• 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
  • 2014
  • Ici l’Onde

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  • 2014
  • Ici l’Onde

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).

  • 2017
  • Park MGM × be pôles

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  • 2017
  • Park MGM × be pôles

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

  • 2014
  • Luxeuil script

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  • 2014
  • Luxeuil script

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

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

  • 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.

  • 2022
  • Bordures 2022

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  • 2022
  • Bordures 2022

Poster for the 2022 edition of BORDURES Festival in Langon.

  • 2021
  • Samaritaine × Ateliers Saint-Lazare

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  • 2021
  • Samaritaine × Ateliers Saint-Lazare

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).

  • 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

  • 2008
  • Musiques de Rues — Programme

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  • 2008
  • Musiques de Rues — Programme

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

  • 2020
  • Garaje Monospace

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  • 2020
  • Garaje Monospace

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 Monospace subfamily goes from 05015 (5 on 15 grid) to 3503 (35 on 3), and includes 215 fonts + 5 variable fonts. Its construction allows to compose in many sizes without changing the stem weight, and/or the pitch.
Available at 205TF.
Online specimen

  • 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

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