• 2010
  • Théâtre musical de Besançon — abribus

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  • 2010
  • Théâtre musical de Besançon — abribus

Posters for the Théâtre musical de Besançon.

  • 2020
  • TPE — Programme

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  • 2020
  • TPE — Programme

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

  • 2017
  • Minérale

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  • 2017
  • Minérale

Minérale is a typeface based on uncommon stems, whose sides intersect at their centers. These two triangles that meet at the tip are an exaggeration of triangular serifs.
This project was born from a lettering for an exhibition entitled Splendeurs Minérales at the Musée de Montbéliard (France). I then developed a series of weights, which share the same width: a Multiplexed typeface that occupy the same space, whatever its weight.
The same goes for Roman and Italic. Italics turn around a central, vertical axis: the more the weight increases, the more slanted is the typeface.
Minerale is published at 205.tf since 2017 for Roman, 2018 for italics. It is developed in the new technology of variable fonts, which allows the user to act directly on the appearance of the characters, on a weight axis.
Minerale was designated Favorite Font of 2017 by Typographica, and won a TDC award in 2018.
Try and buy at 205.tf

  • 2020
  • Garaje Mid

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  • 2020
  • Garaje Mid

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong. For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Mid subfamily goes from 0503 (5 on 3 grid) to 0504 (5 on 4 grid) and 0603 (6 on 3 grid), and includes 15 fonts + 3 variable fonts. Its construction allows to compose in many widths without changing the stem weight.
Available at 205TF.
Online specimen

  • 2017
  • Le Barn × be pôles

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  • 2017
  • Le Barn × be pôles

Cast iron is used on all signage and property objects, in a wide range of techniques: enamel plates, sign painting, silscreen, embroidery, etc.

  • 2008
  • Musiques de Rues — Programme

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  • 2008
  • Musiques de Rues — Programme

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

  • 2011
  • Théâtre musical de Besançon — programme

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  • 2011
  • Théâtre musical de Besançon — programme

Annual programme for the Théâtre musical de Besançon. This time I completely dropped ITC Bodoni, to compose the whole programme in Mononi. Gradients appear inside the text, thanks to the wonderful stochastic print of Simon Imprimeurs.

  • 2018
  • 13th hommage to Morteza Momayez

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  • 2018
  • 13th hommage to Morteza Momayez

Poster for Thomas Huot-Marchand solo exhibition at the Iran Artists Forum in Tehran, in November 2018.

  • 2011
  • Ici l’Onde

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  • 2011
  • Ici l’Onde

For the identity of the festival Ici l’Onde, organised by Why Note in Dijon, I decided not to use any vectors or fonts, and use photography instead. The poster for the 2011 edition is the result of a complex setup, in which I sought to capture the reflection of the text on the water.

  • 2011
  • Théâtre musical de Besançon — cadrobus

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  • 2011
  • Théâtre musical de Besançon — cadrobus

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.

  • 2020
  • Garaje Multi

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  • 2020
  • Garaje Multi

Garaje takes its inspiration both from the alphabets of the Bauhaus school and the vernacular inscriptions of Spanish garage owners: two worlds that share a desire to reduce typographic forms to simple geometric elements. At the Bauhaus this geometrization is ideological: it represents a rejection of tradition and the affirmation of an objective and rational vocabulary. With garage owners it is a simple matter of logic, certainly due to an ignorance of tradition. It is somewhat naïve to wish to reduce the shapes of the alphabet to elementary forms. Perfect geometrical forms seem less than perfect to our eyes: type Design abounds with optical corrections that compensate for our perception of forms.
Garaje plays specifically with this paradox: its construction is rigorously geometrical, anchored to a scalable modular grid, with no optical correction. A perfectly objective system, but a typographical aberration, simultaneously right and wrong. For the last 20 years, I have extended this family in every direction, to the point of absurdity: extremely narrow or outlandishly wide letterforms, all built from the same modules. Today it is a complete system, available in 44 widths and 5 weights. The complete family counts 445 fonts, hundreds of thousands of glyphs, and zero contrast: Garaje is a typeface which is at the same time brutal and playful, rational and naïve. Garaje Multi embeds 13 different widths in each font, from 0503 (5 on 3 grid) to 05015 (5 on 15 grid). The default set is a mix of 0503, 0504 and 0505. The subfamily includes 5 fonts (2352 glyphs each) + 1 variable font. Its construction allows to compose in many widths without changing the stem weight. Letters on the lowercase set go wider and wider when repeated, and it’s fun.
Available at 205TF.
Online specimen

  • 2011
  • Émergences

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  • 2011
  • Émergences

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.

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