For their first collection at the creative helm of the renowned Venetian textile company Rubelli, Formafantasma tasked Apartamento Studios with designing the catalogue.

The publication is entirely typeset in ABC Marist, a warm take on a typographic genre with centuries-old origins leading back to Venice, mirroring Rubelli’s own history.

Rubelli’s logo appears to be the monumental Trajan.

Communication campaign for Karakter on the occasion of Milan Design Week 2024 under the creative direction of Apartamento Studios.

Much of the communications being centred around a printed magazine called Conversations, the brand typefaces A2 Antwerp and Neuzeit-Grotesk were a rather fortunate combination for editorial work, allowing for elegant typesetting at all sizes and a balance between modernism and expressiveness.

Identity work for Den, a brand born from a DIY spirit, offering architectural plans and ready-to-assemble cabin kits.

The sturdy logo is built from Futura Extra Bold — a quintessentially architectural typeface. As Armin Vit from Brand New best put it, “it’s as if The Flintstones and Dwell magazine had a baby”. The typography pairs ITC Franklin Gothic with Kleukens-Egyptienne FSL.

The main inspiration behind the design system is my dad’s home repair manual from the 1970s. Not strictly in terms of typeface choices, but the general spirit: pragmatic layouts with ample use of negative space and solid blocks, a rich color palette, and an overall sense of clarity.

The Field Guide makes extensive use of the no-nonsense graphic system and comes full circle with the initial visual inspiration for the project.

Illustrations by Florence Rivest. Find more images and information on Philippedb.com.

Product packaging

Product packaging

Reference: Manuel complet du bricolage, Reader’s Digest Selection, 1975

Reference: Manuel complet du bricolage, Reader’s Digest Selection, 1975

Field Guide

Field Guide, chapter opening

Field Guide, chapter opening

Field Guide, centerfold

Big logo energy

Book design for Université de Montréal’s Cyberjustice Laboratory. This publication concludes a seven-year research project aiming to help the justice system step up from its rigid and archaic ways into a more efficient system, while keeping humanity and accessibility at its core.

Cardinal Fruit, a recent typeface reminiscent of condensed humanistic typography in old computer ads (see Apple Garamond), seemed like an apropos candidate for a book about the balance between technology and humanity. It is combined with Suisse Int’l.

Illustrations by Julien Posture.

“Entre Pierre & Terre” (“between stone and earth”) is a series of four limited edition ciders for Loïc Chanut, a passionate producer with French roots dedicated to small batch, simple, quality products. Each product has their name typeset in a different typeface to reflect their own character – Copal for Cidre Bouché, Chap for Bulles Rosées, ITC Goudy Sans Italic for Vin Poiré, ITC Stepp for Bulles Houblonnées. The rest is typeset in Untitled Sans, with additional handwritten notes.

Caslon Expert Italic

A visual exploration combining typography and the infamous Bevel & Emboss Photoshop feature. The resulting typographic illustrations are compiled into a large newsprint publication to showcase their noisy texture and intricate details.

Guillon is used as the primary typeface while a few others get a special treatment.

Comic Sans on the left, Papyrus Condensed on the right.

Giddyup

Giddyup on the left, Caslon Expert Italic on the right.

Wigrum on the left, Bookshelf Symbol on the right.

Archives Hands

Zapf Dingbats

Optima on the left, Mistral on the right.

Poster for a show by singer Safia Nolin at the Francofolies de Montréal, summer 2017. Illustration by the brilliant Pony.

Guillon and Vells Mono in use for the Greystone exhibition held at the Canadian Centre for Architecture from October 2017 to March 2018:

The greystone buildings standing in Montreal today are essential tools for understanding the city. A deep study of their material history from the late seventeenth century to the early twentieth century demonstrates how geology, topography, politics, ethnicity, and culture, as well as changes in economy and technology, have shaped the city through the centuries. Conceived as a photographic mission conducted by Phyllis Lambert and Richard Pare through Montréal neighbourhoods in 1973 and 1974, the photographic series of greystone reveals the relationship between city growth, building type, and individuals.

Rejected poster proposals for a few gigs in Montréal

Wigrum gets its groove on in the 2018 ad campaign for La Seine Musicale, a brand new music and arts center located on the river in western Paris. Colorful piles of names constitute this season's image and underscore the wide variety of the cultural offer for the months to come.

The event posters shown on the website use Wigrum, too.

Released in last December by the Dead Oceans label, British pianist and composer Tom Rogerson’s album Finding Shore is graced by two honorable guests: ambient music legend Brian Eno, and the geometric Wigrum, nicely paired with abstract visuals on the cover art.

Ad campaign in collaboration with music label Bonsound and Frenglish speaking rap band Dead Obies to promote the last stop of their 2017 tour. The idea is raw and simple: plaster quotes from their songs explicitly referencing some neighborhoods and streets at said locations.

Formerly used on Montreal streets signs and historically tied to the tensions between French and English in the city, Hochelaga was an obvious choice to typeset and bring these lyrics back into the streets.

Concept: Dead Obies & Bonsound
Graphic Design: Feed

For this year's series of concerts, the Laval Symphonic Orchestra identity boldly plays with typographic and contemporary visuals composed in More Gothic and Guillon.

On the menu: movement, strength and intensity. Now let the fat lady sing!

San Francisco-based branding agency Character designed a sleek new image for Plume, a company offering WiFi pods that gives superior coverage and flexibility to your home wireless connection. Making use of warm, neutral colors, soft tactile materials and Wigrum as its typeface, Plume looks uncomplicated, elegant and familiar.

The wordmark was crafted bespoke to the brand, using bracketed serifs that pick up on the forms within the mark.

Super magazine is biannual magazine built on a theme that changes every issue. It is divided in three sections that are handled by guest editors which brings a great deal of variety of content into its numerous pages. Profusion, enthusiasm, collection, culture, curiosity.

Student project of which only 3 copies were made. Textual content was sampled from the following sources (Fantastic Man, Miami Herald, Monocle, Museum, The Oyster, Port, Vigilantic, Wikipedia, Wine Folly, Wine Lovers Page). The majority of photographs & illustrations are original creations except for these: Astronomy Picture of the Day, Bruno Staub & Bruce Weber for Bob Paris. I do not claim to own these images; they are used in a strictly educative & non-commercial way.

Quartz Co. is a hard working local winter apparel manufacturer with a spirited and ambitious new direction. They offer tough yet elegant coats designed to last through many of our cold, cold winters. Classic and quality designs that will bear with you from city to nature. That’s the Northern Spirit.

Feed has reshaped the whole brand with a new logo, new typefaces (say hello to Vells Mono), new crisp colors, product details, catalogues, photo direction and much more.

The campaign for the brand new season of Centre du Théâtre d’Aujourd’hui is the work of local agency Gauthier. As with previous years, the series of posters put forth striking and inviting portraits. And there is some Wigrum, used quite boldly. The result is very direct and shouts loud and proud.

A few years ago, the Centre du Théâtre d’Aujourd’hui introduced a new visual identity, designed by Cardell Studios, underlining the broadening of its artistic mandate. Alongside a surprising color and striking portraits, Wigrum plays the leading role of this brand. It is plastered virtually everywhere and endlessly rearranged into new and very distinctive patterns.

Poster design for a special event held at night at the UQAM Design Centre.

The Wigrum typeface was born in 2011, while Feed was working with Daniel Canty on the design of his novel, Wigrum. Sebastian Wigrum, a mysterious collector of everyday objects, vanishes from his London flat during the Blitz. He exists on the uncertain boundary between fiction and reality, between past, present and future, from West to East of a re-imagined Europe… The font that bears his name is imbued with a sensitive geometry inspired by the sans serifs of the 1930s and their future brethren, while allowing itself flagrant eccentricities.