Éditions Lorelei publishes critical and theoretical works on art and culture, as well as artists’ books and publications whose writing includes graphic and editorial choices.
Among these books, those in the “Frictions” collection combine artistic and political reflections, with a view to sharing tools for thought with those who cross these two fields —and whom these two fields cross.

French studio Huz & Bosshard used the typeface Plaax (Damien Gautier, 205TF) for headlines; Henry (Matthieu Cortat, 205TF) for continuous text and footnotes; and Tristram (Matthieu Cortat, unreleased) for citations.

Eastwood Symphonic is a musical project, released by [Pias] in digital as well as physical formats: a website, a book and a vinyl record. The graphic design was handled by Brest Brest Brest, using Plaax by Damien Gautier and LL Bradford by Laurenz Brunner. On the website of this project, we can read:

Eastwood Symphonic is a tribute from a son to his father, actor, director and musician. It is also the witness of an artistic legacy, of the transmission of personal passions that touch each other until they merge as often as they can.

​We will (re)discover here that Clint wrote the music of some of his films, and that his son Kyle has collaborated with him on his soundtracks, for composition and arrangements. […]

Recorded in October 2022 with the Czech National Symphonic Orchestra and under the baton of the Grammy awarded conductor Gast Waltzing, this eventful record will be a CD, a double vinyl and a limited tablebook edition, only available on this website.

Photos by Antoine Jaussaud.

[More info on Discogs]

Faire face à l’Anthropocène. Les voies du droit is a book by Isabelle Michallet, published by Éditions deux-cent-cinq. For the design, French graphic design studio Bureau 205 used Damien Gautier’s Plaax and Tassiana Nuñez Costa⁠’s Thelo.

Isabelle Michallet explores the ways in which the law can respond to today's ecological emergency. In the last century, legal rules were fundamentally anthropocentric, often reflecting a generalized logic of predation and destruction. Today, the law must integrate the end of this model.

Considering that the legal instrument is not only constructed by bodies dominated by politics, she shows that it is also the expression of societal and citizen choices.

The headlines are set in Plaax Sathonay LightB. Continuous text and footnotes use Thelo Text. The book has 116 pages and measures 9,5×15,7 cm. Printed by Ott in Wasselonne, France.

Esthétique du “care” pour l’Anthropocène is a book by María Grace Salamanca Gonzaléz, published by Éditions deux-cent-cinq. For the design, French graphic design studio Bureau 205 used Damien Gautier’s Plaax and Tassiana Nuñez Costa⁠’s Thelo, both available from 205TF.

Is there anything left to do? To say? To think about? Can we continue to believe that knowledge is enough to change our behavior and decisions? What is valuable enough for us, as humans, to face up to planetary emergencies?

This book explores the imaginary dimensions of the various crises of habitability that are shaping the era known as the “Anthropocene”. It proposes an aesthetic response to a moral question. Thinking about the Anthropocene from a moral perspective involves asking how our decisions are shaped and made, according to which scales of value we decide what counts and what will be interpreted as secondary, contextual or incidental.

The headlines are set in Plaax Sathonay LightB. Continuous text and footnotes use Thelo Text. The book has 116 pages and measures 9,5×15,7 cm. Printed by Ott in Wasselonne, France.

To design the book Eye Eye Eye. Undoing visual control published by Éditions 205, Bureau 205 used the typefaces Alcalá and Plaax, both designed by Damien Gautier, and F Grotesk designed by Radim Peško.

From Éditions 205:

This book has been designed like an exhibition, a subjective and commented atlas of artistic, media-driven and documentary images that dialogue with one another. It entertains questions from different eras, whether they be climatic, identity-related or digital, centered around the symbolic toxicity of images when they overwhelm our field of vision, capture our attention, and alter our capacity for analysis. It shows how the museum is today a fundamental and decisive place for taking the time to consider existing images and affirm those to come. Joseph Belletante, Director of the Musée de l’Imprimerie et de la Communication graphique (Lyon, France), proposes an essay essential to restoring our ability to act.

Time to be serious. In 2021, Fondation La France s’engage (“France commits itself Foundation”) dropped its previous playful identity for a new brand: reliable, serious, corporate.

The new logo symbolizes the rising associations awarded by the foundation, from their local scale (the figurative France) to a country-wide scale (the hexagon). The territory become more powerfull with vibrant new colours, inspired by the French flag, and slight twists in the layout.

French initiatives, French design, French typeface: we selected the beautiful Plaax Ney from 205TF to accompany this new identity.

Valua Terra. Faire la valeur des environnements (“Valua Terra. Valuing the envioronment”) was published by Éditions 205:

But what on earth are we going to do in this Anthropocene? By judging that the planet has entered a new geological era as a result of human activities, Earth specialists have placed the ecological emergency at the top of all our agendas, especially those of our political and economic leaders, who are subject to their public opinions and their clients. In the face of inertia, the collective imperative is to rethink the development of societies in order to take into account the finiteness of the planet’s resources, and to face the transformations of human living patterns induced by globalization and the global ecological crisis.

Bureau 205 used the Plaak and Plaax – both designed by Damien Gautier – and Thelo, designed by Tassiana Nuñez Costa⁠. These typefaces are available from 205TF.

On Thursday, July 13, 1995, Chicagoans woke up to a scorching day in which temperatures reached 41 degrees Celsius. The heatwave would extend well beyond the two days initially predicted by meteorologists. Over the next week, more than seven hundred people died. The great Chicago heat wave was one of the deadliest in American history. Eric Klinenberg undertakes a “social autopsy” of a metropolis, examining the social, political and institutional organs of the city. He examines the reasons for the marked excess mortality in certain neighbourhoods, looks at how the city responded to the crisis and how journalists, scientists and officials reported and explained the events.

Bureau 205 designed and produced this book as part of the collection “À partir de l'Anthropocène” developed jointly by Éditions deux-cent-cinq and the École urbaine de Lyon.
The form and format stem from the editorial principle established at the start of this collaboration, which aims to “reinvent” the way of publishing in the Anthropocene era: optimisation of resources through a format adapted to the size of the paper and machines, printing in France by service providers who are themselves concerned about reducing their environmental impact, reduction of transport, etc.

Over the course of the pages, without the reader noticing, the colour slowly changes from orange to bright red, as if to reflect the – inexorable – rise in temperatures over the coming years.

The typefaces used are Thelo Micro, designed by Tassiana Nunez-Costa, for its high legibility and strong typographic grey, and Plaax, designed by Damien Gautier, used for titles in narrow capitals, headings and footnotes, both distributed by 205TF.

On March 17, 2020, a strict lockdown of the French population started, in order to prevent Covid-19 from spreading. Suddenly, everything stopped: travels, exchanges, tourism, schools, universities, shopping malls, airports, factories, cinemas, theatres…

In this unprecedented context, geographer Michel Lussault decided to produce a series of video chronicles called “géo’ virale”, in order to “not be stupidly locked down” and to share thoughts out loud. One needs to “think the world with the virus”, as the spread of the virus highlights the main characteristics of globalisation, particularly the generalised urbanisation of the planet. The pandemic reveals how the world evolve in a system, and how vulnerable it is, underlining social inequality.

Chroniques de géo’ virale designed by Bureau 205 transcribes the ten chronicles posted from March 23 to May 11, 2020 (when total lockdown progressively ended). The author added commentaries, which puts each episode in critical perspective, as well as a conclusion that considers the pandemic as a “total fact of the anthropocene era”. In order of offering a different view on the text, illustrator Lou Herrmann designed a graphic journey through the chronicles, to enrich the reading.

The headlines are set in Plaax Sathonay LightB. Continuous text uses Thelo Text, and its Micro style is used for captions.

Black texts are set in Thelo Text, red ones in Thelo Micro.

A redesign for Sabato, using Parnaso by Feliciano Type, Plaax from 205TF. Monotype Bembo is used for body text. From The Brand Identity:

Alex Hunting Studio’s comprehensive redesign of luxury magazine Sabato is led by simplicity and space. Produced in both Dutch and French for Belgium’s leading business newspapers De Tijd and L’Echo, the weekly supplementary magazine Sabato that reports on arts and design is far from a simple task to design. In need of a facelift, the editorial team behind Sabato reached out to Alex Hunting Studio, the London-based creative agency founded by Kinfolk Design Director Alex Hunting, to elevate the quality of the magazine and find its position in the luxury magazine market. […]

“The real considerations were around text lengths (when an article in one language might have a longer character count than another),” Hunting explains, recalling the issue with designing for multiple languages. “We had to provide a really comprehensive set of templates, with multiple character count options for each type of article/page,” Hunting tells us, explaining the extended issue with translations. Hunting adds that “certain feature openers work with a particular headline in one language, but don’t work with the same headline translated, so again lots of variations of feature opener templates were needed.” […]

Subverting the connotations behind type choice in luxury editorials, Hunting clarifies that they “opted for a combination of type families that gave us both a classic feel but also had some interesting quirks and character within the families.” This led to the marriage of the Feliciano Type’s Parnaso family, a collection of delicate and characterful typefaces, and Plaax by 205TF which provides an enthusiastic, dynamic contrast to its more ‘luxurious’ and refined counterpart. Although initially cantankerous in their comparison, Hunting adds that “interchanging the two families created a slightly awkward tension that I really liked.”

This newspaper was designed by Bureau 205 for the exhibition Conquêtes spatiales. Où vivrons-nous demain ? (“Space Conquests. Where will we live tomorrow?”). The principles of the newspaper are in coherence with the project of the exhibition: the use of a distinct frame evoking the technical universe of the architects, a profuse typographical language which refers to the prospective and experimental approaches of architects and the use of primary and metallic colors.

The layout put into perspective archival texts, testimonies of actors of the time and contemporary authors, to document the thoughts of Michel Ragon, art and architecture critic, attentive witness of the emergence of new ways of thinking and representing architecture at the turn of the sixties. The observation of these projects qualified as “experimental” and “utopian”, led in particular by Jean-Louis Chanéac, Pascal Häusermann and Claude Costy, invites us to reread these future predecessors and hands us a mirror.

Plaax comes in six styles, each in three or four weights. The big type on these two posters is set with the most narrow style of Plaax – Sathonay. The geometric sans serif is the widest style of Plaax – Ney (Regular).

Bureau 205 has designed these posters for La Cimade, a French association for migrants. From the La Cimade website:

Every year, La Cimade receives and advises tens of thousands of migrants, refugees and asylum seekers and provides legal support to foreigners, assisting them in accessing their rights. La Cimade leads advocacy actions towards decision makers; it informs and raises awareness on migrations among the public opinion.

This poster campaign, presented in several cities in France, challenges public opinion to take up migratory issues. The designers worked with different styles of Plaax by Damien Gautier, available from 205TF.

De la construction au récit: être de son temps et de son lieu pour l’architecte du XXe siècle was an exhibition about 20th century architecture shown at CAUE Haute-Savoie in Annecy, France.

For the graphic design and scenography, Bureau 205 has worked with the typefaces Plaax, Maax Rounded, and Maax Mono, designed by Damien Gautier and available from 205TF. The project was realized in collaboration with Sara de.Gouy (designer, architect, and artist).

For the design of Le journal de La Confluence, Bureau 205 chose Cosimo, created by Matthieu Cortat, as well as Maax Raw and Beretta Sans — created by Damien Gautier and already available on 205TF —, Plaax and Alcalà — soon available from 205.tf.

Bureau 205 designed the visual identity for Sara de.Gouy, designer, architect and artist. The graphic design studio chose the typeface Stuart, created by Matthieu Cortat, available from 205TF and Plaax, created by Damien Gautier, to be released soon.

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.