• 2007
  • Blago Bung

  • +
  • 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.

  • 2020
  • Garaje Multi

  • +
  • 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

  • 2010
  • Théâtre musical de Besançon — abribus

  • +
  • 2010
  • Théâtre musical de Besançon — abribus

Posters for the Théâtre musical de Besançon.

  • 2010
  • Musée d’Orsay

  • +
  • 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.

  • 2017
  • Le Barn × be pôles

  • +
  • 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.

  • 2022
  • Bugatti × Interbrand

  • +
  • 2022
  • Bugatti × Interbrand

I was commissioned by Interbrand to redesign Bugatti wordmark and monogram, and to develop an exclusive typographic system that reflects BUGATTI's brand promise.
The type family is composed of three styles that accurately meet the typographic needs of the brand:
BUGATTI Display, an all-caps typeface for headings;
BUGATTI Text, a 2 weights typeface for texts;
BUGATTI Mono, a fixed-pitch font for highlighting technical information.

Art direction: Interbrand
Licensing and font engineering: 205TF

  • 2013
  • Scène nationale de Besançon — Themes

  • +
  • 2013
  • Scène nationale de Besançon — Themes

Thematical posters for the season 2013-2014 of the Scène nationale de Besançon. For this 2nd season, the plaette is a bit broader : I added a neon yellow to the blue / red pair.

  • 2019
  • Les 2 Scènes — Saison

  • +
  • 2019
  • Les 2 Scènes — Saison

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

  • 2021
  • TPE — Programme

  • +
  • 2021
  • TPE — Programme

Annual programme for the season 2021-2022 of the Théâtre Paul Éluard, in Bezons.

  • 2015
  • MM — Sarkis

  • +
  • 2015
  • MM — Sarkis

Catalogue of the exhibition “Sarkis, Les Pôles des aimants”, Musée du château des ducs de Wurtemberg, June 2014 – January 2015. 80 p.

  • 2015
  • Zutique

  • +
  • 2015
  • Zutique

Visual identity of Zutique Productions (hip-hop, electro and world music) in Dijon. I designed a custom lettering and several patterns. Used as patchs, they form a Z in the middle of the posters. With the help of Samia Charef, intern at the studio.

  • 2016
  • Tardy — Typeface

  • +
  • 2016
  • Tardy — Typeface

Custom typeface for the Atelier d’architecture Tardy & associés, Besançon

next page