Annual programme for the season 2019-2020 of the Théâtre Paul Éluard, in Bezons.

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

Besançon school of fine arts is based on a modernist building by Josep Luis Sert (1972). With Rainer Oldendorf and students, we defined a signage system composed in Garaje 0503 Monospace Black, used for the logotype I designed at the time. Letters were reproduced in 2 sizes, A4 and A6. Rainer Oldendorf and Gilles Picouet engraved litterally the concrete wall of the main entrance, to inscribe physically this 750-units grid on the building. The paper letters were directly stuck on the wall, to announce the events of the school, forming a continuous palimpsest.

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

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

Annual programme for the season 2018-2019 of Les 2 Scènes. The programme is developed in augmented reality : printed pages activate videos and online contents, via a specific app. 80 p.

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

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 1st volume shows the museum empty spaces, during the construction. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

A non-rectangular catalogue of Cécile Meynier exhibition Vlan ! At the Château Pertusier. With Nicolas Bardey. 32 p.

The visual identity of the Théâtre musical was based on an eye. In June 2012, the Scène nationale de Besançon joined two theatres, the Théâtre musical (Théâtre Ledoux, which interiors are all blue) and the Théâtre de l’Espace (all red), in one single institution. To communicate on this major change, I proposed to design a new identity in two spot colors, blue and red, and use anaglyphic glasses two see what’s happening in one place or the other: it was time to use both eyes. Text appears or disappears in the blink of an eye ! In the Pre-programme for the season 2012-2013, Nicolas Waltefaugle did a photo shoot in the stage decor workshop with the whole new team. Photographs are superposed too, to create mini-animations. 40,000 anaglyphic glasses were distributed with the booklets, and we even designed some fancy pairs with Adélaïde Racca. 32 pages

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 2nd volume shows the scenography of the Museum. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.