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

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.

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, 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

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

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

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.