Thomas Huot-Marchand
Typographie
Design graphique

  • 2022

  • Bugatti × Interbrand

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  • 2022

  • Bugatti × Interbrand

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I was commissioned by Interbrand to redesign Bugatti wordmark and monogram, and to develop an exclusive typographic system that reflects BUGATTI's brand promise.
The type family is composed of three styles that accurately meet the typographic needs of the brand:
BUGATTI Display, an all-caps typeface for headings;
BUGATTI Text, a 2 weights typeface for texts;
BUGATTI Mono, a fixed-pitch font for highlighting technical information.

Art direction: Interbrand
Licensing and font engineering: 205TF

  • 2017

  • Park MGM Las Vegas × be pôles

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  • 2017

  • Park MGM Las Vegas × be pôles

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Park MGM is the new name of the famous Hotel Montecarlo, on the Las Vegas Strip (Nevada). It is owned by MGM Resorts. The agency be-poles (Paris / New York) commissioned me to design the exclusive typeface of the hotel, used for its interior and exterior signage, and all of its communication.
Rather than the excessive and often caricatured image of the hotels in the city, the visual identity of the Park MGM chooses elegance, with a very refined interior design. Likewise, the typography created for signage is inspired by the proportions of classic Roman capitals, with a more contemporary design. The signs were manufactured in Las Vegas by Yesco. The interior signs are extruded, with an inverted triangular cut, and backlit. The outdoor signs, on top of the building, are absolutely gigantic: letters are 5 meters high.
Photos ©Benoît Linero ©Patrick Chin ©Reynald Philippe ©Thomas HM

  • 2010

  • Musée d’Orsay

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  • 2010

  • Musée d’Orsay

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The Musée d’Orsay wanted, in 2010, to renew its typography, returning to the typeface defined in its original visual identity, developed by Bruno Monguzzi and Jean Widmer (1986). The museum will was to update Walbaum, cut by Justus Erich Walbaum (around 1830), then unique typographic voice of the institution. With Philippe Millot, we defined a family of «cousins» of Walbaum, in styles that appeared later in the 19th century. For text typefaces, a Grotesk (sans serif and bold), and a Typewriter (slab serifs, low contrast, and light). For display typefaces, the uppercase present variations of texture in the manner of 19th century display type. Unfortunately, the Museum barely used this new typeface system.

  • 2023

  • Les 2 Scènes — Cinéma 22-23

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  • 2023

  • Les 2 Scènes — Cinéma 22-23

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Posters for the season 2022-2023 of Les 2 Scènes Cinéma.
Typeset in Album Sans

  • 2021

  • Samaritaine Serif × Ateliers Saint-Lazare

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  • 2021

  • Samaritaine Serif × Ateliers Saint-Lazare

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Along with Samaritaine logotype, I was commissioned by Ateliers Saint-Lazare to develop a custom typeface for La Samaritaine brand identity. Samaritaine Serif is inspired by Latines and Elzévirs of late XIXth Century French typefoundries. With sharp triangular serifs, monocular g, flourished endings, some alternates and a very French Art Nouveau touch.

Visual dentity by Ateliers Saint-Lazare, 2021 (art Direction: Reynald Philippe).

  • 2023

  • Les 2 Scènes — Danse & Cinéma 22-23

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  • 2023

  • Les 2 Scènes — Danse & Cinéma 22-23

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

  • 2014

  • Luxeuil script

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  • 2014

  • Luxeuil script

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Luxeuil script is a very rare Merovingian script, from the beginning of the seventh century. It is derived from uncial, half-uncial and roman cursive: before the advent of the Carolingian Minuscule, it is considered as one of the first formal minuscule.
Intrigued by this local unknown writing, born a few kilometers from my home, I studied it with my friend Claude-Laurent François and tried to design a digital version of it. I had to understand the ductus and then to reproduce the gesture and stroke of the pen. Rather than drawing the outlines, I digitized the inner skeleton, and applied afterwards a virtual elliptic pen. This dynamic approach allowed me to create the very large number of ligatures contained in this handwriting: these ligatures are created automatically with initial, medial or final contextual forms.
Unpublished

  • 2015

  • Le Pigalle × be pôles

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  • 2015

  • Le Pigalle × be pôles

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Le Pigalle is a hotel in the eponymous district of Paris. The agency be-poles (Paris / New York) commissioned me to create its custom typeface, which is inspired by the vernacular signs and inscriptions of this lively and typical district. Photos © Benoît Linero

  • 2023

  • La Vache qui rit

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  • 2023

  • La Vache qui rit

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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

  • 2017

  • America × be pôles

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  • 2017

  • America × be pôles

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Launched by François Busnel and Éric Fottorino, this mook tells of America, its beauty, but also its faults and cracks. Each quarter, the greatest French and American writers are invited to become the memorialists of an extraordinary era. 4 issues for 4 years: the time of Donald Trump’s presidential term.
For the header, I designed a custom lettering inspired by American typefaces, something between Woody Allen and Ralph Lauren. Lowercase m is an obvious reference to Windsor, but the wordmark is sturdier.

  • 2019

  • Gyan Panchal, Au Seuil de soi

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  • 2019

  • Gyan Panchal, Au Seuil de soi

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Catalog of the monographic exhibition of Gyan Panchal at the Musée d’art moderne de Saint-Étienne. The book presents the artist's works exhibited in three places, in Cajarc, Rochechouart and then Saint-Étienne. The work begins with blank pages, then a close-up section in low opacity, before varying the light and whiteness of the paper according to the three very different exhibition spaces. The book has an free back binding, and is slipped into a white paper case. 172 p

  • Musée d’art moderne de Saint-Étienne
  • 225 × 300 mm
  • Offset, CMYK
  • Snoeck Ed. PB Tisk printing
  • Typeface: MM Sans MM Serif
  • CMYK art
  • 2007

  • Blago Bung

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  • 2007

  • Blago Bung

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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.

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