Liberté, égalité, typography
Serge Ricco, creative director of l’Obs, has shown this word-driven, left-wing French weekly the power of expressive type and images
It is a hot morning at the end of July in Paris. Not the picture-perfect Paris of tourists, but business Paris, in the buildings around the neo-Classical stock exchange, the Bourse. Except that nobody is around. It’s the start of the French holidays, and the men with tailored suits and mobile phones who would normally be filling the traditional brasseries here in the 2nd arrondissement are all off at their second homes, relaxing (and plotting) before they return to the business battlefields in September.
With its newly abbreviated name, the l’Obs titlepiece becomes bold and graphic: a building block around which to assemble text and images. On the cover of the 2016 New Year issue, singer Camélia Jordana poses as Marianne, that potent French symbol, holding a dove of peace rather than the tricolour of Delacroix’s original painting.
Top: Portrait by Eleonora Bravi.
Simon Esterson, art director of Eye, London
Read the full version in Eye no. 97 vol. 25, 2018
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