• 2020
  • Typographes à façon

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  • 2020
  • Typographes à façon

Some Clubs du Livre of my collection. Seminar given online during the Covid-19 confinement, on April 27, 2020. With Pierre Faucheux, Jacques Darche, Jacques Daniel et Massin. ANRTABCD, Letter T

  • Atelier national de recherche typographique, Nancy
  • Typeface:
  • ANRT
  • 2011
  • Le Son en scène — Programme

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  • 2011
  • Le Son en scène — Programme

Programme of the 2nd edition of the festival Le Son en Scène, organised by Why Note in Dijon. 32 p.

  • 2018
  • Kazuo

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  • 2018
  • Kazuo

Visual identity of Kazuo design showroom in Biarritz, France. https://kazuo.fr/showroom/

  • 2009
  • Émergences — programme

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  • 2009
  • Émergences — programme

Programme of the 2nd edition of the festival Émergences, a week dedicated to young creation in Besançon.

  • 2013
  • Entrevues — Programme

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  • 2013
  • Entrevues — Programme

For the visual identity of the Film Festival Entrevues Belfort, I typographically tranposed the name of the event, inter-views, in a very literal way. This to evoke, of course, the cinematographic film.
Letters are cropped between multiple lines : I used the Open Source fonts League Gothic, by the League of Moveable Type, as a base for the all-caps custom typeface. The same thing happens with the images, which extend from one page to another, in a continuous thread. 180 p.

  • 2017
  • 52 Battant

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  • 2017
  • 52 Battant

Wordmark and visual identity for 52 Battant, a gallery, information center and co-working place for creative people in Besançon. A set of pictograms was developed with Vincent Jacquin (Small Studio).

  • 2015
  • MM — Albert André

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  • 2015
  • MM — Albert André

Catalogue of the exhibition “Albert André (1869-1954), itinéraire d’un peintre réaliste”, Musée du château des ducs de Wurtemberg, April – Sept 2015. 64 p.

  • 2009
  • Le Premier Art Roman

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  • 2009
  • Le Premier Art Roman

Scenography of the archeological exhibition « Franche-Comté et premier art roman » at the Musée de l’Abbaye de Saint-Claude (14 June - 20 Sept. 2009). The exhibition was an opportunity to highlight the architecture of the museum, an old Romanesque abbey, as well as the many monuments of the region.The difficulty was the very large proportion of explanatory panels, which were also quite dense, to be installed in a reduced space. The solution was to take advantage of the ceiling motif, by sliding panels onto it, mounted on adjustable jacks. These panels could move easily, and punctuate the space by limiting the footprint. T
exts, plans and pictures were printed digitally, directly on the MDF panels. In collaboration with Anaïs Maillot.

  • Musée de l’Abbaye, Saint-Claude
  • Digital print, 5 colors
  • Mignotgraphie
  • Typeface:
  • exhibition
  • 2008
  • Émergences

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  • 2008
  • Émergences

Poster of the first edition of the festival Émergences, a week dedicated to young creation in Besançon. The initial budget was so small that I proposed not to print the programme, and put it on the poster itself. The identity and logotype has a newspaper look, printed in black on recycled paper.

  • 2010
  • La Rodia

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  • 2010
  • La Rodia

Logotype and custom typeface of La Rodia, concert hall in Besançon.

  • 2020
  • Les 2 Scènes — 20-21 Posters

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  • 2020
  • Les 2 Scènes — 20-21 Posters

Posters for the season 2020-2021 of Les 2 Scènes. Unfortunately, most of the shows were cancelled, because of the sanitary situation. Typeset in Album Sans

  • 2009
  • Utopies & innovations — Typeface

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  • 2009
  • Utopies & innovations — Typeface

The Métropole Rhin-Rhône area has brought together several cities between France, Switzerland and Germany, connected in 2010 by a high-speed train line. To materialize this network, a major cultural operation was imagined, utopies & innovations. Under the general curation of Laurent Gerverau, these are 12 local themes, and dozens of exhibitions that are scheduled throughout 2010, around these concepts.
It seemed difficult to illustrate these concepts with a single image: also, I preferred to propose an alphabet, which constitutes the visual identity, and ensures the link between the multiple variations. It is used to compose the logotype, which was designed when the Metropolis had only 9 cities; they were symbolized by the 9 points that appeared in the words "utopias & innovations", like 9 points on a map, network, route ... The metropolis then moved to 16 cities, but the logo remained the same.

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