In 2020, I worked on a major book for École nationale supérieure d’art et de design de Nancy. The topic is more than current in 2021 since it tackles temporary habitats and emergency systems. It gathers texts from the symposium “Identités du transitoire”, held by ENSAD Nancy back in 2015, but also new ones intended for the publication.

The slightly grainy paper used for the cover has an earthy orange tone that echoes red stone, a central element in permanent habitats, as a way to include this publication in a series of theoretical and practical works that contribute to a permanent evolution of the practice.

El cava elaborado en Requena is a compendium of more than 200 pages, celebrating 40 years of Cava production in Requena, written by José V. Guillem and illustrated by Miriam Ortega.

Our typeface selection was focused on getting a nice contrast between two classical fonts on the book block and an extra touch in the section titles. The pairing of Suisse Int’l and Chronicle (Text G1) along the text was OK for us, flexible to include a huge amount of text and consistent to keep a fresh visual identity we wanted to show. The use of Ogg Display Regular in a big size gave us this extra soft touch, some kind of chic façade if you want.

Printed in Gráficas River, Valencia, on different paper stock: Popset by Arjo Wiggins, Arena Rough by Fedrigoni, Matt 93 by Gmund Paper and Royal Blue by Colorplan.

Le Coucou is a five stars hotel in Méribel, France, with interior design by Pierre Yovanovitch. The visual identity was designed by GeneralPublic, using Traulha Jornau and Italica, plus its sans-serif companion Traulha Lineara.

Student project for the Sam Fox School of Design & Visual Arts in Saint Louis, USA.

A book editorial investigating Walt Disney’s Opening Speech for Disneyland on July 17th, 1955. The book contains the Disneyland Opening speech interspersed between two supplementary articles to provide greater depth into the Disneyland’s opening day.

I wanted to use supplementary text to reinforce my theme investigating Walt Disney’s idealizing speech. With this in mind I selected “Disneyland got off to a nightmare start in 1955, but ‘Walt’s Folly’ quickly won over fans” by Brady MacDonald and “How Disney Came to Define What Constitutes the American Experience” by Bethanee Bemis. The two articles intend to mark the enormous political and influential power Disneyland has over the American image. I used two separate typographic treatments to present Disney as it’s stereotypical magic filled image, yet contrast that said into a more serious editorial.

I included Disney drawings sourced from “The Illusion of Life” by Ollie Johnston and Frank Thomas to serve as the beautiful imaginative part Disney prides itself upon and highlight the drawings during spreads featuring the speech.

Traulha used by Atelier Tout va bien for the fifth edition of Festival MV in Dijon, France. Typographic borders and rules are used extensively on the flyer and, as image, on the festival poster.

Website. Instead of building a website, online visitors can scroll down a long .svg picture with the program, based on the flyer.