Nine color compositions were offset printed on paper normally used for printing medication instructions. Sheer and transparent, the effect was dynamic, both outside and inside the building. Superposing the paper modules allowed for multiple combinations. In this ephemeral installation, I revisited the idea of architectural ornament with means culled from the technical nature of contemporary graphic design, normally used in the context of book design.
The proposed matrix is a negative version of the Fontenew project. Here, the matrix functions with the same grid, but in the opposite way. The inks fade into one another, mixtures of cyan, magenta and yellow. They were screen printed and varnished. The typographic grid was then overprinted in black ink, designed to be scratched off. Visitors revealed anagrams.
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After scratching the letters, tables were stood on end transforming them into display easels. Turning the tables is a strong gesture, indeed! If the principle of folding posters to reveal the letters is the same, the plasticity of this project was very different. The structure was marked by geometric fields, colored on the front and black on the back. The result is an excessive overload that plays with the reading of shapes and colors, a nod to the big printing screen of mainstream advertising posters.
They publish art books for children, and promote diverse artists work through exhibitions and workshops.
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They are designed to stand up on their own, in the image of this ambitious yet modest association. They stand as a volume and defend the values of symbols contained within. The text is set in a typeface inspired by the original design of Futura.
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Its complementary color, orange, permeates the whole color range. The orange solids, present on the pages of text, punctuate the presentation of the works in pairs, and enrobes them in a subtle yet vivid setting. As these contracts are printed on request, it was necessary to design a media that could be printed again and again. Graphic codes contracts boxes, blanks, dotted lines… were playfully re-distributed within the space of the page. These signs, printed in ink mixed with a transparent base, does not compete with the overprinted text, while providing, nonetheless, a creative counterpoint to the formal rigor of the contract.
We worked in close collaboration on the design of his first monographic catalog. I wanted the graphic design to provide a subtle connection to the world of wine, which permeates his work. The jacket displays an essential piece: an intriguing mobile vine garden capable of traveling to different places, to optimize exposure. Screen-printed with a mixture of inks selected together with the artist, which varied as the print run progressed, each copy is unique. The book cover has a glossy back that takes its intensity from the dark color of the wine. The first part of the book was printed on cream-colored, hammered paper, usually used for wine labels.
The page numbers occupy an atypical space, printed over the text and images. At times annoying, sometimes camouflaged, it disturbs the reader much like a nettlesome fly, once more reflecting this truly provocative artist! The cover is designed by Winschluss. Within these pages are clamped twenty pages displaying his work arranged as if it was a mute comic book. They are printed with a visible raster, and the frames that surround the boxes are cyan, magenta, yellow and black. At the center of the book are placed the pages of text written by Jacques Samson, a comic book specialist.
Each text page refers to an image page same pagination. Captions, between which the texts literally flows, are composed in a redesigned typography from the comic Jeff Curtiss. This editorial UFO contains the stigma of comic books, and offers an iconoclastic look at the work of Gilles Barbier.
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The graphic identity is progessive. The 4 letters of the word Mova recall architectural and landscape basics: houses, factory, sun. I wanted the graphic identity to work like a toolbox that the client could use differently for each media, in order to constantly recompose this mini-landscape, like a game. Pre-cut stickers were printed in order to be added and bring some contrast to any corporate media manila envelope, card cards… or on a larger scale on building permits panels. Works are impregnated with their millennial Far Eastern culture as well as with the Western pictorial experimentation from the interwar period.
Two works are printed on the front and back of the fabric used for the dust cover. The title is printed in black lacquer ink on the ocher cover. On the back of this raw material, full spreads present works that are juxtaposed to the flaps of the dust cover and to pages that also show some paintings.
The multiple possibilities of combinations transmits the idea of diversity of influences and pictorial expressions. The different parts of the book are materialized by a variety of colors and paper qualities. They were used in a simple layout: texte aligned to the left, images on the right part of the page, bringing a dynamic encounter. Despite its small number of pages, I wanted this book to have a real presence, hence the choice of a thick cardboard for cover, and a bulky paper for the inside.
The book presents a drawing per page in a hieratic way, without marking the edges of the original. Printing techniques pay tribute to the liveliness of the colors used by the artist: mate hot foil on a faux white leather for the cover, spot color on pink paper for the cover pages and neon CMYK for the inside pages. This immersion in her work and the color is interrupted by the text printed in black.
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These parks have engaged collaboration with four artists that have created eight in situ works. The drawings that go with the typogram the eye, the woven sun, the factory and the compass echo the architectural, human and social context of this command. Several craft marbled papers were used for the cover and endpapers. The random combinations of these make each book unique. This mix and match creates sometimes harmonious, sometimes dissonant associations, still always amazing!
The book is entirely composed in Bodoni, and the simplicity of the layout allows this bountiful content to be organized. The purple holy color! This first summer volume adresses the aquatic aspects of Royans. I wanted to create a more literary and sharp format than the conventional guides. The rusticity of kraft cover contrasts with the delicacy of the poems initiations that are printed on it. The inside pages are all superimposed with a pastel hue, like the veil of light from a season that gently covers text and images. The image of a windmill was very obvious to me, emphasized by the title of the festival and the relationship to childhood.
I worked around all of these elements to design the book, articulating spot colors for this book made with 6 hands. The book is printed on poster paper, the front of which is literally painted in blue, yellow and red. The three-color printing matches the colors of those specific papers and offers the work to the viewer through this strange spectrum.
The covers follow each other, gradually revealing the title.
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Color defines the entire book, in its organization, its ink, its materiality, and offers the content throughout its bright prism. Therefore, at the beginning of the cycle, the moon is made out of a single layer of ink. At the end of the cycle, the moon is superimposed to the 30 previous layers. The colorful hazards, opacity tricks, ink sensualities and random streaks dictated the evolution of the cycle. Experimenting with the plasticity of screen printing is at the heart of the project.
The theme is halfway between science and pure poetry: its materialization oscillates between technical constraints and experimentation. The moons embedded in a wooden stand and arranged according to the calendar logic, were displayed horizontally day after day. At the end of the exhibition, they all formed a massive didactic board. The act of wandering in a space is at the heart of this set design. Multipli was created referring too a poster folding principle. The letters appear from the folds and the back of the subtracted shapes make new colors arise.