• 2020
  • TPE — Programme

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  • 2020
  • TPE — Programme

Annual programme for the season 2020-2021 of the Théâtre Paul Éluard, in Bezons.

  • 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.

  • 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

  • 2014
  • Émergences

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  • 2014
  • Émergences

Poster of the 7th edition of the festival Émergences, a week dedicated to young creation in Besançon. Matt Black + Gloss Varnish. Selected in Chaumont design graphique festival.

  • 2018
  • 13th hommage to Morteza Momayez

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  • 2018
  • 13th hommage to Morteza Momayez

Poster for Thomas Huot-Marchand solo exhibition at the Iran Artists Forum in Tehran, in November 2018.

  • 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

  • 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.

  • 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.

  • 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).

  • 2020
  • Garaje Condensed

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  • 2020
  • Garaje Condensed

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 Condensed subfamily goes from 0703 (7 on 3 grid) to 3503 (35 on 3), and includes 145 fonts, + one variable font. Its construction allows to compose in many sizes without changing the stem weight. Specimen made with DrawBot by Rémi Forte.
Available at 205TF.
Online specimen

  • 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

  • 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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