Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

The publication Der Prozess ist der Parcours – Wie Antworten über Fragen staunen oder wie Spiele Wissen infrage stellen (“The process is the course”) is a publication and documentation of my Master project made at Burg Giebichenstein Kunsthochschule Halle. It captures the process of the exhibition and the multimedia and participatory exploration of curiosity. It is about the potential, the downsides and the promotion of curiosity. It is an attempt to spatially represent this driving force, allowing for mishaps that enable moments of critical self-reflection and knowledge production, and methods that stimulate curiosity. In particular, it focuses on playing, questioning, establishing connections and moments of irritation.

The softcover publication has 128 pages and measures 125×185 mm. It comes with a silver scratch-off sticker and changing papers.

Typeset in EB Trainer Grotesk Regular by Antoine Elsensohn of Électro-bibliothèque,
Adelphe by Eugénie Bidaut of Bye Bye Binary, and HAL Timezone Mono by HAL Typefaces. Concept and design by Alexandra Vögtle.

This graphzine aims to explore the iconography and representation of light through various artistic means. It presents a wide range of light sources, whether natural or artificial, from the flickering flame of a candle to the brilliant flashes of lightning. Using graphic techniques such as grids, layering through collage, or adding shapes to photographs, we discover that light can be diffuse, dazzling, blinding, undulating, or sparkling. This book is presented as a journal of observations, offering a reflection on how light shapes our daily lives and occupies our space.

The luminous aspect is also highlighted in the shaping of the edition. Some research has been screen-printed with fluorescent ink, adding real touches of light to the reading. The slightly iridescent and wavy paper cover reflects light and changes the readability of the title depending on our lighting environment. Finally, the Coptic binding and the large number of quires allow the edition, once unfolded, to create a radiant effect.

L’art queer de ne pas réussir à traduire “L’art queer de ne pas réussir” is a collection of annexes to the text The Queer Art of Failure written by Jack Halberstam. Halberstam views failure as empowering events that can serve as critiques of capitalist and heteropatriarchal norms.

As the title suggests, I failed to translate this text. However, from this book, which seemed so desirable and yet almost unattainable, I tried to grasp what I could in order to redistribute it into the six objects contained in this folder (including, among other things, a discussion with Léo Love Gentil about the collective dansmalangue, a translation of Chapter 1 of TQAOF, and a SpongeBob Survival Kit). This project experiments with the content of the book itself, putting it to the test in order to imagine it beyond the mystery it holds.

TQAOF was written in 2011, and Jack Halberstam uses a concept he calls “Low Theory”, with which he seeks to analyze popular culture objects to reach a broader audience. The project is almost exclusively composed in Fluxisch Else (distributed by Open Source Publishing) and Adelphe by Eugénie Bidaut (available on the Typothèque Genderfluid by Bye Bye Binary). The two are supported by cameo appearances by a handful of other typefaces.

The project pdf is available via are.na.

Design of the catalog When Words Become Form, Écritures Plastiques, for the exhibition held from 21 April to 13 May 2023 at the Botanique in Brussels, Belgium, featuring a selection of artists from the Art(s) & écriture(s) interdisciplinary module at ENSAV La Cambre.

Je Tu Il Elle is Chantal Akerman’s first feature film, shot when she was 24. Akerman herself plays a young woman who leaves her apartment and goes on a journey that takes her on lonely adventures with a truck driver and a former girlfriend. The film allegedly features the first-ever explicit sex scene between two women.

Malmsten Hellberg designed the two-sided poster, an assignment for quality film distributor NonStop Entertainment in their series of films by female directors that finally get a theatrical release in Sweden. The main typeface is Adelphe (a neologism meaning “sibling”, French used to only have the gender-specific equivalents of “sister” and “brother”) by Eugénie Bidaut. It includes experimental glyphs for masculine and feminine endings.

The 71st Rencontres de Lure, titled “Lure et compagnie” (Lure and co.) was a tribute to the richness of the individual characters that make up an ensemble.

The programme was created fanzine-style to echo the idea of collective work, which was the central theme of last year’s session: copy machine look, rough hand-drawn letters, very simple hierarchy, a single font family (BTP from A is for fonts) and minimum size variation. However, since diversity and inclusivity were also a strong subject, several inclusive glyphs from various fonts can be found everywhere as little stickers stuck where needed in the text. The goal was to make them voluntarily visible and disruptive, as a mockery of criticism about their legibility or discretion in texts.

On the cover beautiful ribbons allowed people to draw their own glyph, sign or letter, acting as a metaphor of the bonds that binds us all together.

Album cover

Mr. Wildflower is the debut album from Canadian musician and visual artist Mac MacLaren, announced on December 1, 2023, and released independently on March 1, 2024.

The album design is by Mac MacLaren, with photography by Tyler Gardiner. The album art prominently features text set in Raphaël Bastide and Jérémy Landes’ Fungal in various growth-affected styles. Fungal, based on Bistream DejaVu, was a challenge given to Landes from Bastide to "make a typeface rot and ferment" (Studio Triple). This rotting growth affect was used in the album's artwork to symbolize memory loss by demonstrating a progressively worsening text legibility as the album's written story progresses. This is featured most noticeably on the back of the Wildflower Gazette vinyl insert, where the story becomes nearly illegible mirroring the titular character's decent into a dementia-fueled haze.

Several fonts from the last century and older make an appearance in the Wildflower Gazette vinyl insert in an homage to dense information-packed periodicals of these older periods. These various typefaces are mostly digitizations by Dick Pape based on the originals, including Via Face Don (circa 1977) by Hans Donner and Sylvia Trenker, Frankfurter (1970) by Bob Newman and its copy Rock Opera (circa 1974), Tuscan Italian (1853) by Jordan Davies, Futura Licht (1931) by Paul Renner and Pluto issued by Face Photosetting in 1969. Picnic by Mariel·le Nils and Adelphe by Eugénie Bidaut are also featured.

I created a hand-cut linocut design with a W initial based on Arnold Böcklin for the second vinyl insert and album promotional poster. I transferred the letter to the block directly from my scan of the typeface which inadvertently mirrored the letter, and luckily since its only a W it’s not a noticeable mistake!

Back cover

Spine

Record labels

Insert featuring Picnic and drop caps set in Via Face Don

Insert featuring Frankfurter and Rock Opera

Insert featuring MAiD “advert” set in Via Face Don, with additional text in Tuscan Italian, Futura Licht and Adelphe

Insert featuring Pluto, and Fungal with increasing growth levels

Linocut print featuring hand-cut lettering based on Arnold Böcklin

Feed Your Head is a self-edited magazine about arts, design and pop culture. The aim is to highlight local artists and designers through different themes. Here is the very first issue, it is about fan art and focuses on Araknoce's illustrations (you can find him on instagram, twitter and twitch). The magazine includes articles, anecdotes from different random people and an interview of the featured artist/designer. The magazine is written in French and is available on my ko-fi shop

I chose Nickel Gothic (by David Jonathan Ross) for the headline of the magazine because it’s bold and has something that reminds me of Akira and other works about neo-cities and geeky universes. Its large and wide letters are perfect for a title.

Victor Mono (by Rune Bjorneras) is used for the titling inside the magazine. Here I wanted a font that has a kind of handwritten style but not just that. I use Victor Mono a lot and I know well about its different styles and how the regular is drawn as a programming font and the italic is much more round and hanwritten. This was then the perfect match and it fits perfectly with Nickel Gothic on the front page!

Finally, Adelphe (by Eugénie Bidaut) – while writing a magazine, you will want to have a very legible and well-drawn typeface for your articles. I tried a lot of different fonts before settling my choice on Adelphe. This choice is based on several points: firstly, it’s a serif, in other words, perfect for long pieces of text; secondly it is an open source font, and I work mainly with them; finally it’s made by a woman and it has three sets of glyphs that allow for inclusive typography. In this case, some parts of the text use the Fructidor series, which combines the use of an alternative form of e and ligatures in feminine conjugations.