Surfing seems too often stuck in its conventional myths. Acid Magazine aims to break them down and create a space to highlight those who take the risk to create alternative imaginaries. Surfing appears to have forgotten what surrounds it. Acid Magazine strives to place surfing in its socio-economic, historical and cultural context. In truth, surfing is just a prism through which we observe society.
Acid Magazine is a fully independant annual print publication. Proposing in every issue 26 ways to talk about way more than surfing. Available in english et en Français. Distributed worldwide. Printed in Britanny, France. Lead, edited and designed with Baptiste Le Provost & Thomas Le Provost.

656 pictograms drawn with Aletheia Studio under the creative direction of Lenthal Studio
These pictograms are intended for the internal and external communication of Givaudan, world leader in the manufacture of perfumes and aromas.

Art direction and graphic design for Julia Jean Baptiste last album cover: Cinérama, published by Kwaidan Records
Three-tone printed image on front cover shot by Quentin Lacombe.

Titles and poster designed for Nymphose, a movie directed by Jonas Alexander.

Chilli oil label designed for Gulp – drawing by Quentin Bohuon

Logotype for the french electro music label Roche.

Lettering and poster designed for the movie Municipale, directed by Thomas Paulot.
Produced by L'Heure d'Été .

Wine labels and vineyard identity for the Banchi family domain, located in Tuscany in Italy.

Global visual identity designed for the puzzle brand Sulo. Including custom typographic logo, packaging, image art direction, artists curation, digital and printed communication.

Title designed for the movie A Day in a Life, directed by Larry Clark and Jonathan Velasquez.
Produced by Mauvais Sang.

Typography on a cinematographic piece can take several forms: When the protagonist write or read. The signs on the street they walk through: various advertising, walls full of grafitti on a staged setting. At the entrance of a shop, a notice on the door says that it’s close. A tiny but significant element on which it is conferred a diegetic function that give us a clue about the naration. As a background entity, it can just be there. Not essential to the understanding of the story. However necessary to the projection of the spectator on a everyday life atmosphere. Textual messages are here to help to invoke or revoke the notion of reality, to shape the fiction • The text can be directly integrate to the images; it is for example the case on the opening sequence, where titles, citations or summaries help in laying the foundations of the storytelling. In fact, as an actor can inflect the sense of the dialogue by simulating emotions; the text to which we add formal attributes (shape, color, location) can inflect the sense of the message itself. Characters and characters work together. Later, typefaces can appear as a temporal indicator, chapter one, chapter two, chapter tree... Otherwise, as a side subtitle that came to increase the value of the oral speech • Those examples are suggestions of what and how can the text be considered as a third element inseparable to images and sound. Text on screen, typography and cinema, their relation. The fiction, the narration. Visibility and readability. Those are the notion questionned in this both textual and visual essay. A non-exhaustive proposition punctuated by a multitude of examples. From general information to collected anectote.

Blind signs is an exhibition showing empty surfaces from various signs. Signs here are objects, entities whose presence or occurrence indicates the presence or occurrence of something else. Surfaces here are considered as delimited areas, flat and sizeable. The surfaces obtained are the product of an equation: signage – [(typography) – (color) – (volume)] = surface. The purpose of this withdrawing, subtract, separating from the material body is to find the underlying structure, to gain a Big Picture. By stripping an idea of its concrete accompaniment, even if the most interesting of generalizations can be found, we lose track of the specific, material, grounding elements which are the source.
• Publication – A4 leporello / 8 p

Lettering and title design for the music clip of Jorrdee: Coca-Cola.
Directed by Nicolas Jardin and Anais Tohe Commaret. Produced by Mauvais Sang and Sahara Hardcore Records.

Vinyl records 45 rpm designed with Corentin Billot for the french electro music label Arpege.
Production: Arpège Record / Distribution: Chat Noir / Phonogram: Manufacture Kuroneko / Mastering: White Sound Studio. Face A: Ilyes, San Giovani 90s (07:09) 2020
• Vinyl sleeve – 315 x 315 mm / 100 ex

Zoo is an highly contrasted display typeface inspired by the lettering raised on the first vinyl sleeves of the french music band called Zoo. The two letters Z & O established the construction constraints to design the complete character set. The asymmetrical distribution of the shapes makes it a dancing typeface, layouts live through this concept. Zoo is available in two widths (condensed and extended) on Blaze Type Foundry.

Lettering and title design with Eliott Grunewald for the music clip of Johan Papaconstantino: Lundi.
Directed by Jehane Mahmoud and Anais Tohe Commaret. Produced by Soldats Films.

Vinyl records 45 rpm designed with Corentin Billot for the french electro music label Arpege.
ARP001 – Production: Arpège Record / Distribution: Chat Noir / Phonogram: Manufacture Kuroneko / Mastering: White Sound Studio. Face A: Estmode, Mastered (07:09) 2018 / Paul Walter, Tremmel (07:33) 2018. Face B: Samur & Atree, Hummingbird (08:05) 2018 / Paradoid, Midnight Bloom (5.33) 2018.
• Vinyl sleeve – 315 x 315 mm / 100 ex

Si le contenu des pages était transposé dans un espace tridimensionnel, s’ajouterait au déplacement du regard, le déplacement du corps désormais impliqué dans la lecture des informations. Le lecteur/spectateur/acteur, se verrait sollicité dans un parcours sillonnant l’espace, son attention et sa perception stimulées. Le contenu déployé devrait s’adapter et s’articuler dans l’espace en prenant  compte de ces particularités. Mettre en page - composer/disposer - mettre en place - planifier/installer - structurer l'espace - bi/tri dimensionnel
• Publication – A4 / 36 p

Title designed and posters for the movie Lettres en ton Nom, directed by Alexandre Schild
Produced by Tell me the Story.

Buzz is a titling typeface drawn to be used in large scale. It is inspired by American wood type models and the imperfections of early newspaper headlines. Its narrow proportions and black stems, allow for tight and solid layouts. The missing optical corrections bring flawed variations of weight to the typeface.

Vinyl records 45 rpm, compilation of four selected tracks from the 90's German hip-hop movement. Movies such as Wild Style and Beat Street and in addition American soldiers stationed in Germany facilitated the introduction of hip-hop music and culture into German pop culture. Face A: Die Fantastischen Vier, Die Da!?! (3’37) 4 Gewinnt - 1992 / Advanced Chemistry, Operation §3 (4’01) Chemischer Niederschlag - 1994. Face B: Stieber Twins, Malaria (4’06) Fenster zum Hof - 1996 / Freundeskreis, Future Mothers (5’17) Quadratur des Kreises - 1997.
• Vinyl sleeve – 315 x 315 mm / 10 ex

Type specimen booklet and poster that display the letters drawn for the Abecedarium book. (See below)
• Booklet – A4 / 20 p
• Poster – A2

I have written stories about the 26 letters of the alphabet. Little stories, simple statements that draw attention to one of the perceptible characteristics of the letters. I drew the letters one by one from A to Z, only the essential – lonely letters, and the stories suggest the drawing just as the drawing suggests the stories. Writing and drawing, drawing and writing, in order to make appear what should appear. I gathered all of this in a book, an album called Abecedarium.
• Book – 330 x 225 mm / 110 p

Vinyl records 45 rpm designed with Corentin Billot for the french electro music label Arpege.
ARP002 – Production: Arpège Record / Distribution: Chat Noir / Phonogram: Manufacture Kuroneko / Mastering: White Sound Studio. Face A: A2, Plonk (07’56) 2019 / Dario Reimann, Iatch (05’56) 2019. Face B: Harry Wills, Estren (07’46) 2019 / Carl Finlow, Fmseq (6’28) 2019.
• Vinyl sleeve – 315 x 315 mm / 100 ex

Visual identity designed with Corentin Billot for the french music label Arpege. We used a thermal printer and a scanner for the production of all the communication materials. Two rudimentary tools that defined the rules to shape the identity. Working with those limited options give us many graphic possibilities that let open the evolution of the visuals.

Title and poster designed for the movie Still Working, directed by Julietta Korbel.
Produced by Thera Production.

This book is a text and iconographic essay listing the technical innovations, material discoveries, engineering portraits, attempts and experiments that took place before, and potentialy participate to the invention of the Zeppelin airship.
• Book – 250 x 170 mm / 90 p

Title and poster designed for the movie Belle Dune, directed by Léonard Sinclair.

Book designed for the artist Hanna Rochereau. Collection of 316 images related to 8 text essay.
The importance of the object, its meaning, its position.
• Book – 250 x 190 mm / 260 p