From Saetta Books:

The story of this book begins where daylight ends: when night falls. It is the story of a headlong flight, far from the diurnal world and its harsh, singular, zenithal light. For as dusk descends, light sources multiply; celestial bodies and artificial glows transfigure space and time. Then he dives into these troubled waters, drawn in by the dark energy that runs through and transforms him. He does not know it yet, but he has embarked upon a journey that will last seven years. A voyage to the end of the night, no doubt, intense and initiatory, during which he will search for love in all the noises of the world, hunting for fragments of the real in the realm of dreams and masks. But the night, full of promise, always yields to dawn. And in the end, it is photography itself, the art of writing with light, that will allow him to emerge from the dark.

Quand vient la nuit is the first monograph by French photographer Fabrice Catérini. The book was published by Saetta Books in November 2025 and designed by Théo Miller.

The cover features a mirror lamination combined with a perforated black dust jacket, allowing light to pass through and creating subtle moiré effects and visual vibrations. Cover and jacket texts are set in Yorick by Matthieu Cortat (205TF), using a typographic treatment that plays with repetition, fragmentation, and text deconstruction.

Printed on the inside flaps of the dust jacket, at the beginning and end of the book, is Guy Debord’s palindrome, borrowed from Virgil: In girum imus nocte et consumimur igni (“We go round and round in the night and are consumed by fire”).

The interior of the book is dense, combining a large number of photographs with black pages that immerse the reader in the darkness and agitation of the nightlife scene. The photographic sequence is interrupted by a long central text (the only white pages in the book) set in Exposure by Federico Parra Barrios (205TF) in a sober and classic layout, designed to contrast with the visual tension and rhythm of the photographic sections.

168 pages, 200×300 mm, 102 duotone plates
Section-sewn softcover, with mirror lamination and perforated dust jacket
Texts in French and English, ISBN 978-2-9593672-1-2, November 2025

“Ukraine is like a prison you can’t get out of, and Kyiv is my cell. Only skateboarding allows me to escape.” This sentence, uttered in the summer of 2023 by twenty-five-year-old skateboarder Aleksandr Burchak, sums up the stagnation in which Ukrainian youth finds itself. Photographed with a silver camera from the 1990s (XPan), this work by Robin Tutenges reveals the dead time of a war that shattered Europe in the winter of 2022. It’s a step sideways, abandoning the litany of breaking news to show how the conflict reconfigures everyday life, right down to its most trivial aspects. Here, skateboarding is more than just an unusual way of talking about a brutally confiscated youth: the figures of these teenagers appear as an act of resistance and creativity in the face of the violence imposed by Russia. The panoramic format, similar to the dimensions of a skateboard, represents this reduced horizon, where the board is now the only opening: for the time of a few tricks, those who could be soldiers escape gravity. This photographic series was supported by the Centre national des arts plastiques ( Cnap), as part of the “Performance” national photographic commission.

This 100-copies self-published booklet, bound with two black staples, plays with the panoramic format, using multiple flaps and folds to accentuate the composition of the images. The title is set in Tempel Softland, the introduction in Minotaur Sans, and all other texts (captions, comments, imprint) in Yorick, using its Cyrillic characters. 32 pages and 36 fold-out flaps, 110×200 mm. Photographs by Robin Tutenges, editorial and graphic design by Théo Miller.

Un *nouveau* programme pour le design graphique is a do-it-yourself manual that combines pragmatism and experimentation, drawing on pedagogical models from the second half of the 20th century to convey the fundamental principles of contemporary design. Taking three courses (“Typography”, “Gestalt” and “Interface”) originally developed for art students, David Reinfurt offers readers of all disciplines a general and detailed introduction to graphic design and visual literacy.

From Benjamin Franklin to Bruno Munari, via Moholy-Nagy, Muriel Cooper and the Macintosh computer, this book is a practical guide for designers seeking to understand and shape the increasingly complex world of information and design.

Bureau 205 used the typefaces Cosimo and Yorick designed by Matthieu Cortat; all distributed by 205TF.

The book is available on Éditions 205.

Bureau 205 imagined the design and positioning of the “AAA...” (architecture, urbanism, landscape) collection. It highlights the most appropriate spatial responses to the crisis of habitability, the finiteness of resources, strong climatic hazards, increased attention to global metabolism and social justice.

This first title focuses on the approach taken by architectural studio Amas, through a project to convert an existing building in the heart of Villeurbanne’s Autre Soie district.

To design this book, Bureau 205 used the typeface Immortel Acedia and Immortel Colera designed by Clément Le Tulle-Neyret and Yorick designed by Matthieu Cortat; all distributed by 205TF.

Published by Éditions 205, Florence & Henri, by Olivier Belon and Yveline Loiseur, is a poetic introduction to photography for children. It includes a story, definitions, and eight plates to handle. The book references the work of photographer Florence Henri (1893-1982), who used mirrors and geometric constructions in her still lifes during the late 1920s. These techniques were strongly influenced by her studies at the Bauhaus with Josef Albers and László Moholy-Nagy.

For the design, Bureau 205 used the typefaces Yorick, designed by Matthieu Cortat and available from 205TF.

The book Observer, comprendre et utiliser la typographie (“Observe, understand and use typography”) was written by graphic designers Damien Gautier and Florence Roller and published by Éditions 205. For the design, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

This book aims to make each of its readers, whether amateur or professional, student or experienced, able to observe, understand and use typography with precision. It presents the origins of writing and what allowed typography to develop. It shows the fundamental typographic notions and then details the subjects that everyone can be confronted with from the moment they compose a text. The multiplication of communication channels, printed and digital, static or dynamic, and their ever-increasing use, imply that those who wish to use typography with full knowledge of its origins, and master its foundations: typography is an art, within everyone’s reach.

The book was published as the third volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

The book Concevoir une identité visuelle (“Designing a visual identity”) was written by graphic designers Damien Gautier and Florence Roller and published by Éditions 205. For the design, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

A visual identity is essential to any organization. With numerous historical and contemporary examples, this manual provides the arguments and tools necessary for the demanding exercise of developing a global visual language capable of adapting to both print and digital media, of standing up over time or evolving.

The book was published as the second volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

To design the book Faire une affiche (Making a poster) written by graphic designers Damien Gautier and Florence Roller, published by Éditions 205, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

Posters are one of the graphic designer’s favorite media because of their high visibility in the public space. With more than 250 images, this manual proposes a study that is both historical and contemporary, conceptual and practical, in order to provide the essential tools to approach this subject with discernment, ambition and desire.

The book was published as the first volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

The Arnold Arboretum of Harvard University is a museum of trees teaching the world about plants. Their new website uses various fonts, including Editorial New for the titles, Lausanne for the body text, and Yorick for the notes.

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.

Eduardo Chillida (1924–2002) is one of the great sculptors of the second half of the twentieth century. This book, designed by Ariane Bosshard and Olivier Huz with the typeface Yorick, created by Matthieu Cortat, accompanies an exhibition at Les Abattoirs, Toulouse and focuses on the relationship of the creator to the four elements (water, air, earth, fire), gravity and space. Published by Éditions Dilecta.

Yorick is available on 205.tf.