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.

2015
Ici l’Onde — Programmes
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2015
Ici l’Onde — Programmes
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Trimestrials programme for Ici l’Onde, for the season 2015-2016. In 2015, Why Note wanted to go back to its punk-indie roots, and get rid of the spectacular photographic effects used in the posters of the previous editions. I proposed a fanzine-like layout, using voluntary offsets and misalignments.

Why Note
100 × 150 mm
Offset, 2 colors
Imprimeur Simon, Ornans
Typeface: Antique Étroite
metallic duotone festival ici l’onde Why Note Dijon

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.

Ville de Besançon
1180 × 1750 mm
Silkscreen, 2 color
Lézard graphique, Brumath
Typeface: Antique Étroite
black & white festival Émergences Besançon

2021
TPE — Programme
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2021
TPE — Programme
✕

Annual programme for the season 2021-2022 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

2009
Mégaphone
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2009
Mégaphone
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Poster of the 1st edition of the festival Mégaphone, organised by Why Note and Zutique associations in Dijon. Typeset in a custom weight of Garaje, Ultra Black.

Why Note / Zutique, Dijon
1180 × 1750 mm
Silkscreen, 1 color
Mignotgraphie
Typeface: Garaje
black & white festival megaphone Dijon

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

2012
Scène nationale de Besançon — Programme
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2012
Scène nationale de Besançon — Programme
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Annual programme for the season 2012-2013 of the Scène nationale de Besançon. An image never appears alone: two are superimposed, one in blue, the other in red, which creates surprising encounters. Despite the huge diversity of the iconography, often provided by the companies, this radical treatment gives a global consistency to the series. The programme is distributed with a pair of anaglyphic glasses, to animate texts and pictures in a glimpse of an eye. 132 p.

Scène nationale de Besançon
160 × 220 mm
Offset, 2x2 colors
Imprimeur Simon, Ornans
Typeface: Garaje Mononi
Les 2 Scènes Besançon duotone anaglyphs

2019
Gyan Panchal, Au Seuil de soi
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2019
Gyan Panchal, Au Seuil de soi
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Catalog of the monographic exhibition of Gyan Panchal at the Musée d’art moderne de Saint-Étienne. The book presents the artist's works exhibited in three places, in Cajarc, Rochechouart and then Saint-Étienne. The work begins with blank pages, then a close-up section in low opacity, before varying the light and whiteness of the paper according to the three very different exhibition spaces. The book has an free back binding, and is slipped into a white paper case. 172 p

Musée d’art moderne de Saint-Étienne
225 × 300 mm
Offset, CMYK
Snoeck Ed. PB Tisk printing
Typeface: MM Sans MM Serif
CMYK art

2017
Les 2 Scènes — Programme
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2017
Les 2 Scènes — Programme
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Annual programme for the season 2017-2018 of Les 2 Scènes. The programme is developed in augmented reality : printed pages activate videos and online contents, via a specific app. 80 p.

Les 2 Scènes
160 × 220 mm
Offset, 4 colors
Imprimeur Simon, Ornans
Typeface: Garaje Minuscule
theater Les 2 Scènes Besançon CMYK

2008
Musiques de Rues — Pre-Programme
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2008
Musiques de Rues — Pre-Programme
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Pre-programme of the 3rd edition of Musiques de Rues, a festival of contemporary brass bands and artistic interventions in public space.

Musiques de Rues, Besançon
150 × 200 mm
Offset, 4 colors
Imprimeur Simon, Ornans
Typeface: Garaje
fluo Musiques de Rues Besançon

2012
MM — Mandeure : vies d’un sanctuaire
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2012
MM — Mandeure : vies d’un sanctuaire
✕

Catalogue of the exhibition “Mandeure : vies d’un sanctuaire”, Musée du château des ducs de Wurtemberg, June – October 2012. 152 p.

Musées de Montbéliard
160 × 220 mm
Offset, CMYK
Estimprim
Typeface: MM Sans MM Serif
Musées de Montbéliard art

2020
Les 2 Scènes — Cinéma 2020
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2020
Les 2 Scènes — Cinéma 2020
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Posters for the Cinema monthly programme of Les 2 Scènes, Besançon

Les 2 Scènes
1180x1750 mm
digital print
DS Impression
Typeface: Gareje Walbaum Plain
Besançon Les 2 Scènes

2011
Hangar 23 — Programme
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2011
Hangar 23 — Programme
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Annual programme of Hangar 23. Headlines are set in special weight of Garaje 0703 Monospace Black, including bouncing alternates and superscripts.

Hangar 23, Rouen
130 × 230 mm
Offset, 4 colors
Typeface: Garaje
theater CMYK Hangar 23 Rouen

Thomas Huot-Marchand
Typographie
Design graphique

✕

Thomas Huot-Marchand

Thomas Huot-Marchand
Typographie
Design graphique

Ici l’Onde — Programmes

Ici l’Onde — Programmes

Émergences

Émergences

TPE — Programme

TPE — Programme

Mégaphone

Mégaphone

Kantia — Hommage à Pavlovski

Kantia — Hommage à Pavlovski

Scène nationale de Besançon — Programme

Scène nationale de Besançon — Programme

Gyan Panchal, Au Seuil de soi

Gyan Panchal, Au Seuil de soi

Les 2 Scènes — Programme

Les 2 Scènes — Programme

Musiques de Rues — Pre-Programme

Musiques de Rues — Pre-Programme

MM — Mandeure : vies d’un sanctuaire

MM — Mandeure : vies d’un sanctuaire

Les 2 Scènes — Cinéma 2020

Les 2 Scènes — Cinéma 2020

Hangar 23 — Programme

Hangar 23 — Programme

Thomas Huot-Marchand Typographie Design graphique

✕

Thomas Huot-Marchand

Thomas Huot-Marchand Typographie Design graphique

Ici l’Onde — Programmes

Ici l’Onde — Programmes

Émergences

Émergences

TPE — Programme

TPE — Programme

Mégaphone

Mégaphone

Kantia — Hommage à Pavlovski

Kantia — Hommage à Pavlovski

Scène nationale de Besançon — Programme

Scène nationale de Besançon — Programme

Gyan Panchal, Au Seuil de soi

Gyan Panchal, Au Seuil de soi

Les 2 Scènes — Programme

Les 2 Scènes — Programme

Musiques de Rues — Pre-Programme

Musiques de Rues — Pre-Programme

MM — Mandeure : vies d’un sanctuaire

MM — Mandeure : vies d’un sanctuaire

Les 2 Scènes — Cinéma 2020

Les 2 Scènes — Cinéma 2020

Hangar 23 — Programme

Hangar 23 — Programme

Thomas Huot-Marchand
Typographie
Design graphique

Thomas Huot-Marchand
Typographie
Design graphique