Le Grand Jeu is an independent Parisian bookstore, creative agency, and editorial platform located in the heart of the 11th arrondissement, between Oberkampf and Ménilmontant. It is known for its carefully curated selection of books, magazines and zines dedicated to street cultures. The bookshop is the place to go when searching for publications on graffiti, street art, skateboarding, surfing, sneakers, street fashion, photography and contemporary art. The team, guided by Christian Omodeo, sources titles from both major and independent publishers in France and abroad, and everything available in the shop can also be ordered on their website.

Beyond its physical space, Le Grand Jeu also works as a mobile bookstore and a cultural agency. Since 2015, the team has collaborated with institutions, brands and events across Europe, curating exhibitions, producing books, organizing events and contributing to international fairs such as Art Élysées, the Paris Surf & Skate Film Festival, and the Moniker Art Fair in London and New York. Guided by a strong passion for street culture and contemporary art, they continue to bring hard-to-find content and engaging cultural projects to a growing audience.

From spring 2019, under the designer Eliot Valdejo in collaboration with the in-house team of Le Grand Jeu, the bookshop and agency used Swiss Typefaces’ BRRR and Riviera as the core of its visual identity. The two typefaces were applied consistently across the shop sign, printed ephemera, website, and social media posts. The pairing formed a typographic system centered on contemporary type as its primary expressive tool. BRRR, with its angled terminals, subtly echoed the chisel-tip markers associated with street writing, while Riviera provided clarity and a contemporary neutrality. Together, they balanced expressiveness, legibility and a contemporary tone that reflected the core character of the bookstore.

This identity was discontinued in fall 2025, following a rebranding led by Paolo Proserpio.

On the website, BRRR and Riviera are paired with Nunito for the navigation menu.

The Alphabet of Influence is a book project developed by creative directors Young Emperors, exploring the notion of influence as a fluid and collective language shaped through social media. Conceived as both a photographic and editorial project, the book brings together twenty-six creators from around the world, each associated with a letter of the alphabet, forming a shared narrative rooted in online communities and creative exchange.

Originally developed on Instagram, the project translates a digital ecosystem into a physical object, questioning how influence is produced, perceived, and embodied today. The book was produced with the support of Instagram’s Drafts program and involved an international production process spanning photography, editing, writing, and printing.

Editorial direction was led by Blake Abbie. The publication was designed by Studio Marie Lautsch, with custom letterings by Lucas Descroix. Texts are set in Plain Form’s yet unreleased Ferro.

The book features French folds, introducing a layered reading experience, all texts remaining deliberately hidden until pages are cut open.

Designed by studiokwi, the Moms@Science project, based at the Freiburg University of Education, focuses on innovative scientists with children. It helps to make the stories, challenges, work, and achievements of successful and innovative mothers in science visible and accessible to a broad (specialist) audience.

A colorful and playful project design forms the basis for everything the project will develop in the coming years. 👀

The font in use is ALT Picaro by Ellen Jonsson at Alt Type.

Make Some Noise Season 3 poster, with the title set in Trade Gothic Next. Pictured are guests (starting from top left corner, in clockwise order) Kimia Behpoornia, Carl Tart, Josh Ruben, Vic Michaelis, Zac Oyama, Jacquis Neal, Jess McKenna, Lou Wilson, Jacob Wysocki, Anna Garcia, Jiavani, Ross Bryant, Jeremy Culhane, Paul F. Tompkins, and Brennan Lee Mulligan.

Make Some Noise is an improvisational comedy game show hosted by Sam Reich on the streaming platform Dropout TV. The show originated as a series of episodes on the platform's panel game show Game Changer, where contestants Josh Ruben, Zac Oyama, and Brennan Lee Mulligan find themselves in a sound effect impersonation game that quickly goes off the rails.

Make Some Noise has its logo, improvisational prompts, and cast info cards set in Trade Gothic Next, and starting in Season 2, an end-of-episode credits roll set in Proxima Nova.

Screenshot of Season 3, Episode 19, “A Takedown of Billionaires Rihanna, Beyoncé, and Oprah”.

Pictured: Sam Reich smiling gleefully at his desk, with the episode’s title prompt displayed on screen in Trade Gothic Next Heavy Compressed.

Screenshot of Season 3, Episode 12, “A Basketball Player’s Far Too Elaborate Free Throw Routine”.

Pictured: Ben Schwartz talking to someone off-screen in a doorway, with his name, pronouns, and Instagram handle displayed in various styles of Trade Gothic Next.

Screenshot of Season 2, Episode 1, “100,000 Batmans”.

Pictured: An out of focus Make Some Noise set with the episode’s end credits set in Proxima Nova below.

Contemporary Type is a new curated font shop I initiated featuring typefaces from my new foundry Flight Mode and made possible by a selection of outstanding designers and indie foundries: Arrow Type, Daria Cohen, Fantasia Type, Morula Type, Plain Form and Rüdiger.

The website’s interface typography is set in the Text and Display cuts of FL Rare and FL Rare Cursive, which I designed as a custom type family for this project.

Contemporary Type is a tiny team. Founded by Alex Slobzheninov, the website was designed by De Ramos & Serch with a welcome screen by André Burnier.

“Cursing Bookmarks” is a self-initiated project designed by Maryna Zevako, part of the communication design class of Professor Lucienne Roberts at the State Academy of Art and Design Stuttgart.

Set in HAL Four Grotesk, published by HAL Typefaces, the bookmarks were lasercut from 300 g/m Ultramarin Fotokarton.

The book in the image is ENDCOMMERCIAL: Reading the city by SBA/Scheppe Böhm Associates, Hatje Cantz 2002.

Description of the project DesignTalks.live on the Code Switch website:

A platform for designers to stay connected from home during Covid-19.

After missing some interesting live streams (often the notifications just pop-up in my feed when they start) I realized I might not be the only one and that other people might benefit from a platform that would let the design community know about interesting events and conversations about design and creativity happening online in advance in a more orderly and predictable fashion.

DesignTalks.Live was a social media based platform to help the design community stay connected while working form home. We all listen to podcasts and watch pre-recorded webinars, but there is something about the honesty of LIVE, unedited, unpolished conversations that creates a sense of true connection in real time.

DesignTalks.Live was awarded an honorable mention in Fast Company's 2020 Innovation by Design Awards.

The social media visuals are set in Briefcase Type Foundry’s digital revival of Orion by Stanislav Maršo.

T-shirt and tour poster for musician Mal Blum. Graphic designer and musician Karl Kuehn utilized Gayot New as a display type for the artists' names and the monospace-inspired MVB Margin for supporting text.

Hot Little Pool aims to explore the relation of analog, digital, and virtual forms of expression within the visual arts. The very center of Hot Little Pool builds a network of young artists (which is to grow successively), whose artistic focus and research is right at the intersection of these fields.

The first exhibition titled Hot Little Pool Vol. 1 was presented in December 2022 at Lobe Block, Berlin, with 17 participating artists.

All Eternity is an expressive typographic calendar designed by our studio and distributed as client and collaborator gift to kick off the year. Conceptually, the calendar focuses on the subject of time, with each month typographically depicting a saying or famous quotation about the value and importance of time.

Tobias Bolliger designed a poster for a gig by Asquith + Luz1e at ISC Club in Bern. From Resident Advisor:

The former “International Students Club” is a concert and club venue close to the main train station in the center of town. It offers reduced entrance fees to members, membership is open to anyone.

The poster is set in Bastardo Grotesk, taking advantage of the rich set of glyphs included in the typeface.

Is reading tweets different when they are part of a book? Does context change the tone and scope of your ideas? Explore what happens when content that is ephemeral by nature is preserved in printed form. This book is both an archive and an irony; an object that quickly becomes obsolete, given the exponential speed on which online content is generated every day, but also an artefact that is always there to remind you of your brief passage on the overwhelming flood of information.

“A tweet history” is a mechanism for frustrated writers to have a published book with their names on the cover, a way for narcissists to encapsulate their own thoughts in a physical object and a strategy to fill that empty space in your modest library. Shown here is a tweet history for President Donald Trump, but anyone with a tweet history could have their personal tweet history bundled through Odd Publications.

This randomly generated “book contains two months of Donald Trump’s tweets (which comes down to about 450 tweets) and is almost 600 pages thick. All the loaded content is chronologically ordered, but processed with aleatoric combinations, which leads to unexpected and interesting results. It contains tweets, quotes, photos, stats, a hashtag index and a reference index.

Throughout the book we did not want to show the hashtag # and at @ symbols in front of words. We want that the user engages with the content more as if it were literature than a transcription of internet language. Every hashtag and reference is henceforth shown in Italics. When there is a reference, a small @ symbol is shown at the end of a tweet. The hashtag index at the end of the book shows which hashtags were used and the references show whom the user reached out to.

The line that goes through the book is a compound element between retweets and likes, and shows the reach of each tweet in terms of popularity. The higher the line goes, the more reach and popular a tweet is.

Designed by Jaap Smit and coded by Darien Brito

ITC Century (Light Condensed and Italic) is used throughout.

Invitation folder for Barry Deck lecture in Oslo and Bergen in 1995
15.5 × 15.5 cm, 6 pages, folded
Printed in silver and dark brown/red

Halvor Bodin:

… invited Barry Deck while at the board of Grafill Oslo. In addition to the lecture in Oslo and Bergen we initiated a lecture in Stockholm in collaboration with Cap&Design, SGD and Fontshop Sweden. In the aftermath an interview with Barry Deck was the cover story for Cap&Design with the legendary capture: “Designers hinner inte med sex”.

One side designed by Halvor Bodin (Megafon) and other side designed by Christian Leborg (EGG). Both sides have the same information but as an experiment in readability and to pinpoint the theme of the lecture and the following debate we wanted to do two different designs to juxtapose different design languages. In addition it was to meet the critique we got from Grafill-members for the “unreadable” invitations sent out from the Oslo group. Funny enough this invitation got even more negative reactions. I could hardly believe it…