September 9, 2016
Paris One Forty: Week Eight
Magician by training, filmmaker by choice, George Melies was a superb pictorial illusionist. This was his stationery. pic.twitter.com/1iTFivfZZv
— Jessica Helfand (@ParisOneForty) October 7, 2014
Oversized and naked, giant figures grace the rooftop of a building near Gare de Lyon — stone thighs used as dividers. pic.twitter.com/NfLtIQ0qCS
— Jessica Helfand (@ParisOneForty) October 8, 2014
Near Place de la Victoire, an entire store devoted to the art of the mannequin. They seem to have their own language. pic.twitter.com/wVPsyESHw0
— Jessica Helfand (@ParisOneForty) October 9, 2014
Brigitte stands on a pedestal outside the Marché des Enfants Rouges. Not clear if she is for sale as a pet or a meal. pic.twitter.com/SKI6IpBJ9p
— Jessica Helfand (@ParisOneForty) October 10, 2014
Sebastian Erard was an eighteenth century instrument maker as well as the friend — and the landlord — of Franz Lizst. pic.twitter.com/tSc8X1dNHg
— Jessica Helfand (@ParisOneForty) October 11, 2014
In American cemeteries, a chopped column symbolizes a life cut short. And in Paris, an inscription ends mid-sentence. pic.twitter.com/bfK1LGP6UM
— Jessica Helfand (@ParisOneForty) October 12, 2014
Historically, the bourgeois were the socioeconomic class between the peasants and landlords. Also: an actual surname. pic.twitter.com/RiOhqzkouW
— Jessica Helfand (@ParisOneForty) October 13, 2014
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By Jessica Helfand
Jessica Helfand, a founding editor of Design Observer, is an award-winning graphic designer and writer and a former contributing editor and columnist for Print, Communications Arts and Eye magazines. A member of the Alliance Graphique Internationale and a recent laureate of the Art Director’s Hall of Fame, Helfand received her B.A. and her M.F.A. from Yale University where she has taught since 1994.
