Aliénor Display is a typeface that seeks to convey elegance in its purest form. The connection of stems to serifs of the Aliénor Display gives to it original and sophisticated shapes and identity. Its upstrokes are fixed, so the contrasts are stronger and stronger as the weight increases. It has variations in width within the basic alphabet which give it a lot of personality. The Aliénor Display offers alternates which allow it to compose texts only in capitals as harmoniously and rhythmically as possible. Accompanied by numerous ligatures, these additional glyphs are therefore used to alternate between wide width and narrow width on 11 letters.

→ Get Aliénor Display here!

(2020) TYPE DESIGN — made with Anne-Dauphine Borione


As simple as it may seem, copies are actually much more complex than we might think: reproduction and reproducibility, plagiarism, fakes or even remakes, they reveal a multiplicity of technical and aesthetic possibilities leading to an abundance of productions. Exemplaire nºa offers a double vision of the subject both pragmatic and experimental in order to approach it in its entirety. All while engaging the subject through various documents brought together in an editorial object, this so-called "original" object will be copied multiple times in order to draw all its richness from it. What do these copies have to offer? Failed, more relevant or completely discordant, they will allow fundamental questions to be asked on the subject. Among many others, does a copy convey the same thing as its original? And finally... Couldn't a copy be an original?


03. A, B, C... MARQUEZ!

In this book, our discourse try to answer the problem “What is the statute of typography in a brand identity?”. We are lucky to have spoken in person with Cléo Charuet, Karl Saffré, Christophe Badani, Matthieu Cortat, Violaine & Jérémy and Aaron Levin. These various interviews allowed us to support our reflection and our discourse in order to push fundamental questions to our discipline as far as possible. All this analysis where texts and visuals are present in abundance is transcribed in an editorial object which takes the form of an archive file.

Cover: screenprinting on gray cardboard
Papers: Edixion and Bengalis gray
207 pages


Lettering designed under the principle of palindrome, which can be read right side up and upside down both literally and formally.



Web adaptation of the 23th issue: Logos and visual identity of the printed magazine Graphisme in France. Creation of a universe consistent with the theme of the issue.



The Fantastic Stories of H.G. Wells offers a selection of three short stories around the themes of green color and parallel universes. The whole edition is built on a formal duality: the French text in classic roman faces to an italic which sublimates the English text. Green is intermingled with black which allows to rhythm the layout and iconographic work. It takes us into a poetic universe which also contrasts with the science fiction genre of Wells.

Photos: Anna Hahoutoff & Ryan Shorosky
164 pages



Ikea Lab’s visual identity is based on type and visual modules to compose the different supports of communication. We’ve imagine this fictional project by creating the first collab with Virgil Abloh to situe the editorial slant of the Lab. We wanted to play with a full Gosha Sans (designed by Pangram Pangram) identity to remind the complexity of the brand’s stores and products and the experimental way that Ikea Lab will be embrace.

(2019) VISUAL IDENTITY — Made with Liana Korios


The aim of this project is to analyze the icon and the idol through two fundamental chapters: religion (from the text L’icône, une école du regard by Jean-Yves Leloup), and star-system (from Les Stars by Edgar Morin). The text is reinforced by graphic and typographic choices. The Clifton typeface echoes the arabesques of iconographic work while the silver chromolux paper makes the link with the preciosity and metallurgical know-how of religious iconography. It also sends us back to the ego and the importance of stars.

180-pages book
Series of posters & other editorial supports



For the new Artistic Direction of Vogue, its contrast between traditional glamor and modernity, its iconic logo and its structure are preserved. We come to strengthen its touch of madness with more hierarchical and better highlighted content by typographic work by structuring the compositions. we still identify it as a chic and glamor magazine by assuming its provocative temperament. We therefore associate the Nostra drawn by Lucas Decroix and the Chapter distributed by Good Type Foundry with a powerful photographic line. We find in particular images of Boris Ovini, Luna Aharst, Lou Escobar and Daria Kobayashi, among others…

(2020) EDITORIAL DESIGN — Made with Adélie Touraille


Cultural application that aims to live an experience related to the fashion designer. At the heart of his life and his collections, Les voyages de Jacquemus takes stock of his inspirations for each of his fashion shows and his personal experiences.
It invites us to discover artists and people who are dear to him while admiring his talented work. A UX experience that offers little interaction with the user but which submits a graphic path that tells a story.

(2019) UX / WEB DESIGN — Made with Liana Korios


The Parisgrafik application lists different places and events related to graphic design in Paris. It allows the user to plan their trip according to the dates of their stay but also offers all of it resources in order to be able to enrich the user to the maximum. Each category presents a list of events or places classified by theme and by hashtag in order to best defines the user interests. Once an element has been chosen, it is explained to you in the most complete way possible (general presentation, organization, location, accessibility, etc.) to get it in your favorites.

(2018) UX / WEB DESIGN — Made with Valentin Bousquet

12. Une histoire de Dai Sijie

The adaptation Balzac et la Petite Tailleuse chinoise aims to graphically express the history but also the historical and cultural context in which it was written. In a Maoist China where books are prohibited, the reinterpretation of this novel was designed in relation to the immense censorship of literature: an editorial hide-and-seek where parts of the text are hidden between the pages printed on Japanese paper of the book. The black / white / gray and red colorimetry echoes to the cultural revolution.