Thomas Huot-Marchand
Typographie
Design graphique

  • 2012

  • MM — Archéologies contemporaines

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  • 2012

  • MM — Archéologies contemporaines

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Catalogue of the exhibition “Archéologies contemporaines”, Musée du château des ducs de Wurtemberg, June – October 2012. 96 p.

  • 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
  • 2012

  • Scène nationale de Besançon — Programme

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  • 2012

  • Scène nationale de Besançon — Programme

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Annual programme for the season 2012-2013 of the Scène nationale de Besançon. An image never appears alone: two are superimposed, one in blue, the other in red, which creates surprising encounters. Despite the huge diversity of the iconography, often provided by the companies, this radical treatment gives a global consistency to the series. The programme is distributed with a pair of anaglyphic glasses, to animate texts and pictures in a glimpse of an eye. 132 p.

  • 2016

  • Cuillier × be-pôles

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  • 2016

  • Cuillier × be-pôles

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Wordmark for Cuillier, coffee shop in Paris. In collaboration with be-pôles Paris

  • 2008

  • Théâtre musical de Besançon — Identity

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  • 2008

  • Théâtre musical de Besançon — Identity

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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.

  • 2021

  • Les 2 Scènes — Programme

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  • 2021

  • Les 2 Scènes — Programme

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

  • 2022

  • Bordures 2022

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  • 2022

  • Bordures 2022

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Poster for the 2022 edition of BORDURES Festival in Langon.

  • 2015

  • Zutique

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  • 2015

  • Zutique

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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.

  • 2018

  • Kantia — Artha

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  • 2018

  • Kantia — Artha

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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
  • 2020

  • TPE — Programme

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  • 2020

  • TPE — Programme

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

  • 2003

  • VLAN!

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  • 2003

  • VLAN!

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

  • Le Pavé dans la mare
  • 200 × 300 mm
  • Offset, CMYK
  • Empreinte Imprimeurs
  • Typeface: Garaje
  • art CMYK
  • 2014

  • Émergences — Posters

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  • 2014

  • Émergences — Posters

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Gig posters of the 7th edition of the festival Émergences, a week dedicated to young creation in Besançon. Illustrations by Adrien Houillère

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