Thomas Huot-Marchand
Typographie
Design graphique

  • 2011

  • Théâtre musical de Besançon — lumières

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  • 2011

  • Théâtre musical de Besançon — lumières

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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.

  • 2010

  • Théâtre musical de Besançon — abribus

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  • 2010

  • Théâtre musical de Besançon — abribus

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Posters for the Théâtre musical de Besançon.

  • 2023

  • Les 2 Scènes — Danse & Cinéma 22-23

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  • 2023

  • Les 2 Scènes — Danse & Cinéma 22-23

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Posters for the festival Danse & Cinéma, Les 2 Scènes, Scène nationale de Besançon.
Typeset in Album Sans

  • 2011

  • Émergences

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  • 2011

  • Émergences

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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.

  • 2023

  • Les 2 Scènes — Cinéma 22-23

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  • 2023

  • Les 2 Scènes — Cinéma 22-23

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Posters for the season 2022-2023 of Les 2 Scènes Cinéma.
Typeset in Album Sans

  • 2008

  • Musiques de Rues — Programme

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  • 2008

  • Musiques de Rues — Programme

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Programme of the 3rd edition of Musiques de Rues, a festival of contemporary brass bands and artistic interventions in public space. Printed in 3 fluorescent colors + black, instead of CMYK

  • 2010

  • Safari Fourier — Posters

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  • 2010

  • Safari Fourier — Posters

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Besançon is the birthplace of utopian socialism : Fourier, Proudhon or Victor Hugo were born here, and, in the 20th Century, huge strikes and social movements tried to implement ideas for a new society. In 2010, I was commissioned by the City to create a work of art in tribute to this historic heritage. I proposed a series of posters that would be installed on all of the city's billboards for a week. These posters expose the theories of Charles Fourier (1772-1837) and the “Théories des quatre mouvements et des destinées générales”. During the day, they show our current society. At night, when the poster is backlit, they show society as Fourier dreamed it. In collaboration with Elsa Maillot.

  • 2009

  • Théâtre musical de Besançon — programme

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  • 2009

  • Théâtre musical de Besançon — programme

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

  • 2011

  • Émergences — Journal

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  • 2011

  • Émergences — Journal

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Newspaper of the 4th edition of the festival Émergences, a week dedicated to young creation in Besançon. 16 p.

  • 2014

  • Émergences — Journal

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  • 2014

  • Émergences — Journal

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

  • 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

  • 2019

  • Les 2 Scènes — Programme

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  • 2019

  • Les 2 Scènes — Programme

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Annual programme for the season 2019-2020 of Les 2 Scènes, in collaboration with Jochen Gerner (illustrations). 80 p.

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