• 2007
  • Blago Bung

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  • 2007
  • Blago Bung

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.

  • 2020
  • Garaje Multi

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  • 2020
  • Garaje Multi

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 Multi embeds 13 different widths in each font, from 0503 (5 on 3 grid) to 05015 (5 on 15 grid). The default set is a mix of 0503, 0504 and 0505. The subfamily includes 5 fonts (2352 glyphs each) + 1 variable font. Its construction allows to compose in many widths without changing the stem weight. Letters on the lowercase set go wider and wider when repeated, and it’s fun.
Available at 205TF.
Online specimen

  • 2017
  • Minérale

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  • 2017
  • Minérale

Minérale is a typeface based on uncommon stems, whose sides intersect at their centers. These two triangles that meet at the tip are an exaggeration of triangular serifs.
This project was born from a lettering for an exhibition entitled Splendeurs Minérales at the Musée de Montbéliard (France). I then developed a series of weights, which share the same width: a Multiplexed typeface that occupy the same space, whatever its weight.
The same goes for Roman and Italic. Italics turn around a central, vertical axis: the more the weight increases, the more slanted is the typeface.
Minerale is published at 205.tf since 2017 for Roman, 2018 for italics. It is developed in the new technology of variable fonts, which allows the user to act directly on the appearance of the characters, on a weight axis.
Minerale was designated Favorite Font of 2017 by Typographica, and won a TDC award in 2018.
Try and buy at 205.tf

  • 2021
  • Samaritaine Serif × Ateliers Saint-Lazare

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  • 2021
  • Samaritaine Serif × Ateliers Saint-Lazare

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

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

  • 2023
  • Les 2 Scènes — Cinéma 22-23

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  • 2023
  • Les 2 Scènes — Cinéma 22-23

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

  • 2011
  • Émergences

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  • 2011
  • Émergences

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.

  • 2017
  • Le Barn × be pôles

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  • 2017
  • Le Barn × be pôles

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

  • 2020
  • Garaje Mid

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  • 2020
  • Garaje Mid

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
  • America × be pôles

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  • 2017
  • America × be pôles

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

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
  • 2011
  • Ici l’Onde

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  • 2011
  • Ici l’Onde

For the identity of the festival Ici l’Onde, organised by Why Note in Dijon, I decided not to use any vectors or fonts, and use photography instead. The poster for the 2011 edition is the result of a complex setup, in which I sought to capture the reflection of the text on the water.

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