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

小号因斯它的起点， 解放前的特点是非常鲜明的使用字体的，到这样的程度，Libé已经把其上的字体标记来自全国各地不同的时代，以一定的方式挪用这些。

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.

该标志性报纸是由一群受1968年巴黎革命精神启发的团体于1973年创立的。其创始人的愿景包括让·保罗·萨特(Jean-Paul Sartre)都是其工人所有的报纸，致力于新闻业的诚信。 这份新日报的名字取自1964年与共产党有联系的1941年法国抵抗运动报纸，该新日报在保持其左翼，社会进步地位的同时，保持了与任何政党的独立。 这个叛逆的概念通过它所涵盖的故事以及与他们的人口统计联系在一起的视觉语言得以体现。

In 2016, the awarding of the Nobel Prize in Literature to Bob Dylan was an opportunity for Libération 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，鲍勃·迪伦(Bob Dylan)获得了诺贝尔文学奖，这是利贝拉廷在其头版上用英语玩耍的机会。 醒目的两色调图像为黄色和黑色。 (报纸设计)

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

1978年，克劳德·马焦里(Claude Maggiori)对原始设计进行了首次修饰，并推出了美国打字机。 1981年，他将他的“Libé2”项目基于Franklin Gothic Condensed。 1994年，“富兰克林3号”项目围绕富兰克林·哥特式和局鹰号建造。

After the failure of that project, Trade Gothic was used in place of Franklin Gothic and for a decade became the default font for Libération. During those years, Matrix was used as an expressive counterpoint. In 2003, Mario García redesigned Libé 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.

该项目失败后，Trade Gothic代替了Franklin Gothic，并在十年后成为Libération的默认字体。 在那些年中，Matrix被用作表达对立面。 2003年，马里奥·加西亚(Mario Garci'a)重新设计了《利伯》(Libe)，并使用哥谭浓缩(Gotham Condensed)取代了贸易哥特式贸易，并使用编年史(Chronicle)取代了矩阵(Matrix)。 带有书法气息的原始冰沙被保留用于标牌的一些元素，并带来了以前缺少的表现力音符。 2007年的项目选择的平板(Soho)与报纸的印刷传统明显不同。

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

此双页显示了版式作为Libe′ration中表达要素的重要性。 LibésSans字体的超浓缩变体被大量使用且标题非常短，它们本身就是图像。 (报纸设计)

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 Libé 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.

哈维尔·埃雷亚(Javier Errea)在2009年进行的重新设计，旨在使报纸摆脱当今主流视觉美学的影响。 Soho字体的所有使用都被删除，Trade Gothic被带回。 这种简洁的无衬线字体简洁，中性，在1990年代成为Libe的特色。 与仅用于头版和主要故事的Trade Gothic一起，Glosa Display担任了主角。 Glosa Display的所有变化形式都使报纸雄伟壮观地展开并保持节奏，将重磅新闻与其他报道和文化部门区分开。 对于导航，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.

印刷个性对于2015年项目也至关重要。 温莎在评论页面上被带回标牌。 带有轮廓阴影样式的经典字体Graphique Pro成为导航系统的基础。 最重要的是，目标是使版式具有圆形，通用性，简洁性和同时扩展性，从而确定新报纸的视觉温度。

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)

该设计要求尝试压缩或扩展处理，甚至将两个变体组合在一个标题中。 强调段落的行也经常用于强调标题。 这些可以部分侵蚀图像而不影响其清晰度。 (报纸设计)

Following several tests, a family of customized and proprietary fonts was designed by Jean-Baptiste Levée of France, who designed what came to be called Libé Sans in record time. Libé 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.

经过几次测试，法国的让·巴蒂斯特·列维(Jean-BaptisteLevée)设计了一系列定制和专有字体，后者在创纪录的时间内设计了后来的LibéSans。 LibésSans涵盖了完整的弧线：从扩展版本到另一个超压缩版本。 它还包括为周末增刊保留的Round的变体，以及用于Next杂志和其他专题插入物的Typewriter。

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

尽管有目前的报纸状况，但没有Libération的声音，法国-还有更重要的是视觉新闻-将会有所不同。

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

要了解有关Libération的新闻视觉语言方法以及通过 Newspaper Design的 一些世界知名平台的更多信息 。

Originally published at https://gestalten.com.

最初发布在 https://gestalten.com 。