With immersive media, the choice of destination matters much more than an infinite scroll on social networks. And this is how the programmers of Elsewhere scoured the map with their senses, coming back with a selection of initiatory, exotic trips, possible drifts in the land of a new understanding. The poetics of Rimbaud's “long, immense and reasoned derangement of all the senses” scrapes together with the visions expressed by new travel technologies in the era of the controlled carbon footprint: virtual reality, augmented, mixed, sound spatialization, interactive screens, interactive virtual worlds ...

The festival logo shows a skewed Apoc. The bilingual website is largely typeset in Apoc, too. It’s used for headings, the menu and text, and is discreetly accompanied by Roobert for the technical information or the tags.

Launched in summer 2020, Nique – la radio (“Fuck – the radio”) is both a webradio station and a podcast label. From nique.radio (translated):

Nique – la radio has one conviction: microcultures and subcultures are porous, and influence society as a whole. Nique does not consider any subject as secondary, as niche, or as illegitimate, and will stick its nose wherever there’s culture.

Simon Sek designed the identity and website for “the badass audio media, the podcast brat”. For the logo, he used the original style of Nonplus by James Edmondson of OH no Type Co. LTypI fans might bemoan the missed opportunity to use another recent OH no release named Swear. I’d argue that Nonplus is a formidable choice for swearwords, too. With its extreme weight, the bold semi-connecting script lends itself to visualizing graphic language. And its filled-in counters that hamper legibility a wee bit are the typographic equivalent of muttering something under one’s breath. A first version of Nonplus was made available in June 2019 via Future Fonts. It’s currently at v0.2 which added a light monoline style. The accompanying monospaced typeface family is likewise a Future Fonts release: VCTR Mono by Lizy Gershenzon serves for all text, in several of its six weights.

The Nique – la radio page on Soundcloud.

The Nique – la radio page on Instagram.

Nique – la radio launched a collaboration with Gaîté Lyrique. Sonique – le studio is “the production company backed by Nique – the radio: a sound agency, specializing in narration and innovative audio production, editorial and strategic support, as well as the immersive sound experience.” The logo of this spinoff uses the same typography.

Since 2020, Large is in charge of the visual identity of La Gaîté Lyrique, a cultural institution in the heart of Paris devoted to digital and media culture. For the Paris Podcast Festival, La Gaîté Lyrique launched a series of podcasts entitled Il était des voix (“Once upon a voice”). The editorial direction is focused on making voices heard that are usually silenced in public space, such as those of disabled and mentally ill persons, or of persons with accents considered marginal to the French language.

The special identity created for this podcast series uses the latest release of Production Type, Enduro, designed by a member of Large, Emmanuel Besse. The identity exists solely in digital form and is aimed mostly at social networks. The straightforward design of Enduro and its use in the Condensed version give stability to the title of the podcast and succeed to evoke a space for the unheard through the thickness of its shapes. The association with pulsating colored circles reminds us of sound waves and gives life to the voices even when there’s no sound added to the visuals. Furthermore, this simple graphic design keeps an abstraction that’s welcome for representing a non-visual medium while being visually impactful and evocative.

Enduro is paired with Dinamo’s ABC Marfa, which is the typeface used for the standard identity of La Gaîté Lyrique.

Homepage.

La Gaîté Lyrique is a cultural venue by the City of Paris. Opened in 2010, it is dedicated to highlighting post-Internet culture. Artistic practices that originate online are exhibited here, but also are imagined, produced, experienced and transmitted. Gaîté Lyrique aims to be a space of discovery, for understanding our virtualized era. It is also a place of celebration, creativity and sharing.

The new visual identity was developed by Large, with a logo designed by Yorgo&Co. The website was made by Matter of Fact. ABC Marfa, an upcoming sans serif by Dinamo, is used throughout, in several weights.

Logo variant referencing captchas, self-description with inline images.

About page.

Article teasers. On hover, the whole text gets italicized, see center column.

Event detail.

Event detail.

Menu.

In 2013, Chevalvert studio designed the visual identity for the second edition of Fabfest, a cultural & technological innovation festival taking place at la Gaîté Lyrique, Paris.

The identity is built around abstract geometrical shapes, a RGB colour palette and an early beta version of Simon Renaud’s Tuner typeface, used across all the communication: program, posters, flyers, illustrations, signage and webdesign. Tuner, although looking monospaced is actually a proportional typeface, but this gimmick allowed Chevalvert to mimick programming code in their design: HTML tags, slashes, dashed lines, duplicates glyphs…

The A5 program booklet unfolds into an A2 poster devoid of any glyphs.

Tuner has since been slightly redesigned for some letters (Q R W a w), refined and expanded to a complete family with matching obliques and is now available at Production Type.