Thomas Huot-Marchand
Typographie
Design graphique

  • 2011

  • Théâtre musical de Besançon — lumières

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  • 2011

  • Théâtre musical de Besançon — lumières

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A poster for the Théâtre musical de Besançon. The illustration is, as usual, very litteral : a crystal chandelier for a concert on the music of the Enlightenment. It is of course made of circles, and thanks to and thanks to a black pattern printed on the back, the chandelier lights up when the night comes, when the poster is backlit.

  • 2010

  • Théâtre musical de Besançon — abribus

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  • 2010

  • Théâtre musical de Besançon — abribus

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Posters for the Théâtre musical de Besançon.

  • 2013

  • Scène nationale de Besançon — Programme

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  • 2013

  • Scène nationale de Besançon — Programme

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

  • 2015

  • Biennale de Lyon — project

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  • 2015

  • Biennale de Lyon — project

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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.

  • 2018

  • Kantia — Artha 2

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  • 2018

  • Kantia — Artha 2

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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
  • 500 × 700 mm
  • Silkscreen, 2 colors
  • Lézard graphique
  • Typeface:
  • Metallic duotone Kantia
  • 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
  • 2010

  • Miqi O. Untold

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  • 2010

  • Miqi O. Untold

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Artwork for the 1st volume of the EP UNTOLD of my friend Miqi O. FKDB Prod.

  • 2015

  • Ici l’Onde — Programmes

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  • 2015

  • Ici l’Onde — Programmes

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Trimestrials programme for Ici l’Onde, for the season 2015-2016. In 2015, Why Note wanted to go back to its punk-indie roots, and get rid of the spectacular photographic effects used in the posters of the previous editions. I proposed a fanzine-like layout, using voluntary offsets and misalignments.

  • 2013

  • Ici l’Onde — Programme

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  • 2013

  • Ici l’Onde — Programme

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

  • 2012

  • Scène nationale de Besançon — Posters

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  • 2012

  • Scène nationale de Besançon — Posters

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Posters 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. These posters can be seen through anaglyphic lenses.

  • 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.

  • 2012

  • Scène nationale de Besançon — Prologue

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  • 2012

  • Scène nationale de Besançon — Prologue

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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

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