Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

The first edition of the Libre Film Series took place in 2022 in the small coastal village of Santa Mónica, located in the Maldonado district of Uruguay. The five-days festival was mounted by the collective space Lablat who chose five Latin American films to project and discuss over the Laguna José Ignacio in the last days of December of that year. In the center of the curators’ interest was how, in their medium, filmmakers present creators from other fields of art, such as fine arts and landscape architecture.

The graphic design advertising the event is the work of Julia Miceli Pitta, an Argentinian designer working in Buenos Aires and London. The key visual is the lettering piece “LiBRE” that combines the idea of light coming from a projector with splashy shapes reminiscent of the nearby lagoon.

The big-size headline typeface is Big Daily, a roman with marked stroke contrast. The “Short” branch of this typeface series is distinguished by especially short ascenders and descenders, a feature brought to full splendor in the tight line spacing on the film posters. Miceli Pitta commented that she wanted a subtle and elegant typeface that would connect to the past while sitting comfortably in a modern identity. Big Daily was designed by Alaric Garnier and brought out by Production Type from Paris in 2020. The second typeface, used for the smaller reading text, is Archivo, a sans-serif of rather narrow width, designed by Héctor Gatti from Omnibus Type, Buenos Aires.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

The Clinton Young Foundation was first established in 2014 in the Netherlands with the target to raise public awareness of the legal case of Clinton Young who had wrongly been sentenced to death penalty in 2003. In 2020 the foundation officially opened a second office in Austin, Texas. In 2021 Clinton’s case was vacated by the Texas Court of Criminal Appeals and in 2022 he finally was released from jail on bond. While, after twenty years on death row, his case eventually found a good ending, the foundation broadens its scope and keeps on working for all those wrongfully convicted of capital murder in Texas.

The website featured in this post uses two typefaces: Blaze Type’s geometric sans-serif Area in its Extended cut for reading text and functional items – and Big Daily, a serif designed by Alaric Garnier as eye-catcher for the headlines. Published by Production Type, Big Daily was mainly inspired by small newspaper print. For the time being, Big Daily is available in its Short variant whose name-giving feature are the extremely short ascenders and descenders. Further declinations are in the pipeline, though. What makes the appeal of Big Daily are the pronounced yet sturdy stroke contrast and the swift dynamic of its Italics.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

Founded in 2017 by Rebecca Miquel and Nicolas Huet Greub, 1718 is a Paris-based agency specializing in the production of creative content and art buying. Their service to mostly well-known brands consists in assembling ever changing teams in order to realize film and photo shoots as much as print projects and digital events.

The topic in this post is the stationery of 1718, but you should also check out the post featuring the design of their website. The graphic designers responsible for both are Léna Araguas and Alaric Garnier. Garnier is also the designer of the typeface used, Big Daily.

Big Daily comes in six weights and draws its inspiration from small-size newspaper print and was published by Production Type in 2020. It is characterized by a large x-height, wide counters and a marked yet sturdy stroke contrast. The design is subtle in detail but lends itself just as well to big-size headline applications as can be seen here. Not on display here is its italic that sports a wonderful rhythm and dynamic movement.

The 1718 inline logotype is a bespoke derivation of Big Daily Black. It’s interesting here to see how the designers managed to bridge the use of the logotype on the website and on the business cards. While it sits centered and black at maximum size on the landing page, it behaves similarly on the stationery, but the black is exchanged for blind embossing. This keeps the design principles intact and transposes the logotype into a visually and haptically appealing form.

The production was carried out by Imprimerie du Marais, a high-brow printing house based in Paris, with a branch in London.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

Source: www.instagram.com Imprimerie du Marais. License: All Rights Reserved.

8 Represent is the joint website of a bunch of individuals working in various areas of the creative industries. They are mainly based in Paris, France, and they encompass photographers, art directors, filmmakers, sound, light and set designers, as much as a stylist and a multidisciplinary studio.

The website was designed by Léna Araguas and Alaric Garnier. The landing page features a big, fat eight and gives an insight in the shared philosphy that brought the artists together. Resize your browser window and you will see the first visual delight: the eight adapts and always fills the screen to the max. The following page gives an overview of the artists and their working fields and shows their latest projects. Further down the structure of the site you can focus on each of the artists and gather more information about their work and biography.

As of August 2022, the website is some sort of sneak preview for a typeface yet to be released. It is Big Daily Mono, a future member of the Big Daily family. Big Daily is the fruit of a collaboration of the aforementioned Alaric Garnier with Production Type. The key idea behind this typeface is to pick up on the special qualities of type designed for small-size newspaper copy and to give it a twist that will make it appealing for the on-screen applications of our days.

The custom drawn numeral 8 adapts to the width of the viewport.

Visit the website to see the simple yet clever hover effect, with menu items changing to all caps. Since the typeface is monospaced, this doesn’t cause any text reflow.

Nuit Blanche Mayenne is a one-night event that happens every two years and takes place in the small city of Mayenne: for a few hours, it shows contemporary art and design works in different places of the city center. Calling itself the smallest Nuit Blanche in the world, the event brings together more than 40 artists, whether they are renowned or from the emerging scene.

This year’s communication was given to Atelier Tout va bien. The program designed for the occasion and to use as a tool to wander around the city shows the signature color combination of red and silver chosen for the event. As the brochure had to show at the same time a map and a presentation of each artistic intervention, the booklet has two paper formats: a cover of eight pages printed on Fedrigoni Sirio Flamingo paper, on which we can find the map of Mayenne, and inside, a smaller booklet for the featured artists. This change of paper format makes it easier for the reader to go back and forth from the description to the map.

Atelier Tout va bien used Tactic, a sans serif designed by Antoine Elsensohn, and Big Daily designed by Alaric Garnier and available from Production Type. Tactic is used for titles and display text while Big Daily is used on the interior pages for longer stretches of text. This now classic combination of a geometric sans with a humanistic serif has nevertheless a spicy effect, as the abrupt 90 degrees lines of Tactic are put in perspective with the roundness and huge x-height of Big Daily.

1718 is an art direction agency that combines film production and photography. 1718 was started in 2017 by Rebecca Miquel, a protagonist in the field of advertising who became film producer, and Nicolas Huet Greub, agent for photographers. Their aim in combining both their activities was to create a multimodal entity in which they could promote their crew of film directors and photographers for the beauty market and especially for luxury brands.

The website of 1718 was designed by Léna Araguas and Alaric Garnier. Their graphic interpretation of 1718’s position was a black and white identity, with a cinematic dramaturgy: the visitor arrives on the homepage and faces an all-screen logotype made of biline numerals which then morphs to a much smaller size and aligns to the top left corner. The page changes to a center-aligned list of the agency’s projects, with the peculiarity that when hovering over each of the project titles, a still image or a short video clip appears. This fast changing look of the website gives an impression of profusion and mobility, both dear to the agency, which needs to play on the diversity of their crew. There is an interesting balance between the space given to text and image: the project list, set in Big Daily from Production Type, is displayed in a wide size and fills the whole screen; however, the attention really is grabbed by the videos and their smooth transitions, even though they appear as small thumbnails in the middle of the page. On the other hand, the pages dedicated to the projects put the highlight on the photographic images, shown in a square mosaic with the description in small size on top of the page, this time set in an unreleased monospaced version of Big Daily.

Big Daily used in such a big size adds sophistication to the identity of the website: as the type was inspired by newspaper typefaces in small sizes, the peculiarities of the design are made more visible and offer an originality to the text.

Orson is a CEO advisory firm. Run by three ex CEOs who held very high-level leadership positions, Orson aims at combining the individual expertise with the possibilities offered by artificial intelligence (AI) to face complex situations or crises – that is why they joined forces with two AI experts. Above all, Orson wants to help leaders build a trustful relationship between their corporations and their stakeholders. The innovation lies in the use of algorithmic sciences to secure their decision making and to analyse complex data.

Studio Ensemble designed a website that had to show the different aspects of the firm: the first page is dynamic, with text appearing progressively, and is illustrated by an animated rosette, showing at the same time the decomposition of the movement of a sphere and the prismatic pattern created by the shape’s intersections. Interestingly, the website is structured around one page, with a description of the firm: Orson “Is a CEO Advisory Firm / deeply Human / AI powered / with holistic expertise / on a global scale”, where each part of the sentence leads to a different page. The complexity and the seeming abstraction of the firm’s actions are illustrated by vectorial geometric drawings, the most important one being the firm’s “Trust wheel”, an animated unidimensional rosetta that shows all stakeholders to take into account for a company’s trust building.

The website is set in Big Daily Short designed by Alaric Garnier and available from Production Type. It’s paired with Chi-Long Trieu’s Basel Grotesk (Optimo) for third level titles and technical info. The large eye and tall x-height of Big Daily makes it very legible but also offers a proximity to the reader: the typeface was inspired by the design of small size newspaper typefaces which needed large apertures, in order to prevent the counterforms from being clogged with ink. This legacy lends a familiar look to Big Daily, and makes the surface of the screen appear closer than it actually is. Used for a firm working with AI, the typeface provides this “human” feeling that is put forward by Orson.

Ici l’Onde (“Here’s the wave”) is the title of the quarterly musical season organized by Why Note, a cultural center for musical creation in Dijon, France. Each trimester, a theme is chosen for the program, which includes concerts, lectures, and performances. During the past year, Covid-19 has cancelled most events, leaving concert halls and other cultural centers closed and unable to welcome their visitors. In order to fill this absence, Why Note edited a booklet presenting the works of five artists and performers working with sound, in a text by Juliette Volcler. This publication was given away for free at the concluding event of this short season, titled Sonic Bloom.

The booklet was designed by Atelier Tout va bien, also located in Dijon. Even though the publication is modest in size, the papers and the printing make up for that, adding a certain preciousness to the object: the recycled paper is from Fedrigoni, and there are some touches of copper here and there. The cover is also interesting as it is folded into a jacket, partly hiding a rasterized image. The different ways of composing “Ici l’onde” (on the jacket and on the title page) express the mobility of the season, where each trimester offers a new theme and new places for the concerts and shows. The publication is densely packed with texts, set in Big Daily from Production Type and Beatrice from Sharp Type. Big Daily was inspired by newspapers typefaces, especially the small characters between 6pt and 12pt: this gives it a wide x-height that occupies the space of the narrow pages of the publication, while making it very legible. Overall, with great simplicity, the publication manages to create a dynamic between the different layouts, without making it anecdotic, and keeping in mind that the final goal of it is, before all, to present the artists and to make up for the missed concerts of last year.

Relieve helps charities, schools and other non-profit organizations in the UK getting settled at an affordable cost with premium corporate office furniture, and supports companies to identify unwanted items, building a more circular economy.

The Relieve Furniture website is set in Big Daily and Lausanne.

The EPA Paris-Saclay is a public development authority that manages scientific, urban and cultural programs for the south of Paris. This project of urban development is the largest in Europe: its goal is to build bridges and find new paths between city and nature, and between agriculture and urban ways of life. For its tenth anniversary in 2021, it organizes a travelling exhibition called Paysages that focuses on the idea of landscape: the organization invited seven artists to work on it and to offer a singular point of view on this term which is usually associated with aesthetics and the history of art. Among the contributing artists we find painters, photographers, digital artists, and illustrators. Each of them has chosen to explore the landscape either from an urban, natural, or human perspective, each of these viewpoints implying different approaches – sociological, ethological, ecological, etc.

Since 2014, LMpolymago is in charge of EPA Paris-Saclay’s identity: the studio created a functional design based on Hoefler & Co’s Gotham and a signature red dot, inspired by cartography. It works as a strong marker in every item of the visual communication. The poster for Paysages displays the different elements of the identity with the addition of Big Daily from Production Type, used to set the title of the exhibition. Far from the boldness of Gotham, Big Daily offers a smoothness that seems appropriate for an art exhibition that focuses not only on construction but also the poetics of the landscape. The letters, scattered in the format and set in different sizes, seem to emerge from a distant horizon, and illustrate a landscape through the use of perspective. The letters as much as the thin thread that links them all brings a tension in terms of representation: while the letters are in a three-dimensional space, they and the interlinked thread and dots are a conventional representation used in two-dimensional maps. This abstract image gives unity to the diversity of artworks presented in the exhibition.

In addition to the poster, a booklet composed of postcards was conceived for the exhibition: landscapes being the archetype of images printed on postcards, it seemed natural to offer this kind of object to the visitor. The website created for the event mixes both the identities.

Initium Maris is a project conducted by artist Nicolas Floc’h that questions the future of submarine landscapes, in the perspective of the environmental crisis we are experiencing. It is at the same time a documentation and a reflection about the influence of man on these environments which we rarely consider as proper landscapes, in the artistic sense of the word. The project is based on an expedition that started from the coasts of Bretagne, France, leading all the way to Japan. The book is conceived as a photographic logbook, associated with a presentation of the project and its actors, whether they’re artists, scientists, or researchers.

Initium Maris. Carnet de bord was designed by Maison Solide, who chose to use Big Daily from Production Type for text. Styrene A from Commercial Type is used for titles and notes, sometimes with its alternate a and u. The sobriety of the dark green cover is evocative of old notebooks, while the silver printing brings us to the stars, in a crafty inversion of the topic we are dealing with. The dots scattered on the cover are different significative points of the submarine map, but the silver color makes them shine as if it was a sky chart. This grasping of an astral world – which we are eager to tend to when we are asking for answers or just contemplation – is a way to make the sea and its depths as mysterious as the celestial dome.

Big Daily fits right into a design inspired by documentation and archival resources: its shapes inspired by daily newspapers give it a documental aspect, fueling the ambiguity between science and art that is seen in the book. The photographs become testimonies, all the more so as they are paired with maps. In its aesthetic, this book manages to raise awareness towards the submarine landscapes it is showing. Initium Maris. Carnet de bord was published by Édition GwinZegal.

Anticorps (“Antibodies”) is an exhibition at the Palais de Tokyo, Paris, platforming “the voices of 20 artists from the French and international artistic scene. With recent and new works, they take the pulse of our ability to bond together and help us rethink how we inhabit the world.” Conceived with the experience of lockdown and the adoption of physical distancing, the exhibition is extended and enhanced by an extensive bilingual website, making some of the content available online.

The website was designed by Léna Araguas and Alaric Garnier, featuring an original yet perspicuous user interface built by Sylvain Jule. It makes early use of Enduro, Emmanuel Besse’s vision of an industrial grotesk. The straightforward sans appears in Semibold and Semibold Italic styles, from the exhibition logo and the intro to menus, bios, and more. For the texts, Enduro is paired with Garnier’s own Big Daily Long.

Enduro and Big Daily are both available from Production Type.

Homepage, French version. The intro text fades out, leaving the six keywords/topics as entry points to the exhibition.

All items are organized as layered cards that can be scrolled individually.

Enduro is used for the page intro and the rotated title on the left. The article headline is rendered in Big Daily Italic, with the roman specified for the author’s name.

Paragraph beginnings are marked by large indents, a measure that’s echoed here for the introductory quote.

Related pages are shown as stripes to the left and right and can be accessed by swiping.

The extendable top menu provides quick access to all pages.

When hovering over one of the topics in the top row, all associated artists and texts are highlighted.

The catalog accompanying the 15th edition of the Lyon Contemporary Art Biennale was designed by Alaric Garnier together with Léna Araguas and Benoît Canaud.

Echoing Lyon’s geography, the title of the 15th Lyon Contemporary Art Biennale is Where Water Comes Together with Other Water, taken from a Raymond Carver poem. For the first time, in addition to the Museum of Contemporary Art (macLYON) and many associate venues, the Biennale is being held in the deserted halls of the former Fagor factory, in the heart of the Gerland district. Around fifty artists of all generations and many nationalities, with gender parity, have been invited to make site-specific works.

The bilingual catalog was imagined as a practical guide that covers all the exhibitions as well as the satellite events. For the book’s typography, Garnier used his own Big Daily throughout. The sturdy serif takes inspiration from typefaces used for the small copy in daily newspapers. One branch of this family, Big Daily Short, was recently released with Production Type. It comes in six weights, in roman and italic styles. While Big Daily Short is distinguished by compact extenders, the catalog design also features additional styles that remain private for the time being, including a variant with longer extenders and a monospaced companion.