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

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.

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.

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.

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

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.

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.