• 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.

  • 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.

  • 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.

  • 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.

  • 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

  • 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.

  • 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

  • 2019
  • Les 2 Scènes — Themes

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  • 2019
  • Les 2 Scènes — Themes

Thematical posters for the season 2019-2020 of Les 2 Scènes, in collaboration with Jochen Gerner (illustrations).

  • 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).

  • 2013
  • Émergences

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  • 2013
  • Émergences

Poster of the 6th edition of the festival Émergences, a week dedicated to young creation in Besançon. Matt Black + Gloss Black. Selected in Chaumont design graphique festival.

  • 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.

  • 2010
  • Théâtre musical de Besançon — abribus

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  • 2010
  • Théâtre musical de Besançon — abribus

Posters for the Théâtre musical de Besançon.

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