Thomas Huot-Marchand
Typographie
Design graphique

  • 2023

  • Le Livre sur la Place

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  • 2023

  • Le Livre sur la Place

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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 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.

  • 2010

  • Théâtre musical de Besançon — abribus

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  • 2010

  • Théâtre musical de Besançon — abribus

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Posters for the Théâtre musical de Besançon.

  • 2017

  • Park MGM × be pôles

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  • 2017

  • Park MGM × 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, Alder, 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, Alder is inspired by the proportions of classic Roman capitals, with a more contemporary design. It comes in 4 weights : Regular, Bold, Italic and Condensed. Exclusive use

  • 2011

  • Théâtre musical de Besançon — lumières

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  • 2011

  • Théâtre musical de Besançon — lumières

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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.

  • 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
  • 2008

  • Musiques de Rues — Programme

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  • 2008

  • Musiques de Rues — Programme

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Programme of the 3rd edition of Musiques de Rues, a festival of contemporary brass bands and artistic interventions in public space. Printed in 3 fluorescent colors + black, instead of CMYK

  • 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

  • 2020

  • Garaje Mid

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  • 2020

  • Garaje Mid

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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 Mid subfamily goes from 0503 (5 on 3 grid) to 0504 (5 on 4 grid) and 0603 (6 on 3 grid), and includes 15 fonts + 3 variable fonts. Its construction allows to compose in many widths without changing the stem weight.
Available at 205TF.
Online specimen

  • 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

  • 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

  • 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

  • 2021

  • Samaritaine × Ateliers Saint-Lazare

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  • 2021

  • Samaritaine × Ateliers Saint-Lazare

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I was commissioned by Ateliers Saint-Lazare (formerly known as be-pôles) to develop the typographic brand identity of Samaritaine, a much-loved iconic edifice situated in the heart of Paris. Born 151 years ago, La Samaritaine reopened in June 2021 after a 17 years closure.

The logotype captures the spirit of historic Samaritaine signs, honoring the stylistic evolution of the landmarked building. The singular silhouette of the distinctive historic letters, are blended into the logotype and a type family. Samaritaine Sans exists in 2 cuts: the first one features historical forms, inspired by Art Deco and Art nouveau letters, and is used for the wordmark. The second one has a more modern look, for daily use.

Art Deco style

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

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