Poster of the 4th edition of the festival Émergences, a week dedicated to young creation in Besançon. Black + Gloss varnish. Selected in Chaumont design graphique festival.

A poster for the Théâtre musical de Besançon. The illustration is, as usual, very litteral : a crystal chandelier for a concert on the music of the Enlightenment. It is of course made of circles, and thanks to and thanks to a black pattern printed on the back, the chandelier lights up when the night comes, when the poster is backlit.

Posters for the festival Danse & Cinéma, Les 2 Scènes, Scène nationale de Besançon.
Typeset in Album Sans

Custom typeface for La Vache qui rit (Bel).
The specific triangular shape of the slices of this popular soft cheese appears in many details of the typeface (A counter, diacritics, quotes…)
Laughing fonts include a “Bounce” weight, with a special feature which makes the letters randomly wiggling on the baseline.
Commissioned by BETC Paris
Art Direction Éric Poupy

A series of posters for Blago Bung events, Emily Harvey Foundation (NYC, USA) and Cabaret Voltaire (Zurich, CH). Art, Sound, Poetry and Performance. Posters are printed in split fountain : gradients evolve during the printing process, each poster is unique.

A new and flexible visual identity for Nancy book fair, created in 1979 under the patronage of the Académie Goncourt. Typeset in a Baskerville rip-off cut by Claude Jacob, owned by Nancy printer Berger-Levrault since the late 18th Century, and digitized by ANRT in 2017-2018 under the name of Baskervville.

For the 2014 poster of Ici l’Onde, I captured the light of the text, shaking my laptop and simply shooting the screen. We made 4 posters out of it : the annual poster in 3 tones (warm red, process blue and gold), and 3 trimestrial variations with only 2 tones (red/blue, red/gold, and blue/gold).

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong. For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Condensed subfamily goes from 0703 (7 on 3 grid) to 3503 (35 on 3), and includes 145 fonts, + one variable font. Its construction allows to compose in many sizes without changing the stem weight. Specimen made with DrawBot by Rémi Forte.
Available at 205TF.
Online specimen

Cast iron is used on all signage and property objects, in a wide range of techniques: enamel plates, sign painting, silscreen, embroidery, etc.