Wastelands are territories in ruins. They are the neglected witnesses of past industrial utopias: a metal lookout post where the yellowed paper of a final schedule remains hanging on a cork board, a concrete platform which still bears the insignia of maximum authorised heights and weights, a prison cell – empty at last – covered with graffiti ranging from prayer to obscenity. Paradoxically, wastelands are pro­tected by their hindrances: bankruptcies with no buyer, a lot which no longer appeals, polluted grounds. But from these ruins comes rebirth: weeds sneaking into the crevices of the tarmac, underground springs gushing forth by surprise, migratory birds returning to nest. They are also a refuge for humans who are often “marginalised” – by their social status, their gender, their ethno-racial identity, their political choices, their curiosity – and reclaim a space which has been forsaken by society. From Rome to London, Berlin to Marseille, Ruderal compiles four original tales of hybrid spaces and their liquid identities.

To design this book, Éditions deux-cent-cinq used the typeface Helvetius, designed by Matthieu Cortat and distributed by 205TF. Rudéral: identités liquides / Ruderal: liquid identities is available in their “AAA…” (architecture, urbanism, landscape) collection.

At a time of a weakened planet, Bureau 205 and the École urbaine de Lyon [Lyon urban school: an interdisciplinary experimental project for research, PhD training and economic, social and cultural development of scientific knowledge] question the editorial process. The magazine A°2020 is the first result of this investigation.

Editing “anthropocene” means reflecting simultaneously on all aspects of the process, paying attention to people (authors, publishers, printers, designers, distributors, booksellers, librarians…) with the search for qualified and certified skills, attention to materials — from forest to paper, from plant to ink —, general attention to the optimization of human and material resources by favoring short distances in order to lessen the impact of transport, by imagining an editorial policy that’s inventive in order to limit waste.

Bureau 205 set out to design an object that could transmit the content gathered in this magazine whose authors come from various fields: academic, scientific, literary and artistic. Their contributions make it possible to grasp the concept of the Anthropocene from complementary points of view and gain a detailed understanding of the issues.

As we question ourselves more and more about the future habitability of the earth, about the just and ethical conditions for implementing the strategies of ecological reorientations of our cohabitations, it is crucial to make known the anthropocene realities, to analyze the dynamics at work, in particular those linked to urbanization and bringing into discussion what can guide our collective action.

Each part of the magazine has a specific layout, illustrating the complementarity of the contents and their mutual enrichment. To limit the magazine’s carbon footprint, only leftover paper available from the printer was used. The magazine is then printed on five different papers for this first issue.

The magazine exclusively uses typefaces created by designers affiliated with 205TF.

Published on the occasion of the 20th anniversary of the Ricard Corporate Foundation Award, 20 ans d’art en France. Une histoire sinon rien, 1999-2018 presents itself as a panorama of the French art scene since 1999. This book is designed by Huz & Bosshard using Helvetius created by Matthieu Cortat, paired with Yoann Minet’s Traulha Lineara and its italic companion, Clinat.

A book of images above all, gathering a vast corpus of exhibition views, this rich and diverse story renders the lines of force and the mutations of a contemporary creation such as will have been borne by several generations of artists. this beginning of the 21st century.

Collective work under the direction of Michel Gauthier, Marjolaine Lévy.
Published by Éditions Flammarion.

The Or catalog was published on the occasion of an exhibition at Mucem which presents a trip into the history of art about gold. Object of covetousness and conquest, traditionally symbol of power and wealth, is also, by its very plasticity, the material of all metamorphoses, the quality that makes it a privileged support in the arts.

The layout was done by Huz & Bosshard with Helvetius (by Matthieu Cortat) and the soon to be released Walbaum Plain (by Thomas Huot-Marchand) as the main typefaces, both available from 205.tf. [editor’s note: Walbaum Plain was released in January 2021 as Album Sans, see comments.]

The footnotes mix Walbaum Plain with italics from Bram de Does’s Trinité.

Image captions combine Versailles and the monospaced OCR-B, both by Adrian Frutiger.

The stage directions in this excerpt from William Shakespeare’s Timon of Athens use italics from Alice Savoie’s Faune.

Fanette Mellier chose Helvetius by Matthieu Cortat to design the 369 manuels. This series of textbooks retraces collective experiences that seek new answers to contemporary ecological, social, cultural and technological upheavals. The first three issues were published in June 2018 by 369 Éditions.

Graphic design: Fanette Mellier
Editorial Direction: Clémence Seurat, Jérôme Delormas
Illustrations: Louise Drulhe
Helvetius is available from 205TF.

Excerpt from the newspaper Oom oom, umh umh directed by Roman Seban for the exhibition Boom boom, run run on Pierre Paulin at Plateau Frac Île-de-France, with the Helvetius typeface created by Matthieu Cortat.

Ariane Bosshard and Olivier Huz chose the font Helvetius, created by Matthieu Cortat, to design the layout of the artist book Untitled Reloaded by Jacob Bendjama and Sébastien Leseigneur, published by Micronaut Éditions.

Huz & Bosshard used two secondary sans serif fonts in the colophon: Futura Renner’s old style figures for the page numbers and the print run, Fluxisch Else (AKA UniversElse) for the artists’ initials.

This book, designed by Roman Seban with the typefaces Helvetius by Matthieu Cortat and GT Sectra by Grilli Type, brings together most of the debates that took place during the colloquium “Collecta, des pratiques antiquaires aux humanités numériques”. It deals with the issues raised by the meeting of the history of art, design and computer science.

Designed by Huz & Bosshard, the book Vivre à Koenigshoffen à l’époque romaine is about the birth of the town of Koenigshoffen, in Alsace, which is closely linked to the settlement of the Roman army in Strasbourg from the beginning of the 1st century AD.
The designers have chosen the typefaces Petit Serif and Helvetius, both created by Matthieu Cortat, and Maax Mono, created by Damien Gautier.

Musées de la ville de Strasbourg, 2017
272 pages, 24 × 26 cm

La Cimade is a French association for migrants. They publish books and booklets to raise awareness about the injustice and distress that migrants are confronted with.

Auguste Viatte appears as a witness of the twentieth century. Specialist in Romanticism, his thesis remains a reference book par excellence. He is a knowledgeable connoisseur of French literatures outside of France and co-directs the General Dictionary of the Francophonie. For his research, he undertakes great displacements and the passion of travel animates him even in his old age. He wants to immerse himself in the population of the countries visited.