Duration: Three years.
Location: Paris, France.
Education: Masters in graphic design from the École Nationale Supérieure des Arts Décoratifs in Paris, with a year of studying illustration and printmaking at the Parsons School of Design in New York City.
Career path: After a foundation year at art school Atelier de Sèvres in Paris, I was accepted into the École Nationale Supérieure des Arts Décoratifs. I tested out a few disciplines during my first year before choosing graphic design as my major in my second year. I’d always been drawn to 2-D media more than 3-D media, so graphic design seemed like the perfect fit. I loved that graphic design enabled me to do a bit of everything: create books and websites, art direct, illustrate, collaborate with photographers or artists, and even self-publish work. This diversity of work is my favorite thing about graphic design.
Artistic influences: I’m inspired by old books. I love digging into my parents’ collection of books on various topics like geology, fossils and maps. I love looking at the work of contemporary artists like Bráulio Amado, Mirko Borsche, Ines Cox, Alice Gavin from Groupe CCC, Alexis Jamet, Chris Maggio, Hezin O, Charlotte Perriand, Paul Rousteau and Jacob Jan Wise—to name just a few. I’ve also been trying to step back and look around me more. I’ve also been making a conscious effort to change my perspective and really look at my environment—on walks, for example.
Favorite projects: The Best Record Stores in the United States book I designed and art directed last year, published by record of the month club Vinyl Me, Please. Illustrated by Clay Hickson, the book compiles essays written by different authors on the best and more “niche” record stores across the country. This was one of the first book projects where I had total creative freedom, and it was a blast.
Another would be the work I created for AI musician Lil Miquela’s latest singles. I got the chance to commission Wise for the lettering, and then I played around with the colors and textures in her universe. I love creating artwork for music, and I can’t wait to do more in the future.
The three illustrations I created for the Woodstock 50th anniversary edition of the New York Times are also special. I don’t create a lot of editorial illustrations but I thoroughly enjoy the process, and this was a dream collaboration.
Work environment: Currently, I share an open studio with eight illustrators and graphic designers, and it’s changed the way I work. I used to work alone—either from home or my own studio—and I’ve realized how much I need outside stimulus to be productive. Having some background conversations, music, and just being able to bounce ideas off of each other is helpful to my process. We’re situated on the east border of Paris in a more industrial area.
Approach: I’ve always been passionate about printed matter from silkscreen printing to Risograph printing. A few years back, I bought a Risograph printer with three friends. I love the textures, colors and imperfections that are specific to this medium, and I always try to incorporate them in my digital work. This juxtaposition interests me, and it’s also a good way to not spend all day in front of the computer.
Aspirations: For now, I’m happy to keep freelancing for different studios. I like the spontaneity and flexibility of freelance work. In five to ten years, I’d like to be running my own studio. In the long run, I want to keep collaborating with other creatives in my field—from photographers to writers. Maybe I’ll even launch a magazine!
Philosophy: Traveling is an important part of my life, so it has influenced my practice. I’ve seized work opportunities outside of France since university, which has led me to working in New York, Glasgow, Munich and Berlin. I’d like to keep riding that wave and see which country it takes me to next. I’m still at the beginning of my career, so continuing to gain experience is on my mind at the moment.