There is great pleasure in engaging with print projects, where the experience becomes tangible upon contact with a printed object. This encapsulates the essence of design—sensations, touch, and awareness through all the senses. 

Presented here is a curated selection of printed projects that have been brought to life.



Various design for Bulk classic     

Support: Business Card
Paper: Colorplan
Technique: Hot Foiling



Dot Studio 2022 Greeting Card


Supports: A6 Card + Envelop
Papers: Gmund Action + Colorplan
Techniques: Seven processes printing including Hot Foiling + Screen printing + Die cutting forms + Duplexing



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Personal Greeting Card 2022

Supports: A6 Card + Envelop
Papers: Lenticular Paper + Gmund Cotton  
Techniques: Lenticular side + Blind debossing + screenprinting + Duplexing



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Poster Collaboration x Louis Rodrigues

Support: 45x60cm Poster
Paper: Olin Natural 250gsm
Techniques: Letterpress printing + Blind emboss + Linocutting + Manual metal type setting



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Stationery for Birth Announcement

Supports: One fold A6 card + A6 Card + Envelop
Papers: Gmund Bier + Keaykolour 300gsm + Gmund transparent envelop 
Techniques: Hot Foiling + Blind Debossing + Screenprinting



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Personal Greeting Card 2020

Supports: A5 Card + Reflet + Envelop
Papers: Malmarque Blue + Caligraphic paper
Techniques: Duplexing + color edge + 6 layers of screenting + Scratch ink + Hand-stitched envelop



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Dot Studio Card

Support: A6 Card
Paper: Black paper 500gms
Technique: Screen printing



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A selection of lettering and type design project

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Sale Type, Le petit manuel du mauvais typographe, so litteraly "Bad Type, the little guide to fail in type design".

It's a humorous and ironic guide to help the best of you fail at type design. It includes fake typography rules, encouragement to distort typography, incongruous character families, etc.

In short, it's a must-have manual for the uninhibited typographer.



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Santiag, designed by Clement Cases, is a contemporary western typeface, inspired by the reversal of stress in the character strokes of the mythic Italian typefaces from the 19th century. This typeface is a modern take on the genre, attempting to incorporate geometric shapes into the counter forms. Featuring bold shapes that relate to serifs, the half-circle is key to creating the rhythm and distinct character of the typeface. The height of the base is adjustable, giving the overall typography a cartoonish feel.

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Aphorism

Movie

Song

RanchStyle

Britney is a super-mega-experimental-display-variable typeface.
Based on drawings and analogue animations made for the 36 Days of Type, this typeface questions the relations between type and motion designs, legibility and possibilities around variable technologies.

Britney comes with one legible sans-serif uppercase set and two eccentric-looking lowercase styles incorporating variable technology. In mixing all its different styles, Britney provides you with infinite possibilities to customise and create unique designs.

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Lyrics

Quote

Base Pixel is a typeface created in collaboration with Base.The main feature of this font are available exclusively from Onchain through the Base collections.

The concept of this typeface born from a simple but exciting idea: exploring the connection between ancient stone-carved inscriptions and the digital type we see on screens today. At its core is the pixel—something we often take for granted but that shapes everything in our digital world. Here, it becomes a tangible, flexible element, shifting in resolution depending on its size. The design carries a nod to the past, with triangular serifs and proportions inspired by Roman inscriptions. 

The typeface evolves across five weights, each playing with the visibility of the pixel. At the highest resolution, it’s almost invisible, blending seamlessly into the letterforms. As the resolution drops, the pixel becomes more pronounced, revealing its raw, structural nature. And then there’s the last weight, ''Trash'' a rebellious twist that distorts the original proportions, turning the type into something expressive and unexpected.

Base Pixel is an experiment, a meeting point between history and technology, precision and playfulness.







Base Pixel is a typeface created in collaboration with Base.The main feature of this font are available exclusively from Onchain through the Base collections. 

The concept of this typeface born from a simple but exciting idea: exploring the connection between ancient stone-carved inscriptions and the digital type we see on screens today. At its core is the pixel—something we often take for granted but that shapes everything in our digital world. Here, it becomes a tangible, flexible element, shifting in resolution depending on its size. The design carries a nod to the past, with triangular serifs and proportions inspired by Roman inscriptions.

The typeface evolves across five weights, each playing with the visibility of the pixel. At the highest resolution, it’s almost invisible, blending seamlessly into the letterforms. As the resolution drops, the pixel becomes more pronounced, revealing its raw, structural nature. And then there’s the last weight, ''Trash''—a rebellious twist that distorts the original proportions, turning the type into something expressive and unexpected.

Base Pixel is an experiment, a meeting point between history and technology, precision and playfulness.

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Inferno is a hot sauce collection built around three distinct spice levels. 
Created as part of my Coloso course, this project explores the expressive potential 
of variable type—where letterforms shift dynamically to reflect intensity and emotion.

Inferno features a variable logotype that transforms from a clean, structured form 
into an ultra-expressive, distorted shape—visually mimicking the sensation of heat, 
from subtle warmth to an explosive blaze.

Each product lettering style functions as a variable design, allowing for 
smooth transitions between spice levels.  
Mild – "Petit Lait" – Soft, rounded forms inspired by dairy-based relief from spice.
Medium – "Hot Punch" – Sharper, punchier letterforms with dynamic movement.
Fiery – "Super Fuego" – Wild, aggressive strokes, visually embodying extreme heat and intensity.



Inferno is a hot sauce collection built around three distinct spice levels. Created as part of my Coloso course, this project explores the expressive potential of variable type—where letterforms shift dynamically to reflect intensity and emotion.

Inferno features a variable logotype that transforms from a clean, structured form into an ultra-expressive, distorted shape—visually mimicking the sensation of heat, from subtle warmth to an explosive blaze.

Each product lettering style functions as a variable design, allowing for smooth transitions between spice levels.  
Mild – "Petit Lait" – Soft, rounded forms inspired by dairy-based relief from spice.
Medium – "Hot Punch" – Sharper, punchier letterforms with dynamic movement.
Fiery – "Super Fuego" – Wild, aggressive strokes, visually embodying extreme heat and intensity.

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Antalis France asked to showcasing the REFIT Range as 100% organic from Favini Paper. 
We responded by creating an eco-friendly notebook using paper exclusively from the Refit range.
⁠
The shape and design of the book were defined to reach zero waste: a single embossing tool was used and a brass die preferred over aluminium as it has a better waste recovery and is produced without chemicals. As well, the finish format of the press determined the size of the notebook to avoid any paper waste. ⁠Organic elements were also favoured : the cotton sewing threads are entirely natural, as is the ink of our own composition, from the marine environment.⁠

Inspired by Favini’s commitment to sustainability, the Atelier decided to produce a notebook with the least impact on the environment and revised its production and sourcing methods to fit with the new eco-conscious Refit range.⁠
⁠The shape and design of the book were defined to reach zero waste: a single embossing tool was used and a brass die preferred over aluminium as it has a better waste recovery and is produced without chemicals. As well, the finish format of the press determined the size of the notebook to avoid any paper waste.⁠
Furthermore, the reconditioned centenary Heidelberg press is energy-efficient and not subject to industrial obsolescence, limiting the carbon footprint of the project.⁠
⁠Organic elements were also favoured : the cotton sewing threads are entirely natural, as is the ink of our own composition, from the marine environment.⁠
⁠This project has enabled the Atelier to review its production methods by emphasizing on eco-thinking, which must go beyond the essential work of the craftsman today more than ever.⁠

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Barbican is a typeface family inspired by the brutalist architecture of the Barbican Centre in London.

This typeface allows for various applications due to the versatility of the family. The extensive family offers variable possibilities by working with 2 axes and 4 masters to interpolate between extreme widths and weights.

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Punchline

Words

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Concept proposal for Merchant’s Yard, a new property development.

This proposal was focused on a bespoke typeface playing with the width of each letter.
This full typeface creates various possibilities for the logo and helps with the clarity of the full branding.



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Bakerie is a display typeface, designed with letterforms of contrasting widths. Fluid yet sharp, this typeface is inspired by the elegance of the art and type forms of the late 19th century. 

It's name references the changing curves of bread dough as it is kneaded, pushed and pulled into wonderful shapes. Its range of alternative letters and ligatures allow for inventive combinations, ideal for titles and logotypes.

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Clem-choux à la 
crème de beurre 
de cacahouète.

almond croissant
mille-feuilles
éclair 
madeleine
baba au rhum

Debate

Recipes

Punchlines

Pastries

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Bad printing is a self-initiated project that aims to rethink our relationship to the production of printed materials. The series of posters raises questions about feasibility, means of production and printing know-how. 

The aim is to design visuals by experimenting with relief printing techniques. It is transcribed by the use of linocut, the composition of lead or wood typefaces, the general composition, also the use of other surfaces in relief.

This research is carried out on the proof presses of the London Centre for Book Arts.

Bad printing is a self-initiated project that aims to rethink our relationship to the production of printed materials. This series raises questions about feasibility, means of production and printing know-how. 
This project explores the means and possibilities of letterpress presses by engaging with the poster medium. 
The aim is to design visuals by experimenting with relief printing techniques. It is transcribed by the use of linocut, the composition of lead or wood typefaces, the general composition, but also the use of other surfaces in relief.
 
This research is carried out on the proof presses of the London Centre for Book Arts.

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Originally inspired by the geometric shapes of Italian design from the 1960s, this playful and geometric typeface is an invitation to return to childhood. It is diversified into numerous weights to allow for style changes that make it unique. This versatile family is variable, and has been designed with three different contrasts ranging from light to fat, allowing a multitude of functionalities. Bufala has also been crafted to offer a soft version of typography with rounded angles that might just melt your heart like mozzarella.

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