• 2009
  • Mononi

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  • 2009
  • Mononi

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

  • 2010
  • Antiques Étroites

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  • 2010
  • Antiques Étroites

Antique Étroite is first a metal type that I discovered in the typography workshop of the School of Fine Arts of Besançon, where I studied. It is part of the numerous anonymous sans serifs, of unknown origin, of the beginning of the XXth century. Its design is far from perfect, but it is precisely these imperfections that I like: odd proportions, unconsistency, which produce an interesting flavour that I wanted to restore in digital form. I adapted the 60pt size, before noting that the different sizes of the family presented huge differences: a lack of coordination in its development, less systematic in the techniques of the time. I therefore digitized all the sizes, respecting the errors and approximations of the sources. Unpublished

  • 2019
  • Les 2 Scènes — Programme

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  • 2019
  • Les 2 Scènes — Programme

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

  • 2016
  • Les 2 Scènes — Moire poster

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  • 2016
  • Les 2 Scènes — Moire poster

Posters for the season 2015-2016 of Les 2 Scènes. Each copy of the poster is unique : During screen printing, each sheet is slightly offset with each pass, producing a new moiré effect. Another funny game we played with my friends at Lézard graphique.

  • 2019
  • Les 2 Scènes — Themes

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  • 2019
  • Les 2 Scènes — Themes

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

  • 2021
  • Les 2 Scènes — Programme

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  • 2021
  • Les 2 Scènes — Programme

Annual programme for the season 2021-2022 of Les 2 Scènes, in collaboration with Jochen Gerner (illustrations). 80 p.

  • 2018
  • Kantia — Artha

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  • 2018
  • Kantia — Artha

The incessant storms of the 18th century defeated the natural defenses that were protecting the city of Saint-Jean-de-Luz. In the middle of the 19th century, Napoleon III ordered the construction of dykes in Socoa, Sainte Barbe et Artha, that have been part of the landscape since the 20th century. Nicolas Waltefaugle's photographs show the relentless fight of these constructions against the ocean. They are printed in 2 colors, matt black and a spectacular chrome ink, exclusive to Lézard graphique silkscreen workshop, which reflects light like a mirror. The series of 8 posters (5 landscape and 3 portrait formats) are available at www.kantia.eu

  • Kantia, éditeur d’images
  • 700 × 500 mm
  • Silkscreen, 2 colors
  • Lézard graphique
  • Typeface:
  • Metallic duotone Kantia
  • 2008
  • Théâtre musical de Besançon — Identity

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  • 2008
  • Théâtre musical de Besançon — Identity

Le Théâtre musical de Besançon (dir. Loïc Boissier) was created in 2008: it occupies Besançon Municipal Theater, an exceptional building by Claude-Nicolas Ledoux. The theater is designed according to a very innovative circular plan for the time (1786), which made it possible, in Ledoux's initial project, to see the scene from everywhere. This aspect is represented in a famous engraving, “View of the Besançon Theater in an eye”. This eye and the circle are the basis of the visual identity that I designed for the Theater. To illustrate the richness and variety of its programming, an extensive color code (which covers the entire spectrum) makes it possible to identify the different registers. The character used is the Bodoni ITC, from Sumner Stone, my favorite digital revival of the typeface cut by Giambattista Bodoni in the same year as the construction of this theater. It’s been progressively replaced by my own revival, shown here in the logotype : Mononi, a mono-linear Bodoni.

  • 2014
  • Émergences — Journal

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  • 2014
  • Émergences — Journal

Newspaper of the 7th edition of the festival Émergences, a week dedicated to young creation in Besançon. 16 p.

  • 2015
  • Biennale de Lyon — project

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  • 2015
  • Biennale de Lyon — project

Ralph Rugoff, guest curator of 2015 Biennale de Lyon: “The impulse to announce a clean break from the past, to instigate a rupture with tradition, is the modernist gesture par excellence. Is it possible then, that our recurring desire to declare the end of the modern era is, in fact, merely a symptom of the modernity it aspires to bury? […] La vie moderne, the 13th edition of the Biennale de Lyon, sets out to explore this possibility. Its title unavoidably evokes echoes of earlier, and perhaps more optimistic, moments in history, but rather than its potential irony, what drew me to use this title was its ambiguity.” Invited to design the visual identity of the event, my (rejected) project was to propose an oversized identity manual, playing with the principles of modernist graphic design of the 60's. Rather than applying this guidelines to the communication, the manual itself (as an abstract of ideal uses) becomes the communication. It's, of course, typeset in Neue Haas Grotesk.

  • 2012
  • Ici l’Onde

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  • 2012
  • Ici l’Onde

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

  • 2009
  • Mégaphone — programme

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  • 2009
  • Mégaphone — programme

Programme of the 1st edition of the festival Mégaphone, organised by Why Note and Zutique associations in Dijon. A small format, printed in black on a gloss coated paper. Typeset in a custom weight of Garaje, Ultra Black.

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