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.

Visual identity of the Bibliothèques de Nancy.

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

Annual programme for the season 2018-2019 of the Théâtre Paul Éluard, in Bezons.

Visual identity, scenography and communication of the exhibition « De Vesontio à Besançon, la ville s’expose ».

Annual programme for the Théâtre musical de Besançon. Nobody noticed, but the cover is a data visualisation of all th shows of the season, with the color code of the disciplines covered.

Annual programme of Hangar 23, a theater in Rouen dedicated to dance, theater, circus and world / urban music. In 2015, the theater moved to a completely different place : a beautiful baroque chapelle. The identity evolved, introducing metallic colors and rounded shapes.

In 1982, few months after the publication of Donald Knuth article The Concept of a Meta-Font, Visible Language publishes Meta-Font, Metamathematics, and Metaphysics : Comments on Donald Knuth’s « The Concept of  a  Meta-Font », by Douglas Hofstadter, an american professor of cognitive sciences. His remarks bring nuances to Knuth’s conclusions, addressing the problem from another point of view. His investigations in typography, in the field of artificial intelligence, subsequently appeared in the Letter Spirit project, where he tried to develop a program that is capable of developing an entire alphabet from a few seed letters, based on a very coarse grid. Years later, when the concepts of parametric fonts, AI and deep learning applied to type design reappeared, Hofstadter’s ideas are still relevant. Talks (FR / EN) given in Istanbul during Istype 2017, on June 10, and at the Fonderie de l'image in Paris, on November 13, 2018. ANRTABCD, Letter K