This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

GODARD AVERTY. Petit et grand écran is a pretty book authored and designed by Paule Palacios-Dalens for the small French publisher Les éditions de l’œil. In this new essay the author reveals unexpected relationships of influence between these two creators who never formally met though they walked the same époque and scenaes.

From the publisher’s website:

As inventors constantly on the alert, the two men followed each other at a distance. Children of the letter and the book in the century of the image, they have in common the qualities of the printed word in their relationship to history and memory, and the permeability of media that is the norm today.

The book makes use of Borges (by Loche, PampaType) for the main texts, Borges Título Blanca for the headings, and Berthold’s Akzidenz-Grotesk (1896) for the pagination, footnotes, headings, and the like.

This book written by Vincent Amiel and published by the Paris-based publisher 202 éditions is about the film Andrei Rublev, made in 1966 by the then still young film legend Andrei Tarkovsky. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Bite Hard Wire (by Gleb Guralnyk).

This book recounts an interview that Jean-Luc Godard gave to film historian Michael Witt back in 2005. Its title translates to “Our music is everyone’s music”. Godard talks in depth about his then new film, Notre musique, which “explores the prospects for building bridges —both material and metaphorical, in Bosnia-Herzegovina, then recently ravaged by war. Referring to the violent history of Europe, the Amerindian genocide, and the Israel-Palestine conflict, the film offers a brilliant demonstration of the ‘principle of cinema’ outlined by the filmmaker in his fictional conference in Sarajevo: “go to the light, and direct it on our night. Our music.”

The book was edited in Paris by 202 éditions, and was designed by Paule Palacios-Dalens using Akzidenz-Grotesk (Berthold) in cover titles and interior subtitles, Borges for the main text and Borges Título Blanca for the interior headings (both by Loche, PampaType).

This beautiful book written by Jean-Michel Frodon deals with the work of the Japanese filmmaker Yazujiro Ozu. Treize Ozu. 1949/1962 was published in 2019 by 202 éditions, the Bordeaux-based independent boutique publisher of books on cinema. It was designed in Paris by Paule Palacios-Dalens. The typography is set in Borges for the main text and Borges Título Blanca for the section titles (both by Alejandro Lo Celso, PampaType) and Akzidenz-Grotesk (Berthold, 1898) for page numbers and other details.

Written by Michel Vianey, edited by Maurice Darmon and designed in Paris by Paule Palacios-Dalens, this is another little gem of a paperback book produced by the small independent publishing imprint 202 éditions. This book is part of the series dedicated to cinema, in particular to Jean-Luc Godard and the Nouvelle Vague movement.

The typography combines lettering from Godard movies with two period correct typefaces and a contemporary serif type family. Peignot (Cassandre, 1937) and Antique Olive Nord (by Roger Excoffon, Olive, 1962) are both used for section titles, subtitles, and other details. Borges (Alejandro Lo Celso, PampaType, 2002, revamped in 2022) are used for body copy.

Hiroshima dans la Blanche. L’introduction de Marguerite Duras au cinéma is a nice, little book authored by Paule Palacios-Dalens and published in 2015 by the French independent imprint 202 éditions. Part of a series dedicated to cinema, this text highlights Marguerite Duras’ first film script (Hiroshima mon amour) and the publication of its screenplay under Gallimard’s famous Blanche collection, which marks the beginning of a new literary genre.

Designed by the author using Architype Renner (The Foundry’s revival of Paul Renner’s Futura from 1927) in titles and subtitles combined with Borges (Alejandro Lo Celso, PampaType, 2002, revamped in 2022) for all main texts. Book interior photos by Nathalie Guyon.

Written by Jacques Aumont, edited by Maurice Darmon and finely designed in Paris by Paule Palacios-Dalens, this is another little gem of a paperback book produced by the small independent publishing imprint 202 éditions. This book is part of the series dedicated to cinema, this time on Godard and the Nouvelle Vague movement. It uses Antique Olive Nord (by Roger Excoffon, Olive) on the cover and for interior subtitles, Borges (Alejandro Lo Celso, PampaType) in the main text, Borges Título Hueca in the section titlings, and Akzidenz-Grotesk (Berthold) in the footnotes.

This is a very interesting book: a French essay that explores the relationship between graphic design and film editing, particularly within the works of Jean-Luc Godard. It also puts JLG’s graphic consciousness in relation to the inescapable figure of Maximilien Vox, who happened to be related to him. Researched, written and designed by Paule Palacios-Dalens. Edited in Paris by Maurice Darmon, 202 éditions. Set in Borges and Akzidenz-Grotesk.

Series of books written by Maurice Darmon dealing with the cinema of Marguerite Duras (1914–1996). The book interior photos belong to the first volume, La forêt des dames. Le cinéma de Marguerite Duras. 1964–1972. The five books were designed in Paris by Paule Palacios-Dalens and published by 202 éditions between 2015 and 2017. Section titles and quotes set in Margarita, immersive texts set in Borges (both typefaces by Alejandro Lo Celso, PampaType). Subtitles and footnotes set in DTL Nobel (originally by S.H. de Roos, digitally revived in 1993 by Dutch Type Library).

French activist magazine Prostitution et Société, nº 162, designed in Paris by Paule Palacios-Dalens, using Barnum Block (Dave West, Photo-Lettering) with P.T. Barnum (ATF) for the titles, Borges (by Alejandro Lo Celso, PampaType) in all main texts, and Antique Olive Nord (Roger Excoffon, Olive) in captions, phrases and other short texts.

The sans serif used in the footnotes is DTL Nobel (Andrea Fuchs, Fred Smeijers, Dutch Type Library).

The enlarged open quote marks are from Margarita Luce.

The monolinear script used for “citation” is Greyhound (Dave Farey, Panache).

Leaflet and street poster for a private course of Eutony, a somatic practice developed by Gerda Alexander that includes musical awakening, singing and piano. Designed in Paris by Paule Palacios-Dalens using Margarita for the titles and Quimera for all texts (both by Alejandro Lo Celso, PampaType), with Greyhound Script (by Dave Farey) on the cover and back cover.

This issue of the French activist magazine Prostitution et Société (“Prositution and society”) was designed in Paris in 2009 by Paule Palacios-Dalens, using Quimera by Alejandro Lo Celso, PampaType as its sole typeface family.

DVD packaging and titling animation designs for the short film Taxi Wala by director Lola Frederich. Designed exclusively with Quimera fonts (Alejandro Lo Celso, PampaType) throughout.

Issue 164 of French activist magazine Prostitution et Société, designed in Paris by Paule Palacios-Dalens, using Margarita, Borges and Borges Titulo, all by Alejandro Lo Celso of PampaType.