As a part of the creation of a new publication for the Parc naturel régional des Landes de Gascogne (Pnr), I worked on a graphic rebranding in collaboration with Gabriel Bord (editorial design) and Nono Ampuy (illustration).

We wanted to make the magazine clearer, closer to the inhabitants and the numerous activities of the park, with a specific focus on pedagogy developed with the help of the technical team.

I used three typefaces to represent the different nuances and atmospheres in the publication, as well as to provide some visual contrast.
Mighty Slab (2016) by Ryoichi Tsunekawa of Dharma Type (Japan): for its graphic strength giving the publication a special soul.
Aller (2008) by Marc Weymann of Dalton Maag (UK): for all my current texts.
Knockout (1994-2000) by Jonathan Hoefler of Hoefler & Co. (USA): for titles on pedagogical or technical parts.

See the Behance project page for more images and information.

A new visual identity with different bottles for L’eau des vivants, a traditional French distillery from Lyon-Beaujolais. The distillery’s founder, Florent Vilisques, pays particular attention to the ingredients – they are carefully chosen and used, with the idea of keeping a consistency with the local habits, and the regional species.

In order to account for this fineness and this authenticity, we have elaborated a complete and illustrated artistic direction. It was important to reach passionate people with a strong typographic message, counterbalanced with elegant details in illustrations. Theses graphical contrasts bring deepness and a level of lecture to better discover the different levels of ingredients that composes the bottle. Each range is worked with a different colour and illustrated universe in order to have its own identity. This is a collective and creative approach which allowed the collaboration between several types of job to bring life to these products! Cheers!

I used a French condensed typeface to allow a great flexibility. With its five widths, Origin Super Condensed can be used different mediums to have an efficient typeface footprint that adapts very well to the constraint of a seven-letter mark. Frequently used in the packaging world or paper-making industry because of its accuracy, elegance and clarity: Sackers Gothic was my choice to contrast with the main typeface.

Adobe Jenson is Robert Slimbach’s modern interpretation of the 15th century original created by Nicolas Jenson, a French printer and engraver. I thought that this typeface, classical in appearance, but also traditional and with imperfect aspects, would be perfectly suited to the body text.

Illustrations by Nono Ampuy and photographs by At the design table.

Some knitting, a wool ball, a skillful and focus monkey, here are the foundations of the new identity of “Le singe qui tricote” (“The knitting monkey”). With the help of Marion Hermet (a creator from Lyon) and illustrator Nono Ampuy, we thought about an identity which could renew the image of knitting and represent the studiousness necessary for crafting it. This relaxing, manual, and creative activity needs an identity which stimulate the desire to launch into it!

The monkey represents the creator comfortably snuggled up to shape her new creations. The rounded ball of wool serves as a body for the hidden monkey and emphasizes the importance of the ball of wool which is the raw material to realize multiple creations. The monkey tail is shown by a simple thread going out from the wool ball. The whole thing is sober and draws its inspiration from traditional Japanese elements like the seals (hanko/inkan), or the bow belts (taiko musubi/obi) in order to adapt later the content to various format.

To avoid the pitfall of typefaces classically used for knitting and to revisit its image, we have opted for a non-gender-oriented visual sense, and used two typefaces:

To give a new image to knitting and give it more character, we have chosen Viksjø by Monokrom. This typeface is mainly of architectural inspiration, but also includes a research directed towards bringing some round shapes to severe and stiff lines. By using it only for its’ warm and original shapes we take somehow the opposite view. To complete the identity and bring real comfort to the reading, I used a traditional Elzevir (a serif font), Spectral by Production Type, including characteristics which allow the typeface to be rendered perfectly in a website. The typeface is inspired from François Rabelais’s book The most horrific life of the great Gargantua, father of Pantagruel (1534).