This work traces the history of photography from its invention in 1827 to its contemporary uses, through the collections of the Nicéphore Niépce Museum, which comprise four million photographs, 8,000 cameras, and 30,000 magazines and technical or illustrated books. Off the beaten path, it presents an “alternative history” of photography, focusing on the richness of the medium in the diversity of its techniques, artistic movements, and modes of dissemination. It documents the social, documentary, and commercial dimensions of photography from its origins. Deliberately heterogeneous and quasi-encyclopedic, it bears witness to the many paths taken by photography.

The design of this publication, published by Éditions Textuel, was entrusted to the French graphic designer Le Petit Didier. He chose the typeface Garaje (with Garaje Mono, by Thomas Huot-Marchand, 205TF) for headings and subheadings, and the typeface Portada Text (José Scaglione and Veronika Burian, TypeTogether) for body text and captions.

Visual identity for Echo System, a live music venue in Scey-sur-Saône, Haute-Saône, in north-eastern France. A bold graphic system applied to the semi-annual program brochures.
The specifically customized titles are derived from the logo design and use parts of Thomas Huot-Marchand’s Garaje Multi. Smaller text is added in Neue Haas Unica.

The art magazine Kunstbulletin describes the exhibition as follows:

Female artists continue to be much less present in the exhibition scene than their male colleagues. This is particularly true of museum collections. For this reason, Museum Ostwall im Dortmunder U is now taking a look at its holdings and its gaps, showing works by 30 female artists from two periods of the 20th century. The special exhibition Tell these people who I am – Women artists in Expressionism and Fluxus is inspired by the focal points of the museum’s own collection and can be seen from 25 October 2024 until 23 March 2025.

The exhibition will be accessible in two parts. “...a natural inner must” – Eight Female
Expressionists celebrates the concept of the Gesamtkunstwerk and revels in the wide range of materials and elements the artists of this era worked with, thereby expanding the concept of art. Fluxus and Feminism examines the era of emerging feminism and global interconnection, in which women were still massively restricted in their opportunities for artistic realisation.

The design was created by Sichtvermerk (Stefan Claudius, Viola Dessin⁠), using Minérale (Thomas Huot-Marchand, 205TF) and Ufficio Sans​​​​​​ (Giulia Boggio)⁠.

With a rich collection of modern and contemporary art in which abstraction plays a major role, the Nantes Museum of Art and the Buffalo AKG Art Museum presented a unique exhibition from April 4 to August 31, 2025, showcasing the historical, theoretical, and formal links between optical art and video and computer art from the 1960s to the present day.

The exhibition design was created by French graphic designer Antoine Groborne. He used the typeface Garaje (Thomas Huot-Marchand, 205TF) for the titles and Roboto for the text.

The Spanish Pavilion at FILBo 2025 is conceived as a series of landscapes connected by the movement of mobile libraries. Common in rural areas, these institutions constitute essential infrastructure for universal access to knowledge. Modest in scale and materially austere, they operate outside the logic of economic profit, linking readers in peripheral communities through their circulation. Historically, mobile libraries have played a vital role in both Colombia and Spain, providing access to books for broad segments of the population and often serving as a first point of contact with reading.

The Pavilion understands the mobile library as a form of architecture that links two kinds of knowledge: the written word, inscribed on the pages of books, and orally transmitted craft knowledge, embodied in materials such as handmade felt, macrame, netting, or fique. This dual condition resonates with universal semantic connections between words like text, textile, and tale—coincidences that appear in Latin (textum) as well as in Amerindian languages spoken in Colombia, like Wayúu (süchi).

The visit to the Pavilion unfolds as a sequence of welcome, gathering, and farewell, articulated through different program elements. A large entry plaza introduces visitors to the curatorial proposal. From there, they access a series of spaces: an exhibition of Spanish photobooks; another on historical memory and graphic novels; a 240-seat auditorium; an 80-seat forum; and a large bookstore-reading area. Visitors exit through a second plaza that opens onto a terrace-canteen.

To design this project, Murray Branding & Design studio used Garaje (Thomas Huot-Marchand) and Renotype (Radim Peško) , two typefaces distributed by 205TF.

Photos by Javier Agustín Rojas (Pavilion) and Alexander Gümbel (artisans’ process)

From publisher Faber & Faber:

Legendary producer and record label boss Joe Boyd has spent a lifetime travelling the globe and immersing himself in music. He has witnessed first-hand the growing popularity of music from Africa, India, Latin America, the Caribbean and Eastern Europe since the 1960s and was one of the protagonists of the ‘world music’ movement of the 1980s.

In this sweeping history, Boyd sets out to explore the fascinating backstories to these sounds and documents a decade of encounters with the most extraordinary musicians and producers who have altered the course of music for us all.

The typographic jacket design for the massive tome – Joe Boyd writes that “it’s a bit of a door-stop [and] sherpas will be provided to purchasers to help them carry it home” – is by Jonathan Pelham. He arranged the alliterating main title in four lines, set in a large size of Minérale’s Light weight. Thomas Huot-Marchand’s 2017 design is distinguished by stems with intersecting sides, “originally conceived as a geometrical exaggeration of the structure of traditional serif faces.” [205TF]

Subtitle, author name and blurb (by Robert Plant) are added in Pegasus. This choice is a nod to Berthold Wolpe’s longstanding relationship with Faber & Faber. Originally conceived in 1937 as a text typeface that could accompany his smash hit Albertus, Wolpe’s design was digitally revived by Toshi Omagari in 2017.

David Arthur Brown comments: “Love the design. The typography and the pattern are unexpected but feel rhythmic without being Afro-cliché.”

Future Viewfinder is a self-awareness tool for creative direction – designed to inspire you to “put your passions in places where you want to be.” This phrase, first written in my journal, has been my guiding mantra since early 2022. It reminds me – and now invites you – to seek out spaces that celebrate and elevate your unique passions.

The main card of the interactive print piece acts as a viewfinder – its die-cut, pixellated envelope design (linked to my monogram logo) invites you to press, push, and peek into your future.

I carefully selected typefaces that bring personality to the piece while dynamically filling the negative space of the die-cut. From a heavily condensed Grandmaster to the wide proportions of Afronaut. Their placement reinforces the project’s sense of movement and direction – shifting and changing as you engage with it.

Uplifting oranges, dreamy pinks and purples, and a hint of transformational teal – sourced from GF Smith Colorplan Papers – infuse the work with vibrant, forward-thinking energy.

Since 1983, the Bergamo Film Meeting Onlus has worked to promote quality cinema, exploring new international productions and great masterpieces of the past, offering opportunities for further study and analysis.

This year the festival dedicated a retrospective to Sasha Guitry. The image is based on the film Le Roman d’un tricheur; Luigi Stanga and StudioSuq chose three sequences and worked on different concepts related to the film. The introduction of sound in cinema took place in the 1920s and 1930s. Guitry’s film is an experiment that in some ways goes back to silent cinema, a story and narrative developed in the first person, with continuous commentary and almost no dialogue. In the 1910s, Autochrome offered a wide range of expressive possibilities to the world of photography, art and fashion. The first colour films were marketed in 1936, the year of Guitry’s film. This project was done by coloring the frames with various layers.

The typeface Garaje Mono, designed by Thomas Huot-Marchand and distributed by 205TF, is reminiscent of the billboard style used in cinemas in the 20s and 30s, with the distribution of text in fixed lines/spacing. The poster for the festival opening (a live soundtrack of the movie El ángel exterminador), on the other hand, is inspired by the 1962 film El ángel exterminador by Luis Buñuel. To accompany the titling font, the texts in the program are composed in Christian Schwartz’s Neue Haas Grotesk.

This art piece reflects on humanity's capacity for change, juxtaposing the cyclical motion of a blue bouncing ball with the cunning lyrics of David Bowie's “Space Oddity”. The LED curtains symbolizes the intersection of technology and existential thought, questioning whether or not our actions are genuine, while also allowing us to attempt to transform our patterns. Through its minimalist yet evocative design, the work invites viewers to ponder the fragility of our planet and the limits of human agency in shaping its future. And there is an empty chair in front, adding the narrator’s dimension.

It’s on display till the end of January 2025 at Bar Ton, Bucharest. See also the OM NORMAL website.

Description of the book by the publishing house Saetta Books (translated by the contributor):

Here or elsewhere, how do we embrace a place we love? That’s the question Kamil Zihnioglu has been asking himself for the past five years as he explores Corsica and meets its inhabitants. Press photographer in Paris, he decided in October 2020 to leave his city to live on the island. This marked the start of an impossible quest: to capture in images the identity of this land and the people who live there. Like a mirror, the waters of the Mediterranean reflected his own face. “Who are you?” they seemed to ask him. Leaving aside his approach as a journalist, he was able to embark on a new journey without destination, exploring the feelings that this island provokes.

French graphic designer Théo Miller used Album Sans designed by Thomas Huot-Marchand (205TF) and Traulha designed by Yoann Minet (Bureau Brut).

The book is available on Saetta Books & Exhibitions.

This 36-page booklets were designed by French graphic artist Fanette Mellier. From her portfolio page (translated):

In these booklets for the contemporary music ensemble Proxima Centauri, the graphic composition on the cover schematizes the famous constellation, with subtle variations in color scheme.
The photographs are grouped together in a square-format booklet, placed at the head and center of the brochure. The images appear in a subtle shimmer, linked to the metallic pigments in the ink. The play of contrasts, reflections and balance resonates with the artistic approach of the whole.

To compose the text, she used the typeface Album Sans by Thomas Huot-Marchand (205TF).

The Théâtre en mai festival is an annual event organized by Dijon’s Centre Dramatique National (CDN). The festival showcases new theatrical creations, providing a platform for young talent and emerging companies. It’s a major cultural event offering a diverse program of contemporary plays, artistic experiments, and encounters with artists. The 34th edition was held from May 17 to 26, 2024.

Since 2022, the French graphic design studio Brest Brest Brest has been responsible for the CDN’s visual identity and communications, using Garaje by Thomas Huot-Marchand (205TF) as its main typeface. For this edition, the studio combined this typeface with Tifo Venezia, designed by Romain Tronchin and also distributed by 205TF.

This 52-page booklet was designed by French graphic artist Fanette Mellier (translated):

The theme of “Innovative Gesture” inspired the graphic design of this annual report. The letters H-E-R-M-È-S are based on emblematic objects: horseshoes, perfume corks, woven leather, padlocks… They unfold in color in the form of an accordion, the reverse side of which is taken up by a composition of monochrome photographs linked to the company's expertise. The principle of graphic lettering is repeated on the dividers inside the publication. The spiral binding is a reference to the codes of administrative documents, here overturned by the sophistication of the finishing.

To compose the text, she made early use of the typeface Album Slab by Thomas Huot-Marchand (205TF).

L’Astragale is a generalist bookshop based in Lyon, established in 2016. In 2023, the bookshop aimed to improve its visibility in the neighborhood and, inside, the discovery of the books it offers to readers. Bureau 205 proposed a project based on the architecture of the site. It focuses on the presence of mouldings at the top of the walls and the play of shadows produced by the lighting.

For the design of this identity, Bureau 205 used the typeface Garaje Mono designed by Thomas Huot-Marchand and distributed by 205TF.

Identity for the 2023 edition of festival Théâtre en mai, organized by the Théâtre Dijon Bourgogne – Centre Dramatique National.

Poster, leaflet, banner, printed materials designed by the studio Brest Brest Brest, using the typefaces Gikit by Benoît Bodhuin and Garaje by Thomas Huot-Marchand.

Organized by Paris bookshop Le Monte-en-l’air, the eight-day Rapailler festival offers a glimpse of the richness, dynamism and diversity of Quebec literature. The event took place from June 8 to 16, 2022, and featured lectures, poetic performances, and meetings with authors.

For the design of this event, the studio Brest Brest Brest used the typeface Garage, designed by Thomas Huot-Marchand (205TF).

Culinary Collective is a family-owned and operated collection of private and coworking commercial kitchen spaces in the Frankford Arsenal for Philly’s thriving local culinary entrepreneurs.

For the design of this identity, Danni Sinisi used the typeface Garaje by Thomas Huot-Marchand and distributed by 205TF.

DISFF Films + Directors 20:22 cover

Drama International Short Film Festival (DISFF) is Greece’s leading short film festival, and the annual meeting place for filmmakers and industry professionals. Based in the picturesque city of Drama, the festival is the leading Greek and South-Eastern European gateway to the world’s most prestigious short film awards, and nominated filmmakers qualify for the European Film Awards (EFA).

To design the visual identity of the 2022 edition, DpS Athens used Garaje by Thomas Huot-Marchand, Fedra Mono by Peter Biľak and Times New Roman by Stanley Morison.

Printed by Future Format.

DISFF Paper

These fine wine labels were designed by studio ramel·luzoir for the Domaine Régis Minet, using Carolinéale (designed by one half of the design studio, Francis Ramel, and available from PampaType) as the main typeface. Carolinéale is supported by a condensed style of Garaje (designed by Thomas Huot-Marchand and released by 205TF) for the big year number, and French 111 (Bitstream’s digital version of Gando, designed by Matthew Carter & Hans-Jürg Hunziker).

Photos by Camille Huguenot.

Studio Double and Julie Soudanne created the artistic direction for Terrains Vagues, a collective exhibition curated by Le Sample in Bagnolet, France, and shown from May 13th to May 27th 2023. The design is based on a pair of typefaces – Soudanne’s own Ginka from lift-type and Thomas Huot-Marchand’s Garaje from 205TF.

From the curators:

Hidden away in their concrete hive high above the revelry of Le Sample, some twenty artists work day and night to bring their creations to fruition. This collective exhibition is the first opportunity for these artists of diverse practices, united by their singular workplace, to come together to celebrate and share the products of their creative biome with the public. The challenges of creating comfortable, thriving studios and shared spaces in a disused building give way to a spirit of exploration and creative inquiry and a rich, organic group dynamic that you are invited to discover in these Terrains Vagues…

Photography by Abel Llavallubach.