Thomas Huot-Marchand
Typographie
Design graphique

  • 2015

  • MM — Sarkis

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  • 2015

  • MM — Sarkis

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

  • 2013

  • Ici l’Onde — Programme

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  • 2013

  • Ici l’Onde — Programme

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Programme of the 3rd edition of the festival Ici l’Onde, organised by Why Note in Dijon. 24 p.

  • 2019

  • Les 2 Scènes — Programme

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  • 2019

  • Les 2 Scènes — Programme

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Annual programme for the season 2019-2020 of Les 2 Scènes, in collaboration with Jochen Gerner (illustrations). 80 p.

  • 2012

  • Ici l’Onde

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  • 2012

  • Ici l’Onde

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The poster for the 2012 edition is a photograph of a luminous text projected on a smoke screen.

  • 2010

  • Safari Fourier — Posters

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  • 2010

  • Safari Fourier — Posters

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Besançon is the birthplace of utopian socialism : Fourier, Proudhon or Victor Hugo were born here, and, in the 20th Century, huge strikes and social movements tried to implement ideas for a new society. In 2010, I was commissioned by the City to create a work of art in tribute to this historic heritage. I proposed a series of posters that would be installed on all of the city's billboards for a week. These posters expose the theories of Charles Fourier (1772-1837) and the “Théories des quatre mouvements et des destinées générales”. During the day, they show our current society. At night, when the poster is backlit, they show society as Fourier dreamed it. In collaboration with Elsa Maillot.

  • 2009

  • Mononi

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  • 2009

  • Mononi

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Mononi is a monolinear, sans serif version of the famous Bodoni, cut by Giambattista Bodoni in Parma at the end of the 19th century. I first created it for the visual identity of the Théâtre musical Besançon, a theater built at the same time by the architect Claude-Nicolas Ledoux. Mononi has a classic and refined structure, a baroque italic, but traced with a ballpoint pen. Combined with a normographer’s aesthetic, deliberately very crude, Mononi’s weights are growing from its skeleton. A special version, Mononi Zero, has no body. It is up to the user to determine the thickness of the line, thus allowing a multitude of weights, down to the finest hairlines. In 2012, I added Mononi Monospace versions, for the same theater which became the Scène nationale de Besançon. Soon available on www.205.tf

  • 2011

  • Émergences — Journal

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  • 2011

  • Émergences — Journal

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Newspaper of the 4th edition of the festival Émergences, a week dedicated to young creation in Besançon. 16 p.

  • 2013

  • Scène nationale de Besançon — Themes

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  • 2013

  • Scène nationale de Besançon — Themes

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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.

  • 2007

  • Musiques de Rues Identity

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  • 2007

  • Musiques de Rues Identity

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Visual identity of Musiques de Rues, a festival of contemporary brass bands and artistic interventions in public space. It mixes zebras, fluorescent inks and Garaje.

  • 2021

  • Bordures 2021

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  • 2021

  • Bordures 2021

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Poster for the 2021 edition of BORDURES Festival in Langon
(PLAN B: 2020 edition postponed during pandemic)

  • 2013

  • Scène nationale de Besançon — Programme

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  • 2013

  • Scène nationale de Besançon — Programme

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Annual programme for the season 2013-2014 of the Scène nationale de Besançon.

  • 2013

  • Kantia — Hommage à Pavlovski

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  • 2013

  • Kantia — Hommage à Pavlovski

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Born in Russia, André Pavlovski (1891-1961) brought modernism to basque architecture in the 1930s. For its first publication, I proposed to Kantia editor, based in Saint-Jean-de-Luz (in a beautiful Pavlovski house) to imagine a series of poster inspired by his most emblematic work, the Harbor Lights of the city. Two asymetrical towers, on both sides of the port, one in white and red (Saint-Jean) the other in white and green (Ciboure). I studied Pavlovsky architecural vocabulary, made of flat asymetrical surfaces and geometry, and proposed a complex graphic system to produce a series of posters. 4 compositions present one view of Saint-Jean, one of Ciboure, and two of both harbor lights, in 3 colors : Blue, Red and Green. Blue defines the sky and the silhouettes of the buildings : printed in split fountain, it evolves from dawn to dusk. The composition allows green and red colors to be combined upside up and upside down, to reveal several views of the harbors, and create imaginary ones. In one single print-run, 168 different posters were produced with Lézard Graphique, in Brumath. Some posters are still available at www.kantia.eu.

  • Kantia, éditeur d’images
  • 550 × 850 mm
  • Silkscreen, 3 colors
  • Lézard graphique
  • Typeface:
  • split fountain Kantia
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