The cover design is by Atelier Baudelaire and Clément Frassi, based on a project developed with Jérémie Harper (GeneralPublic) in 2017 for the Salon de Montrouge.

Practical Grotesk is used throughout Three Dimensional Type. From publisher Counter-Print Books:

This compilation showcases the limitless possibilities of letter forms transformed into 3D objects of art. Explore the fusion of the familiar and the extraordinary as designers push the boundaries of perception and creativity. Discover the freedom from rules and guidelines, the integration of AI and advanced software tools and the exploration of texture, transparency, volume, form and colour.

With remarkable works by talented designers and insightful project descriptions, this book is both a handy source of inspiration and a snap shot of uncharted territory.

The softbound book has 200 pages measuring 190×265mm.

The spread design is by Counter-Print.

Video and performance artist César Cuspoca was born in Colombia in 1987 and died in Madrid in November 2022. This book, looking back on his oeuvre, was published by Sandrine Prévost-Servent in 2025.

Nicéphore and its alternative glyphs on Fanette Mellier’s cover

Art direction and editorial design by studio deValence for the Prisme Collection, directed by Tony Côme and Alexandre Dimos. The collection gathers long-term interviews of graphic designers, scenographers, architects, typographers, object and fashion designers, who share their experiences, memories, and working process. Prisme offers fundamental sources for understanding the role of the designer, told by designers themselves.

Shown here are the first three books published in this series. The cover and headlines are set in Nicéphore, while the footnotes and captions appear in Pachinko. Additionally, each edition features distinct typefaces for the body text: Tongari for Fanette Mellier (2021), Media for Étienne Robial (2022), and JJannon with Perec for Rudi Meyer (2023).

Published by Éditions B42.

Pyros is used for a book titled Silberner Fluss (“Silver River”). Designer Ellie Hochdörfer describes the project as follows (translated):

Leiko Ikemura's poems and thoughts have made their way into this bound form like the water gushing as it ceaselessly seeks its way. For once, her drawings are not the focal point. To draw the main attention to the written word, the drawings are reduced to the two colors in which the book is printed: neon yellow and indigo blue. the double-volume paper makes turning the pages a cloudy, soft experience.

In 2005, when he was a British School resident in Rome, Toby Glanville made a series of photographs. In 2019, Atelier Dyakova designed a book about this Roma series, using Almeria. The book remained unpublished. From the studio’s website:

Toby Glanville’s photographs have been published and exhibited internationally and are held in collections including the Victoria & Albert Museum, London; The Bruce Bernard Collection; The British Council & The National Portrait Gallery, London.

Classical literature publications inspire the design. The textured card of the cover resonates with the warm terracotta of Roman architecture.

Les Savoir-faire de la mode: Sources / The Crafts of Fashion: Sources covers various issues relating to know-how in fashion design and raises the crucial question of sources. From publisher Éditions 42:

Fashion encompasses a vast array of professions and crafts, and as many singular histories; how can we think about this object of study when faced with the diversity of the practices that make it up? Plaiters, tailors, embroiderers, and other model makers, often anonymous, animate the worlds of fashion and their technical cultures, but how is this technical knowledge, which is also “knowledge of the body”, studied, preserved, and transmitted? This volume looks at the existing anthropological and historical traditions in this field, and examines current methodological innovations that enable us to understand this dynamic, little-explored area of research.

The contributions that make up this book were given in the form of lectures as part of the research seminar Chaire CHANEL et le19M des savoir-faire de la mode at the Institut français de la mode.

The book was published in French and English editions. It was edited by Émilie Hammen, with translations by Phoebe Hadjimarkos Clarke, has 232 pages and measures 190×250 mm.

Cover of the English edition

For the creation of the visual identity of the Ron Mueck exhibition at Fondation Cartier, deValence focused on the monumental nature of the artist's work.

It was this physicality that they transcribed onto all graphic media to create a coherent overall project: creation of communication media, design of digital communication, signage and monitoring of the original creation of a soundtrack with composer Pablo Altar.

The main typeface used for all design is Nicéphore. The serif used for secondary information is Untitled Serif.

Sarelly Creativo Lab is the beauty branch of Sarelly, a Mexican brand that seeks to offer an unprecedented experience of fashion, makeup and personal expression. They create versatile pieces that reflect your mood, while celebrating beauty beyond appearance, using fashion and makeup as powerful and fun tools to express your true self.

The Sarelly logo is based on Nicéphore with a custom initial s. “Creativo lab” is added in Gortex.

Liberation Day is –

the first short story collection in ten years from the Man Booker Prize-winning, New York Times-bestselling author of Lincoln in the Bardo.

MacArthur genius and Booker Prize-winner George Saunders returns with a collection of short stories that make sense of our increasingly troubled world, his first since the New York Times bestseller and National Book Award finalist Tenth of December.

The British hardback edition was published by Bloomsbury in October 2022. It has 256 pages and measures 234×153 mm. Greg Heinimann’s jacket design “features a flock of illustrated gloss black geese, and hailstone endpapers which feature a pattern of whiskey ice moulds from [his] freezer.”

For Promotional Use Only is a collection of film promotion memorabilia from A24 featuring over 160 artifacts from Hollywood marketing excess and ingenuity.

Order worked with the A24 team and photographer Brian Kelley to document and chronicle this unique collection celebrating the boom-era of movie promo from 1975 to 2005.

Words from A24:

A Twister neck tie. A Stepford Wives frisbee. An embroidered satin jacket for The Color Purple.

With these and 160+ more artifacts of Hollywood marketing excess and ingenuity, For Promotional Use Only celebrates the boom-era of movie promo from 1975-2005. Featuring a foreword by Roger Corman, an essay by Lindsay Zoladz, and an oral history by Caroline Golum.

8.5×11 in., two-color silkscreened buckram cover, silkscreened clear PVC jacket, 236 p.

In 2022, studio deValence started a new collaboration with Reporters sans frontières (Reporters Without Borders) for the art direction and design of their Album collection. The first edition of this new collaboration celebrates Patrick Chauvel’s work as a war photographer.

Thirty years ago, Reporters Without Borders published the first issue of its “100 Pictures for Press Freedom” series. The cover featured a young war photographer who had been seriously wounded in Cambodia while reporting on a story. The man with the brown curls in that iconic image was Patrick Chauvel. Thirty years later, RSF has chosen to pay tribute to this legend of the profession.

The typefaces used by deValence are Mercury (by Hoefler & Co.), Almeria, Smithee Extra Condensed (both by Apex Type Foundry), and Dada Grotesk (by Optimo). 144 p., 210×280 mm.

Since 2019, Catalogue Général (Jean-Marie Courant & Marie Proyart) have been designing the books of the “Icônes” series, directed by Jean Cléder and Emmanuel Tibloux and published by Éditions Les Pérégrines. Ten volumes have been released so far, each with a specific typographic treatment for the titles on the front cover.

Introduced to music by his father, a pianist, and his mother, a jazz singer, Prince was a precocious musician. A talented multi-instrumentalist, he landed a contract at the age of eighteen to become a songwriter, composer, performer and producer in his own right. A real workaholic, he quickly became a major musician and singer who turned the music industry upside down.

Fascinated by his charisma and his genius, Gerald Petit retraces the construction of this prodigious destiny and takes us along in the wake of this artist who never ceases to surpass himself and multiplies his wanderings between a public confirming his aura and a critic sceptical by dint of his unpredictability.

Gerald Petit offers a fine analysis of the strategy of conquest of this beast of the stage who, relentless businessman by day and creative machine by night, is constantly on the lookout and never misses an opportunity to perform.

Prince was published by Éditions Les Pérégrines in April 2022. The book has 156 pages and measures 120×192 mm. Kellar (Apex Type Foundry) is paired with Adobe Caslon (Carol Twombly).

Title page

Interior spread

Soutenir – Ville, architecture et soin (“Support – City, architecture and care”) was published by Pavillon de l’Arsenal at the occasion of their homonymous exhibition. Words from the publisher’s website (translated from the French with DeepL):

The history of care, and the history of the places of care that accompany it, is a history of support; the history of places and architectures that hold and support us, rather than detain or contain us - even if the history of these places, those containing rather than holding, is to be told at the same time, for it is in fact often the same. Several of the examples in this book illustrate this ambivalence, such as a bucolic sanatorium built in the Vexin Forest in the 1930s, and transformed a few years later into an internment camp. This book reports, in seven complementary times and whose order does not count so much, seven dimensions of the history of the relations between care, city and architecture.

The book was edited by Cynthia Fleury (philosopher and psychoanalyst) and SCAU (architects’ collective) and designed by deValence, using Dutch 811 (Bitstream), Almeria (Apex Type Foundry), and F Grotesk (RP Digital Foundry). It has 304 pages and measures 250×300 mm.

Each issue of Sphères magazine explores a community of enthusiasts to tell its great stories. After pipe smokers, re-enactors, dancers or horsemen, the last issue focused on the climbing community.

In autumn 2022, Sphères published the first issue of a new quarterly series on French regions: Sphères Régions, with “les Basques” as a theme.

Art direction by Mathias Benguigui and Théo Miller, who worked with Smithee Extra Condensed (Apex Type Foundry) and Minotaur Sans and Minotaur (both from Production Type) throughout the magazine.

Smithee and Acumin are the main typefaces in the visual identity of Dodge – “a new all natural, non-carbonated functional beverage you drink after drinking to dodge rough mornings”. The brand was launched by Alec Balcombe and Braeden Leahy, who hired Megan Elizabeth Perkins for their visual identity. The Brand Identity cites Perkins about her typeface selection:

I’ve customised Smithee significantly to achieve the consistent slant and back slant angles,” [...] “This type treatment is supported with a complimentary, more legible condensed font in Acumin,” Perkins notes, with further supporting typography coming in the form of Use & Modify’s serif Redaction for the identity’s body copy.

Freedom of movement is the central idea that informs the brand, visualised through a dynamic, slanted typographic system that dodges, and changes direction across the range. The bold, playful solution is designed to appeal to young go-hards and young parents alike. Its eye-catching typographic presence on the shelf is paired with a quenching, optimistic palette and a photographic style that feels like a bright new day.

Photography by Jesse Hunniford

Écrits d’artistes sur l’économie, une anthologie – de modestes propositions is a book developed under the direction of Sophie Cras, designed by deValence and published (in French) by Éditions B42.

Contributors: Joseph Beuys, Burkhard Brunn, Luis Camnitzer, Sophie Cras, Öyvind Fahlström, Robert Filliou, Roger Fry, Jack Green, Núria Güell, Raoul Hausmann, Isidore Isou, Asger Jorn, Vassily Kandinsky, Yves Klein, Pierre Klossowski, Mierle Laderman Ukeles, Kasimir Malevitch, William Morris, Jimmy Morrison, Giuseppe Pinot-Gallizio, Charlotte Posenenske, John Ruskin, Joe Scanlan, Allan Sekula, W.A.G.E. (Working Artists and the Greater Economy).

From the publisher (translated):

What happens to the economy when it is thought, invented and dreamed by artists? It is not well known, but many artists, from the end of the 19th century to the present day, have been economists for a time, going so far as to write treatises whose stated ambition was to renew the discipline from top to bottom.

Whether they were trained in economics at university, built their theoretical conception of art in dialogue with economists, or elaborated a theoretical system in their own right, these artists give us a rich and singular vision, both of the economic thought of their time and of current issues. Value, work, money and capitalism – so many themes scrutinized and revisited by these texts, of which the present work proposes to make the anthology.

Format: 156×240 mm. Pages: 240.

Granit Display (Apex Type Foundry) is used as titling typeface. Running texts and notes are set in Untitled Serif and Untitled Sans (Klim Type Foundry).

Alex Chavot created the designs for the 10th anniversary of concert venue Petit Bain in Paris (“10 piges” is French slang for “10 years”). The design is built around a key visual from which the ten concert events – taking place all year round to celebrate – are derived. For each event, the name of the artists are set in a tight composition and a completely new surrealistic visual is created with “pieces” from the main poster.

Good Girl by Marion Bisserier (Type Department) is paired with Yoann Minet’s Clifton (205TF) and Practical Grotesk (Apex Type Foundry, designed by Alex Chavot).

Trend Mook is a design magazine created for the September 2018 edition of interior design fair Maison&Objet in Paris. Themed “Virtuous”, this issue was designed to be a tool of stimulation, analysing current trends and exploring major evolutions in society.

The publication was designed by deValence, using Kellar for titles, supported by Girott. The text typeface is Quadraat, with F Grotesk for pull quotes, captions, and the like.

All dressed in chrome and fluo, Hugo Capron is the first monographic work on the French artist Hugo Capron. Without front or back, its layout is based on a rigorous central symmetry: the French and English texts, the series of texts and photographs, all echo each other on both sides of the book, referring to the mirrors, repetitions and reflections which can be found in Hugo Capron’s work.

Designed by Atelier Tout va bien, 170×235 mm, 64 pages, 400 copies, bilingual. The book is produced with the support of the DRAC Bourgogne-Franche-Comté, Adhex Technologies, Centre d’art contemporain Passages and Interface gallery, Dijon (France).

Almeria is used throughout.

Exhibition catalog published by Mousse Publishing:

Produced for the first-ever solo museum exhibition by American artist Jennifer Guidi, held at Museo d’Arte Contemporanea di Villa Croce in Genoa, Visible Light is a series of paintings embodying a contemporary reinvention of the spiritual power of abstraction. Using an absolutely personal technique involving sand on canvas and drawing on her deep research into gesture and color, the artist creates two-dimensional sculptures in which light and texture interpenetrate to create remarkable tonal effects and designs. Guidi’s large canvases fill the rooms of the villa with saturated, spectral colors and abstract compositions, evoking new forms of interaction between each vibrant tone and the space it inhabits. The paintings emerge in an intuitive way, without any preliminary design, simply by Guidi repeating the same gesture in an automatic manner, as in embroidery or mandalas. The publication presents a conversation between Jennifer Guidi and Ali Subotnick, a critical text by Ilaria Bonacossa, and extensive visual documentation of the works on view at Villa Croce.

80 pages, softcover, 24×29,8 cm. All typography uses Pyros.