• 2020
  • Garaje Monospace

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  • 2020
  • Garaje Monospace

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 Monospace subfamily goes from 05015 (5 on 15 grid) to 3503 (35 on 3), and includes 215 fonts + 5 variable fonts. Its construction allows to compose in many sizes without changing the stem weight, and/or the pitch.
Available at 205TF.
Online specimen

  • 2002
  • Minuscule

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  • 2002
  • Minuscule

Minuscule is a typeface designed for very small sizes. Its creation was inspired by the theories of ophthalmologist Emile Javal and his “theory of compact prints” (Physiologie de la lecture et de l’écriture /Physiology of reading and writing, Paris, Alcan, 1905). I initiated this project during my studies at the Atelier national de recherche typographique in 2001-2002, and completed it, designing the italics in 2006–2007 during a residency in the Académie de France in Rome – Villa Médicis.
The font comes in five versions, all optimised for 6, 5, 4, 3 and 2 points. The design evolves progressively as "the size decreases": the spacing and the x-height increase, the contrast decreases, inktraps appear and the design is simplified. The MinUscule 2 is the strangest: “at this size, said Javal, we read most the difference between the letters”. As a consequence, the particularities of each sign are exaggerated, and the secondary details eliminated.
The contrast of the italics is not found in the spacing, almost identical to the roman, but by a more rhythmic design, progressively more lively and broken.
The Minuscule has received a number of awards: Type Directors Club in New York in 2005 (Certificate of excellence in type design); Erik Spiekermann declared it to be the Favourite Font of 2007 in Typographica (http://typographica.org/typeface-reviews/minuscule/ ), and Paul Shaw described it as one of the typefaces of the decade in Print magazine (http://www.printmag.com/imprint/ten-typefaces-of-the-decade/ ). In 2016, a collection of 256 original drawings of the Minuscule were acquired by the Centre national des arts plastiques.

  • 2020
  • TPE — poster

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  • 2020
  • TPE — poster

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

  • 2020
  • Garaje Condensed

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  • 2020
  • Garaje Condensed

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 Condensed subfamily goes from 0703 (7 on 3 grid) to 3503 (35 on 3), and includes 145 fonts, + one variable font. Its construction allows to compose in many sizes without changing the stem weight. Specimen made with DrawBot by Rémi Forte.
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.

  • 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.

  • 2017
  • Park MGM × be pôles

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  • 2017
  • Park MGM × be pôles

Park MGM is the new name of the famous Hotel Montecarlo, on the Las Vegas Strip (Nevada). It is owned by the Hollywood studio Metro-Goldwyn-Mayer. The agency be-poles (Paris / New York) commissioned me to design the exclusive typeface of the hotel, Alder, used for its interior and exterior signage, and all of its communication.
Rather than the excessive and often caricatured image of the hotels in the city, the visual identity of the Park MGM chooses elegance, with a very refined interior design. Likewise, Alder is inspired by the proportions of classic Roman capitals, with a more contemporary design. It comes in 4 weights : Regular, Bold, Italic and Condensed. Exclusive use

  • 2014
  • Ici l’Onde

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  • 2014
  • Ici l’Onde

For the 2014 poster of Ici l’Onde, I captured the light of the text, shaking my laptop and simply shooting the screen. We made 4 posters out of it : the annual poster in 3 tones (warm red, process blue and gold), and 3 trimestrial variations with only 2 tones (red/blue, red/gold, and blue/gold).

  • 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

  • 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

  • 2007
  • Blago Bung

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  • 2007
  • Blago Bung

A series of posters for Blago Bung events, Emily Harvey Foundation (NYC, USA) and Cabaret Voltaire (Zurich, CH). Art, Sound, Poetry and Performance. Posters are printed in split fountain : gradients evolve during the printing process, each poster is unique.

  • 2010
  • Musée d’Orsay

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  • 2010
  • Musée d’Orsay

The Musée d’Orsay wanted, in 2010, to renew its typography, returning to the typeface defined in its original visual identity, developed by Bruno Monguzzi and Jean Widmer (1986). The museum will was to update Walbaum, cut by Justus Erich Walbaum (around 1830), then unique typographic voice of the institution. With Philippe Millot, we defined a family of «cousins» of Walbaum, in styles that appeared later in the 19th century. For text typefaces, a Grotesk (sans serif and bold), and a Typewriter (slab serifs, low contrast, and light). For display typefaces, the uppercase present variations of texture in the manner of 19th century display type. Unfortunately, the Museum barely used this new typeface system.

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