In his birthplace he promoted the edition of the art magazine Art. During the Spanish civil war (1936–1939) he emigrated to France. He started working in Paris for Draeger Frères. Later he becomes the Art Director of Fonderie Typographique Française. For this foundry he designed Ilerda (1945), Les Catalanes (1952), Flash (1953), Paris (1953) and Arabescos (1954).
He was the founder of the movement “Grafía Latina”, defending the need to create a new system of typographic structures and new graphics, alphabets and decorative ornaments, which reflect the Latin genius, in contrast to the rigidity of German typography, which finds its inspiration in geometric lines. Of special note are his lectures and articles of 1950, 1952 and 1954, the exhibition of his creations in the Galerie d’Orsay, Paris in 1952. His principles have been strongly supported by École Estienne and by Maximilien Vox, founder of École de Lure.
In his birthplace he promoted the edition of the art magazine Art. During the Spanish civil war (1936–1939) he emigrated to France. He started working in Paris for Draeger Frères. Later he becomes the Art Director of Fonderie Typographique Française. For this foundry he designed Ilerda (1945), Les Catalanes (1952), Flash (1953), Paris (1953) and Arabescos (1954).
He was the founder of the movement “Grafía Latina”, defending the need to create a new system of typographic structures and new graphics, alphabets and decorative ornaments, which reflect the Latin genius, in contrast to the rigidity of German typography, which finds its inspiration in geometric lines. Of special note are his lectures and articles of 1950, 1952 and 1954, the exhibition of his creations in the Galerie d’Orsay, Paris in 1952. His principles have been strongly supported by École Estienne and by Maximilien Vox, founder of École de Lure.