as I got into the work, I became completely absorbed in their history, craftsmanship, and the artistry they have fine-tuned over many, many generations. it was a historic parisian silversmith with an international clientele who wanted me to redesign their logo and identity. One day, though, a company actually did surprise me, approaching me to challenge them with my design. sometimes the market wants to dictate a particular approach or design language, but i avoid all these things. I try never to be tempted by fashion, or influenced by the rules of advertising, or corrupted by the pressures of the marketplace. there is always new information coming in, and each project pushes my consciousness a step further.
![typorama logo typorama logo](https://insideoutmag.org/wp-content/uploads/2015/10/Typorama-ARTICLE.jpg)
That said, promoting art and culture has brought profound rewards by providing me with a deeper knowledge of the world.
![typorama logo typorama logo](https://i.ytimg.com/vi/yMK5RIUWbyw/maxresdefault.jpg)
I like to be surprised by the business world, and to surprise them.
![typorama logo typorama logo](https://i.pinimg.com/originals/a2/6a/e0/a26ae02ec411796c13ef6a3d7df6e9b7.jpg)
of course, I have considered working for commercial projects several times, but I never go looking for it by canvassing corporations or companies, I am simply not into this behavior. ĭB: much of your work is related to the arts or to cultural affairs, would you ever consider working on a very commercial project? PA: there is not much room to work outside the arts and cultural arenas for graphic designers in france. french graphic designer philippe apeloig talks to designboom about his typography, the future of poster design and the qualities he looks for when hiring.