Free to try
Licenses starting at $30
Right Sans is just a tiny bit fancier than your favorite serif fonts, except it keeps it sans. This huge variable family comes at you in a variety of weights, widths and italic angles, in both classic and variable formats. Right Sans supports the majority of Latin and Cyrillic-based languages.
It is a high-contrast sibling of Right Grotesk and Right Gothic. The three of them together give you over 300 fonts perfect for pairing in big and small sizes. Enjoy!
|Styles||14 Styles with 794 Glyphs each
Including Italic and Cyrillic Support
|Latest Update||March 2022|
|Available Formats||OTF, TTF, WOFF, WOFF2|
In her article 'L'Art de Vivre' from 1981 she states 'The extension of the art of dwelling is the art of living — living in harmony with man's deepest drives and with his adopted or fabricated environment.' Charlotte liked to take her time in a space before starting the design process. In Perriand's Autobiography, 'Charlotte Perriand: A Life of Creation', she states: 'I like being alone when I visit a country or historic site. I like being bathed in its atmosphere, feeling in direct contact with the place without the intrusion of a third party.' Her approach to design includes taking in the site and appreciating it for what it is. Perriand felt she connected with any site she was working with or just visiting she enjoyed the living things and would reminisce on a site that was presumed dead. Two years after graduating Perriand renovated her apartment into a room with a built-in wall bar made of aluminium, glass and chrome and a card table with built-in pool-pocket drink holders. She recreated this design as the Bar sous le Toit (=Bar under the roof, i.e. 'in the attic') at the 1927 Salon d'Automne. Her design featured an abundance of light-reflecting aluminium and nickel-plated surfaces, as well as leather cushions and glass shelves. Her design received wide praise from the press and established Perriand as a talent to watch. The Bar sous le Toit showed her preference for designs that represented the machine age, a departure from the preference of the time for finely handcrafted objects made of rare woods. Perriand took advantage of the use of steel as a medium in this project, which formerly was used primarily by men. Despite the success of the Bar sous le Toit in getting her name known, Perriand was not satisfied with creating designs just for the well-off; she wanted to work for Le Corbusier and pursue serial production and low-cost housing. She was inspired by his books, because she thought his writings that criticized the decorative arts aligned with the way she designed. When she applied to work at Le Corbusier's studio in October 1927, she was famously rejected with the reply 'We don't embroider cushions here.' A month later however, Le Corbusier visited the Bar sous le Toit at the Salon d'Automne, which convinced him to offer her a job in furniture design.
Charlotte Perriand was a French architect and designer. Her work aimed to create functional living spaces in the belief that better design helps in creating a better society.
Шарлотта Перриан французская архитектор и дизайнер; ученица Анри Рапена.
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