Newspaper of the 5th edition of the festival Émergences, a week dedicated to young creation in Besançon. Illustrations by Superseñor : Small Studio, Adrien Houillère, Renaud Vigourt, Marie-Florentine Geoffroy. 16 p.

Annual programme for the Théâtre musical de Besançon. For this second season I introduced gradients, transforming the colored pads into fuzzy clouds.

Newspaper of the 7th edition of the festival Émergences, a week dedicated to young creation in Besançon. 16 p.

Programme of the 1st edition of the festival Mégaphone, organised by Why Note and Zutique associations in Dijon. A small format, printed in black on a gloss coated paper. Typeset in a custom weight of Garaje, Ultra Black.

Annual programme for the season 2016-2017 of Les 2 Scènes. 80 p.

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 1st volume shows the museum empty spaces, during the construction. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

Programme of the 3rd edition of the festival Ici l’Onde, organised by Why Note in Dijon. 24 p.

Artwork for Minor Noise, album of Besançon-based metal band Jack And The Bearded Fishermen. Photo by Quentin Coussirat. A 60 x 90cm is folded in the 33 rpm record sleeve. Vinyl & CD

Programme of the 2nd edition of the festival Ici l’Onde, organised by Why Note in Dijon. 32 p.

Artwork for the 1st volume of the EP UNTOLD of my friend Miqi O. FKDB Prod.

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 2nd volume shows the scenography of the Museum. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

Catalogue of the exhibition “Sarkis, Les Pôles des aimants”, Musée du château des ducs de Wurtemberg, June 2014 – January 2015. 80 p.