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He had to travel to Geneva to access the software he needed to make the distortion, and the poster is still his favorite, 27 years later. For his early design of the well-known Chicago poster for the Musée d’Orsay, Apeloig challenged himself technically, pre-Mac, to distort the word Chicago in such a way that all the letters stayed sharp. His peripatetic career in the United States and France as a teacher/designer/creative director suggests restlessness and a desire to try everything. He finds inspiration in arts other than design, such as dance and literature. Curiosity led him to explore design outside of France, and he held two internships at Total Design in Amsterdam and one in Los Angeles with April Greiman. It is almost enough of an answer to say that Apeloig prizes curiosity above almost all else. Which would Apeloig follow: the familiar route of modernism or the postmodern sirens? Did he have the temperament to accept new digital tools? Like all graphic designers in the 1980s, young Apeloig had to negotiate that decade’s ideological and technological turmoil in graphic design. A 1983 design for the Dutch office Total Design is the earliest piece by Apeloig in Typorama, and it reflects Total Design’s modernist design legacy. Typorama presents Apeloig’s poster, publication, and identity designs from the early 1980s to the present. The word “typorama” suggests a wide perspective of typographic features, a panorama of Philippe Apeloig’s work. The new book Typorama makes this wonderfully clear in its 384 pages of designs and sketches by Apeloig, essays, and even the title. Philippe Apeloig is a graphic designer who loves letters.