• 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Unpublished

  • 2011
  • Théâtre musical de Besançon — programme

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  • 2011
  • Théâtre musical de Besançon — programme

Annual programme for the Théâtre musical de Besançon. This time I completely dropped ITC Bodoni, to compose the whole programme in Mononi. Gradients appear inside the text, thanks to the wonderful stochastic print of Simon Imprimeurs.

  • 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

  • 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).

  • 2016
  • Les 2 Scènes — Moire poster

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  • 2016
  • Les 2 Scènes — Moire poster

Posters for the season 2015-2016 of Les 2 Scènes. Each copy of the poster is unique : During screen printing, each sheet is slightly offset with each pass, producing a new moiré effect. Another funny game we played with my friends at Lézard graphique.

  • 2011
  • Théâtre musical de Besançon — cadrobus

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  • 2011
  • Théâtre musical de Besançon — cadrobus

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.

  • 2010
  • Théâtre musical de Besançon — abribus

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  • 2010
  • Théâtre musical de Besançon — abribus

Posters for the Théâtre musical de Besançon.

  • 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

  • 2002
  • Minuscule

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  • 2002
  • Minuscule

Minuscule is a typeface designed for very small sizes. Its creation was inspired by the theories of ophthalmologist Emile Javal and his “theory of compact prints” (Physiologie de la lecture et de l’écriture /Physiology of reading and writing, Paris, Alcan, 1905). I initiated this project during my studies at the Atelier national de recherche typographique in 2001-2002, and completed it, designing the italics in 2006–2007 during a residency in the Académie de France in Rome – Villa Médicis.
The font comes in five versions, all optimised for 6, 5, 4, 3 and 2 points. The design evolves progressively as "the size decreases": the spacing and the x-height increase, the contrast decreases, inktraps appear and the design is simplified. The MinUscule 2 is the strangest: “at this size, said Javal, we read most the difference between the letters”. As a consequence, the particularities of each sign are exaggerated, and the secondary details eliminated.
The contrast of the italics is not found in the spacing, almost identical to the roman, but by a more rhythmic design, progressively more lively and broken.
The Minuscule has received a number of awards: Type Directors Club in New York in 2005 (Certificate of excellence in type design); Erik Spiekermann declared it to be the Favourite Font of 2007 in Typographica (http://typographica.org/typeface-reviews/minuscule/ ), and Paul Shaw described it as one of the typefaces of the decade in Print magazine (http://www.printmag.com/imprint/ten-typefaces-of-the-decade/ ). In 2016, a collection of 256 original drawings of the Minuscule were acquired by the Centre national des arts plastiques.

  • 2017
  • Park MGM Las Vegas × be pôles

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  • 2017
  • Park MGM Las Vegas × be pôles

Park MGM is the new name of the famous Hotel Montecarlo, on the Las Vegas Strip (Nevada). It is owned by the Hollywood studio Metro-Goldwyn-Mayer. 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

  • 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

  • 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.

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