Thomas Huot-Marchand

Thomas Huot-Marchand designs bespoke typographic solutions for brands and institutions seeking to strengthen their visual identity. His research expertise allows him to advise and support both clients and creative teams on typographic history, technology, and concepts.

2012
Ici l’Onde
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2012
Ici l’Onde
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The poster for the 2012 edition is a photograph of a luminous text projected on a smoke screen.

Why Note, Dijon
1180 × 1750 mm
Silkscreen, 4 colors
Lézard graphique
Typeface: Antique Étroite
metallic festival ici l’onde Why Note Dijon

2020
Agence Adelfo Scaranello — MBAA 2
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2020
Agence Adelfo Scaranello — MBAA 2
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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.

Agence Adelfo Scaranello
200 × 273 mm
Offset, CMYK
Imprimeur Simon, Ornans
Typeface: GF Montserrat modified
exhibition architecture

2012
Scène nationale de Besançon — Prologue
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2012
Scène nationale de Besançon — Prologue
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The visual identity of the Théâtre musical was based on an eye. In June 2012, the Scène nationale de Besançon joined two theatres, the Théâtre musical (Théâtre Ledoux, which interiors are all blue) and the Théâtre de l’Espace (all red), in one single institution. To communicate on this major change, I proposed to design a new identity in two spot colors, blue and red, and use anaglyphic glasses two see what’s happening in one place or the other: it was time to use both eyes. Text appears or disappears in the blink of an eye ! In the Pre-programme for the season 2012-2013, Nicolas Waltefaugle did a photo shoot in the stage decor workshop with the whole new team. Photographs are superposed too, to create mini-animations. 40,000 anaglyphic glasses were distributed with the booklets, and we even designed some fancy pairs with Adélaïde Racca. 32 pages

Scène nationale de Besançon
160 × 220 mm
Offset, 4 colors
Imprimeur Simon, Ornans
Typeface: Garaje Mononi
Les 2 Scènes Besançon duotone anaglyphs

2012
Émergences — Journal
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2012
Émergences — Journal
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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.

Ville de Besançon
297 × 420 mm
Offset, 1 color
Imprimeur Simon, Ornans
Typeface: Antique Étroite
black & white festival Émergences Besançon

2016
Les 2 Scènes — Moire poster
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2016
Les 2 Scènes — Moire poster
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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.

Les 2 Scènes
1180 × 1750 mm
Silkscreen, 4 colors
Lézard graphique
Typeface: Garaje Minuscule
theater Les 2 Scènes Besançon fluo moiré

2013
Jack And The Bearded Fishermen
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2013
Jack And The Bearded Fishermen
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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

Jack And The Bearded Fishermen
Offset, CMYK
Typeface: MM Sans MM Serif
CMYK music

2013
Kantia — Hommage à Pavlovski
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2013
Kantia — Hommage à Pavlovski
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Born in Russia, André Pavlovski (1891-1961) brought modernism to basque architecture in the 1930s. For its first publication, I proposed to Kantia editor, based in Saint-Jean-de-Luz (in a beautiful Pavlovski house) to imagine a series of poster inspired by his most emblematic work, the Harbor Lights of the city. Two asymetrical towers, on both sides of the port, one in white and red (Saint-Jean) the other in white and green (Ciboure). I studied Pavlovsky architecural vocabulary, made of flat asymetrical surfaces and geometry, and proposed a complex graphic system to produce a series of posters. 4 compositions present one view of Saint-Jean, one of Ciboure, and two of both harbor lights, in 3 colors : Blue, Red and Green. Blue defines the sky and the silhouettes of the buildings : printed in split fountain, it evolves from dawn to dusk. The composition allows green and red colors to be combined upside up and upside down, to reveal several views of the harbors, and create imaginary ones. In one single print-run, 168 different posters were produced with Lézard Graphique, in Brumath. Some posters are still available at www.kantia.eu.

Kantia, éditeur d’images
550 × 850 mm
Silkscreen, 3 colors
Lézard graphique
Typeface:
split fountain Kantia

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

Théâtre Paul Éluard, Bezons
190 × 270 mm
Offset, CMYK
Imprimeur Simon, Ornans
Typeface: Plaak IBM Plex
CMYK theater TPE

2019
Les 2 Scènes — Saison
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2019
Les 2 Scènes — Saison
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Annual poster for the season 2019-2020 of Les 2 Scènes, in collaboration with Jochen Gerner (illustrations).

Les 2 Scènes
1180 × 1750 mm
Silkscreen, 4 colors
Lézard graphique
Typeface: Garaje Minuscule
theater Les 2 Scènes Besançon fluo Jochen Gerner

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

Les 2 Scènes
1180 × 1750 mm
Silkscreen, 2 / 3 colors
Lézard graphique
Typeface: Garaje Walbaum
theater Les 2 Scènes Besançon fluo Jochen Gerner

2016
MM — Jean Puy
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2016
MM — Jean Puy
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Catalogue of the exhibition “Jean Puy (1876-1960), Plénitude d’un fauve”, Musée du château des ducs de Wurtemberg, April – September 2016. 80 p.

Musées de Montbéliard
160 × 220 mm
Offset
Imprimeur Simon, Ornans
Typeface: MM Sans MM Serif
Musées de Montbéliard art

2011
Ici l’Onde — Programme
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2011
Ici l’Onde — Programme
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Programme of the 2nd edition of the festival Ici l’Onde, organised by Why Note in Dijon. 32 p.

Why Note, Dijon
100 × 150 mm
Offset, 3 colors
Imprimeur Simon, Ornans
Typeface: Antique Étroite
metallic tritone festival ici l’onde Why Note Dijon

Thomas Huot-Marchand
Typographie
Design graphique

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Thomas Huot-Marchand

Thomas Huot-Marchand
Typographie
Design graphique

Ici l’Onde

Ici l’Onde

Agence Adelfo Scaranello — MBAA 2

Agence Adelfo Scaranello — MBAA 2

Scène nationale de Besançon — Prologue

Scène nationale de Besançon — Prologue

Émergences — Journal

Émergences — Journal

Les 2 Scènes — Moire poster

Les 2 Scènes — Moire poster

Jack And The Bearded Fishermen

Jack And The Bearded Fishermen

Kantia — Hommage à Pavlovski

Kantia — Hommage à Pavlovski

TPE — Programme

TPE — Programme

Les 2 Scènes — Saison

Les 2 Scènes — Saison

Les 2 Scènes — Themes

Les 2 Scènes — Themes

MM — Jean Puy

MM — Jean Puy

Ici l’Onde — Programme

Ici l’Onde — Programme

Thomas Huot-Marchand Typographie Design graphique

✕

Thomas Huot-Marchand

Thomas Huot-Marchand Typographie Design graphique

Ici l’Onde

Ici l’Onde

Agence Adelfo Scaranello — MBAA 2

Agence Adelfo Scaranello — MBAA 2

Scène nationale de Besançon — Prologue

Scène nationale de Besançon — Prologue

Émergences — Journal

Émergences — Journal

Les 2 Scènes — Moire poster

Les 2 Scènes — Moire poster

Jack And The Bearded Fishermen

Jack And The Bearded Fishermen

Kantia — Hommage à Pavlovski

Kantia — Hommage à Pavlovski

TPE — Programme

TPE — Programme

Les 2 Scènes — Saison

Les 2 Scènes — Saison

Les 2 Scènes — Themes

Les 2 Scènes — Themes

MM — Jean Puy

MM — Jean Puy

Ici l’Onde — Programme

Ici l’Onde — Programme

Thomas Huot-Marchand
Typographie
Design graphique

Thomas Huot-Marchand
Typographie
Design graphique