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Duration: Two years as a freelancer. Previously, I worked for three years in creative agencies after many internships.

Location: Paris, France.

Education: BTEC diploma in visual communication with a focus on print, Lycée des Métiers d’Art Bertrand Du Guesclin, Auray, France; higher national diploma in digital graphic design, École Estienne, Paris, France; MFA in interactive design, Gobelins, L’École de L’Image, Paris, France. I also took some courses in type design from Gobelins as well.

Career path: As a student, I was never sold on doing freelance work. But some good and bad job experiences convinced me that working on my own would give me more freedom with my work. I also enjoy building things. I am into design processes: how to put together information, shapes and colors. It is always a matter of contrast. I love simple ideas and the tricky process of achieving them.

Now, as a multidisciplinary designer, I enjoy working in multiple arenas, from brand identity, motion design, posters and typography, to websites and applications with the same graphic approach. Besides that, I also draw and animate variable typefaces.

Artistic influences: My seminal sources of inspiration were design firm Experimental Jetset’s designs and the early motion works of design firm DIA. They’ve influenced me with the simplicity of their perfect designs and mesmerizing movements. Also, Aaron James Draplin’s collection of retro-inspired graphic ephemera. Graphic design pieces can be hiding everywhere. Most of the time, I draw inspiration from digging into old magazines, video games, stickers and signage.

No matter the medium, I’m constantly looking at the solution from a graphical angle and trying to make it interesting.”

Favorite projects: The motion graphics for the New York Times, the treatments for foundry Love Letters’s typeface Blimey, Bingo Typo for design firm Datagif and the Jacobin magazine illustrations. For each of these projects, I get to use the strong typefaces and bold graphics that I’m totally into. I’m also proud of my typefaces. I design them in order to encourage animation, and I find that the results make me happy! Some friends and I prototyped a newspaper called QUO to be printed on receipt paper; it was very interesting to discover a new way to print things.

Work environment: I work surrounded by graphic books, typography and old collected objects that inspire me in my daily work. I enjoy having tangible tools and wires everywhere. Over the years, I’ve turned my place into a workshop: I have 3-D and thermal printers, book binders, synthesizers, MIDI controllers, and always a place for a coworker or a friend.

Approach: I am constantly creating rules for my work, whether they are grids, modules, patterns or components. I also approach my motion graphics as perfect loops, with minimal but strong graphics using thick typefaces and colorful visuals. My multidisciplinary practice makes me work on everything from animations to websites to posters. No matter the medium, I’m constantly looking at the solution from a graphical angle and trying to make it interesting.

Aspirations: I want to find new ways to work with others, maybe by starting a collective studio of creative people. I’d like to engage with people looking to experiment in their field and move forward to lead us into a freed design state of mind. Also, I’d love to work with music festivals and the cultural sector—both are endangered by this COVID crisis.

Philosophy: Always work and experiment. Keep your mind open and meet new people to move forward and avoid getting stuck. Also, design asks for time, so take your time. There is no rush.

Anything else?  Two years ago, I discovered type design and went crazy about it. I love playing with shapes, black-and-white contrasts, rhythm, modularity and variable axes! I don’t pretend to be a type designer, but I would love to distribute my fonts at some point.

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