Les Playlists Urbaines

Roman Girardeau 2019 compact-disc 130 × 130 mm, digital print

This project of CD design is made for the sound experiences of Roman Girardeau. In his practice, the artist reflated urban noises and crowds with the help of sound effect made by mechanical sport objects. It has been produced on a limited edition of 30 CDs.

A.P.C. BAMBAM 11

A.P.C. 2019 visual identity digital and riso print, variable formats

Design of the invitation and the photobooth for the A.P.C. BAMBAM 11. Art direction, visual identity and video by Alice Trescarte and Pierre Consorti at Ohlman Consorti.

Mariza Aditore Antiquaria

Mariza Aditore 2019 visual identity typed in Antique Olive, 1962, Roger Excoffon

Mariza Aditore is an antiquarian and a self-taught silk-screen printer. She has a small shop stand in her hometown market where, every Monday, she sells her antiquary objects. We took this opportunity to create a visual identity and expe­riment screen-printing on different objects and elements. The printing pro­du­c­tion is all made by Mariza herself in her own in-house workshop. This workflow gives us a lot of time for expe­ri­men­ta­tion and discussion. We work remotely. Usually, I share 3D proto­types and mockups of the final expected result, she tests it and gives feedback about the outcome afterwards.

We started by printing useful objects for her shop stand, now we’re digging with goodies and more useless objects just for the purpose of trying things. More objects to print, more images to come. [Original scans, images and photos: Mariza Aditore; 3D simulations by me]

Cinéma Garage

Cinéma Garage 2019 visual identity typed in Franklin Gothic by Morris Fuller Benton

Visual identity proposal during the public poster competition for the future independent arthouse Cinema Garage, located in Chambéry in eastern France.

Kino Kino Kino Cinéclub

Roman Girardeau 2018 poster 841 × 1189 mm typed in Haas Unica, customised drawing

Kino Kino Kino a film club, which takes place in Clermont-Ferrand, focused on the scan­di­na­vian cinema. Since 2017, it is con­tinued by the artist Roman Girardeau in his own work­shop in the suburbs of the city.

The graphic system is based on a precise iconography extra­cted from nordic archives. The purpose of these images is to gather graphic docu­men­tations relevant to the theme and the period of the films.

Terra Incognita

Self-initiated project 2018 book 245 × 335 mm 128 pages typed in Bembo, 1929 by Stanley Morison; Theinhardt, 2009, François Rappo

This book is intended for those who seek information of the won­derful relation­ship between Antarctica and human­ity. As a child and still, I have always been fasci­nated by frozen land­scapes, inhospi­table lands and extreme geo­graphy.

Focusing on the expedition of sailor Robert Falcon Scott, I gathered incredible materials to publish. This book presents a selection of articles exclusively written by the professor and spe­cialist Paul Ward on his web platform Cool Antarctica.

When researching images of this era, I stumbled upon the histo­rical approach that was unfamiliar to me. Among all the detailed infor­ma­tion, I found an image bank full of unknown pictures from the expeditions: it was the complete collection of films of British photographer, Herbert Ponting distri­buted by the Scott-Polar Institute. I could not help but focus a part of my diploma on it.

Alt du är tillhör mig

Siri Vensen 2018 poster 841 × 1189 mm typed in Haas Unica, customised drawing

Norwegian artist Siri Vensen dedicates her practice to perfor­mative arts and theatre. She planned a presen­tation of her theatre project Alt du är at the HDK Hög­skolan in Göteborg.

Rekonstruktion der Zukunft

Spector Books 2018 book 165 × 235 mm 135 pages typed in Plantin, 2001, Monotype Design; Theinhardt, 2009, François Rappo

It was nothing less than the first step of a journey into a new dimension: when theatre reformer Adolphe Appia, father of Eurhythmics Émile Jaques-Dalcroze, architect Heinrich Tessenow, and artist Alexander von Salzmann met in Hellerau in 1911, their design for the Great Hall at the Festival Theatre created the ideal space for theatre in the twenty-first century. The stage built by Appia using flexible elements and von Salzmann’s shadow­less room of lights made it possible to explore completely new modes of expression and staging. Le Corbusier, van de Velde, and Mies van der Rohe all drew inspiration from this.

For Reconstructing the Future, the Appia stage with its original lighting design was rebuilt in the Festival Theatre for the first time, more than a hundred years after its con­ception. The project curated by Héctor Solari and the accompany­ing publi­cation make the histo­rical concept accessible to a con­tem­po­rary audi­ence and locate the Hellerau stage within the history of modernist theatre. [Text from Spector Books]

Ornament: tools and system

Self-initiated project 2017 thesis and publication 169 × 235 mm 144 pages typed in Sabon, edited by Linotype, 1986, Jan Tschichold

In the idea to challenge my attraction for moderate, minimal and straightforward design, I questioned the place of orna­ment in the field of graphic comm­unication, investi­gating my perso­nal subjective aversion towards the deco­rative.

Starting from my definition of functional orna­ment and accessory orna­ment, I decided to focus my reasoning on the main role and justi­fi­cations of decorative. Eventually, I admitted that ornament could be a creative tool. In order to accept the new re-emergence of ornament, I tried to justify this idea throughout my analysis. Besides these thinkings, I questioned the arrival of computation as insidious agent, a tool enabling orna­ments more easily.