The French Federation of Mountaineering and Climbing (FFME) is the organization responsible for the development, supervision, and promotion of mountain and climbing disciplines in France, from leisure to high-level competition.

This communication was designed ahead of the 2024 Olympic Games in Paris to introduce sport climbing to the general public and to support its promotion in the Olympic context, during an event organized in France. Ginka (from lift type) is an important element of the project, used as the sole font for both title and secondary information, thanks to its versatility.

Concept and art direction for the Nike Paris showroom, created for the launch of the Fall 2024 collection. A project covering all visual and spatial aspects of the space – from the design of a central furniture piece to graphic treatments, material choices, product staging, and the creation of a coherent atmosphere aligned with the brand’s identity.

The typographic system – combining Palatino and Neue Helvetica – was implemented in line with Nike’s existing guidelines, contributing to the overall clarity and balance of the visual identity.

Art direction: Victor Carboni & Gabrielle Jabarnia
Agency: Midi:Quinze
Creative direction: Jérémie Boeglin
Business management: Morgane Lejeau
Production: Lab Productions
Photography: Herve Goluza

Under the name “PM24” (Paris Marathon 2024), Nike Paris ran an internal campaign during the Paris 2024 Olympic Games in Paris.

The “Marathon pour Tous” at the Olympic Games marked a novelty in the history of sport: amateurs and professionals shared the same course for the first time. Among them was Nike employee Romain Pivétal, who embarked on this adventure. For six months, we followed his preparations, capturing his vision of sport and his commitment right up to D-Day.

The aim of this immersion was simple: to tell an authentic story, the story of a passionate man preparing to take on a unique challenge. It's a campaign designed for Nike's internal communications, highlighting a powerful idea: performance doesn't just belong to the elite, but to all those who commit themselves fully.

Art direction by Victor Carboni
Design studio: Midi:Quinze
Creative direction: Jérémie Boeglin
Direction by Maxime Azzegagh
Photography by Lucas Du Bois
Commercial direction by Morgane Andréa

Crois pas qu’on dort, directed by Lou Marillier and Nick Walters, offers a raw and intimate look at Maysane, Leyna, and Charles-Antoine, three young Parisian athletes training for the 2024 Olympic and Paralympic Games. Filmed over five years, it captures their growth, struggles, and sacrifices as they pursue their dream of representing France on the world stage. The documentary was developed and produced by Pi Studios and SRAB Films with the support of Nike.

Aletheia, in collaboration with We Are Pi, was in charge for the global visual identity of the film campaign, including the creation of a custom version of LL Ruder Plakat designed with Lineto. All other information is set in Delegate by Commercial Type.

From Creative Review:

The posters and titles designed for the documentary riff on the name of the film. The art features images of the athletes shot by Solène Gün, whose work often deals with identity and culture.

The posters and titles feature a custom version of Lineto foundry’s typeface Ruder Plakat, which was tweaked by Parisian design studio Aletheia to incorporate “varying letter widths to echo the movement and rhythm of sport as well as geometric forms as a homage to the Olympic rings”, Chant explains.

The typeface was brought to life in motion by CC Studio, where movements were designed to resemble “the transformation of the ‘awakened’ state of the athletes in the film”.

24×32 cm zine created to accompany the release of the documentary Crois pas qu'on dort (“Don’t think we’re sleeping”), directed by Lou Marillier and Nick Walters.

The film follows three young athletes—Maysane and Leyna Kamkasoumphou, and Charles-Antoine Kouakou—over their five-year journey preparing for the Paris 2024 Olympic and Paralympic Games.

The publication is printed by Media Graphic Rennes, using a customized version of LL Ruder Plakat typeface (Lineto), with Delegate (Commercial Type) for text.

Time to Play, published by Archipress Editions, was conceived and edited by SCAU Architecture. The book was art directed and designed by Neo Neo, with the assistance of Mateo Broillet, and features illustrations by Stephen Vuillemin. It was typeset in HAL Timezone (HAL Typefaces) as well as a custom headline font, ES Playtime, produced by Extraset. The book was printed in Italy by Musumeci Printing Atelier.

From the publisher’s website:

In the run-up to the Paris 2024 Olympic Games, Time to Play explores the many facets of play in order to understand how it shapes our cities and our societies. The pages of this exquisite corpse include texts on the experience of grieving in video games, play therapy in psychiatric asylums, bigorexia or the practice of sport to excess, the unbalanced rules of the international trade game, the porous boundaries between sporting fervor and sacred rites, the great history of color and its symbolism in sports, the architecture of addiction with casinos, the dangers of online betting, gender equality in French sports, parkour and skateboarding or the art of reclaiming the city, etc.

Time to Play is a project born of the desire to talk about play through playing, in a free interpretation of the exquisite corpse game: here, the authors do not continue the work of the other guests, but each composes his or her own score, all brought together in this polyphonic ensemble. Interviews, photo reports, illustrations, analyses, essays, articles, excerpts… the game is analyzed here in a variety of forms, according to each guest’s approach. All with the aim of offering readers the freedom to divide up their reading as they see fit.

The 2024 Paris Summer Olympics will be kicked off on July 26 this year. Exactly one thousand days before that moment, French sports newspaper L’Équipe dedicated a special issue to this event. “1924–2024, Cent ans de Jeux en France” builds a bridge between the Paris games of 1924 and the upcoming ones one hundred years later. In fact, this year the French capital will host the Olympic Games already for the third time, the first time being 1900 when they were held in conjunction with the world’s fair.

The front page of the special edition reflects on that long history designwise. The huge photograph (by Franck Seguin) on top shifts from black-and-white to color and depicts two superstars of today: Kylian Mbappé, Parisian footballer, and Cléopatre Darleux, goalkeeper of the French handball team, who respectively talk about their Olympic ambitions and experiences. While the layout of the page follows the expected pattern for a newspaper, the combination of typefaces is quite extraordinary.

The three fonts used to typeset the headlines draw an inspiring line through French type design history.

To begin with, you see Robur used for Darleux’s name and the quote beside the smaller picture of Mbappé. Robur was designed by George Auriol and published by Peignot & Fils between 1907 and 1911. In general terms, it is a bolder display variant of Auriol’s first typeface Auriol. It has its roots in Modern Style and the discovery of the Asian pointed brush as a writing implement by Western calligraphers. Auriol and Robur were very popular in France deep into the 1930s.

Next up in chronology is Cassannet, used in two contrasting weights for the big headline “1924–2024, Cent ans de Jeux en France”. Released in 2011, it was designed by Ismael González and draws its inspiration from the constructivist Art Déco lettering style of A.M. Cassandre who, back in 1924, had just begun his stunning career as a graphic and type designer.

All remaining headlines are set from Mars. This sans serif was designed by Alaric Garnier, who took cues from Venus, a typeface published by the Bauer type foundry around the same time as Robur. It is available from Production Type in three widths, two of which are used here: Mars Condensed is what you see in the all-caps lines and in the intro to the text about Darleux, Mars Standard was used for “Je veux vivre les Jeux de Paris”. Not on view here is the widest style, Mars Extended.

The reading text is typeset in ITC Cheltenham, a narrow and thereby economic roman with short sturdy serifs and roots in the early 1900s. “Sommaire”, the headline to the table of contents, is set from Engravers Old English, a broken script stemming from about the same time. The “Football” and “Handball” headings appear to be reproduced directly from an old newspaper. It’s unclear if these words use handdrawn letters or a typeface – Basuto is similar.