuate the paragraphs are also used frequently, to underscore headlines. These can partially encroach on the images without affecting their clarity. (Newspaper Design)

該設計要求嘗試壓縮或擴展處理，甚至將兩個變體組合在一個標題中。 強調段落的行也經常用于強調標題。 這些可以部分侵蝕圖像而不影響其清晰度。 (報紙設計)

Following several tests, a family of customized and proprietary fonts was designed by Jean-Baptiste Leve?e of France, who designed what came to be called Libe? Sans in record time. Libe? Sans covers a complete arc: from an extended version to another ultra-condensed one. It also included the variations of Round, which is reserved for the weekend supplement, and Typewriter, which is used for the Next magazine and other monographic inserts.

經過幾次測試，法國的讓·巴蒂斯特·列維(Jean-BaptisteLevée)設計了一系列定制和專有字體，后者在創紀錄的時間內設計了后來的LibéSans。 LibésSans涵蓋了完整的弧線：從擴展版本到另一個超壓縮版本。 它還包括為周末增刊保留的Round的變體，以及用于Next雜志和其他專題插入物的Typewriter。

Despite the current condition of the paper, France-and what is more, visual journalism-would not be the same without the voice of Libe?ration.

盡管有目前的報紙狀況，但沒有Libération的聲音，法國-還有更重要的是視覺新聞-將會有所不同。

For more about Libe?ration approach to news visual language alongside some of the world’s renowned platforms through Newspaper Design.

要了解有關Libération的新聞視覺語言方法以及通過 Newspaper Design的 一些世界知名平臺的更多信息 。

Originally published at https://gestalten.com.

最初發布在 https://gestalten.com 。