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Témoignages (Testaments), exhibition catalogue

Digital printing and ink transfer on Canson 120gr and Japanese paper, 26*17 cm, 2019.

Graphic identity for Jane Evelyn Atwood’s fictive retrospective exhibition. For the catalogue, attention was brought to paper, material. The use of Japanese paper is a great way to play with touch due to its fragility, but also vision, due to its transparency. Transfer was used as a printing technique : it allows some texture effects that can to the point of losing patches of text, and thus patches of memory. These choices are made to reflect notions such as subjective testimonies, memory loss, recollection. Graphic declension of the visual identity on a poster, flyers, and invitation card for the vernissage.

Dis-moi dix mots (tell me ten words), workshop at the Archives Nationales

Acrylic painting and Blanc de Meudon on a bay window, 2019.

“Students are creating a short poem that will be readable on the large bay windows of the great hall. The poem was inspired by the visit of the structure, and is about the archive typology, and some fantasies inspired by the reading of old documents. They fancy about the archives as if they were novices, amateur observers, and the result is a free poetic text.” (Diane Boivin, supervising the project with Christine Bouvier)
Workshop’s view on the Archive’s website.

ESAC Cambrai Typeface library, editorial work

Laser printing on DCP Clairefontaine 110gr and Pollen Clairefontaine 180gr, 12,5*10 cm, 2019.

Editorial work in which all typefaces created by ESAC students are gathered. One publication a year. This is a playful way to discover new fonts. The cards are made to be handed, looked at, they are exchangeable, so that one can compare the drawing of all these different and fanciful letters.

Vendredi à minuit (Friday, at midnight), film festival visual communication

Laser printing on Canson bristol 180gr, 29,7*42 cm ; trailer editing, 2min, 2018.

Posters, animated poster and trailer making for a fictive fantastic films festival. Trailer editing shows and mixes all films imitating the principle of composite drawing and digital collage. Posters are based on the same technique, showing a “portrait-robot” of all films together.

Portrait de ville (city portrait), editorial work

Digital printing on Clairefontaine Trophée pearl gray 80gr and Canson Vivaldi light gray 90gr, 2017.

Creation of a tiny book in which a certain point of view on Cambrai city is told and shown. A short poem is sharing the pages’ space with photographs of Cambrai. It invites the reader to look up, walk slower, and to discover a new city by looking at it differently. The layout and paper choice, plus a delicate sewn-binding are reflecting the lightened state of mind enhanced by the poem.

Description cards design for the Beaux-Arts Museum of Arras

Digital printing, lamination on dibond, 2018.

During the month of june 2018, the museum was redesigning its permanent exhibition on the second floor. It was based on showing the never-seen-before 19th century's landscape paintings collection. It was an opportunity to design new description cards for some of the masterpieces, completed with explanatory drawings. Texts were written after a complete archival work.

Generative drawing

Screenshots, 2019.

P5JS' generated geometric black & white forms.
Different interactive modules were explored : the drawing is defined by mouse speed, mouse clicks, mouse scroll...

Lucid Dreams

Inkjet printing on Munken 140gr, 2019.

Series of digital collages and paintings. Telling stories about the unconscious manifestation through scribbles, and automatic drawing. The process was undetermined, hazardous and impulsive, as a direct experience of what was questioned.

Laborynthe, type specimen

Laser printing on Canson bristol 180gr, 2018.

Creation of a modular font by using angular modules, which associated with each other can build a labyrinth. One can combine those modules and forms to open or close paths, to both draw a pattern and write a sentence. The poster reveals the modules, by scaling them up, and put them in colours. It reaveals the « skeleton » of the letters.

Arachnophobe (Arachnophobia)

Laser printing on Canson C à grain 224gr, 2017.

Illustrated book for children and parents. The story is about someone facing his/her deep fear of spiders. The lettering and rythm given by the layout invite one to read the story out loud. Hand-letterings suggest angst, and to raise one’s voice. On the one hand, realistic drawings, and on the other hand, childish drawings of the spiders, are reflecting the duality which is also underlined in the narration : rationalization attempt facing panic.

La Cramée (the burnt-out), type specimen

Inkjet printing on Munken, 2016.

Creation of a fancy type using real-life objects : here burnt matches. Posters reveal two steps of working on the typographical characters. The first one underlines the use of raw material during the research process : tape, unused, burnt or cut matches, ashes, as if it was a photograph of the graphic designer’s desk. Second poster shows the final typographical character, used to form several sentences, as a test for its optical behaviour.

The Dancing pen, research article

Inkjet printing on journal paper 60gr, 2019.

(in french) Writing about scribbles, automatic drawing, and what does it say about humans that this practice still has credit nowadays.


Screenshots, 2018.

Posters based on quotes, interactions, exclamations, sentences heard about women bodies.
Precise image editing work on skin texture, highlighting marks, body hair, chills.