Collection QS
FYP Éditions
Art Direction, Editorial Design
2017

I created this collection for FYP Éditions. The QS essays collection is dedicated to questions on societal matters and current affairs. QS takes a critical look at historical transformations of society as well as contemporary social issues.

In order to deal with a variety subjects while maintaining a modern aesthetic, I chose to revisit the Swiss international style. The collection is based on playing with simple geometric shapes in order to illustrate the content of the book in a more or less abstract way.


Paperback book collection,
140x205mm,
Offset printing,
Ongoing collection



With the intention to be able to deal with various subjects while maintaining a modern aesthetic, I chose to revisit the Swiss international style. The collection is based on playing with simple geometric shapes in order to illustrate the content of the book in a more or less abstract way.


Jeunes Designers 2016
ESAD d’Orléans
Art Direction, Graphic Identity

2016

I created this graphic identity in collaboration with Allison Haguenier for ESAD d’orleans.

The Jeunes Designers exhibition takes place every year at the ESAD d’orleans school as a celebration of the graduated students in the Graphic and Object Design Masters Degree programmes.

The ESAD d’orleans philosophy is built on the collaboration between the Graphic and Object design schools within the university. We chose this as our starting point in creating an identity for the even, and decided to link the various communication media (flyer, poster campaign, email, documentation booklet and guidance system) to the exhibition design. In order to do this, we worked directly with the materials used to build the space.


Poster campaign:
594x420 mm
Laser printing

Flyer:
230x160 mm
Laser printing

Documentation booklet:
230x160 mm
Laser printing

Guidance System:
Multi-format
Laser printing
Fluctuation Perceptive
Master Project

Editorial Design
2016

I created Fluctuation Perceptive in support of my Master’s Thesis at ESAD d’Orléans.

My thesis focused on the moving image as an optical illusion (or reflection) of the world as (re)created by digital design tools, and how viewers then “perceive” these optical illusions as moving representations of the surrounding world. In its production, I was interested in the limitations of my graphic design tools: How can I produce with them, experiment with them, and consider them as more than a mere user?

To share my research, I invited the viewer to live my experiment by directly confronting and distorting the viewer's visual and tactile perceptions through the layout of this book. The embossing of the title in the mirror paper sends back a distorted reality to the reader. The Riso impression draws attention to the printing process and to highlights particular mechanical qualities. Each part of the Thesis was separated by pages composed of semi-transparent sheets covered in printed flat tints of bitmapped colours.

180x240mm,
Laser and Riso printing,
120 pages, 10 copies
In this Thesis I examine the alternation between different types of perceptions. This research is the point of convergence of 3 reflections: Reflection on the moving image, and more precisely its genesis: the optical illusion. Reflections on my graphic design tools. How can I produce with them, experiment with them, and consider them not only as a mere user? This reflection is directly linked to a world of work that is today globally digital and for my part a desire to have a more sensitive approach with these tools. And finally a reflection on how to share my research, my processes by inviting the spectators to live my experiments.
During the layout of this thesis, my choices were dictated by the desire to interrogate the viewer's perception directly. The embossing of the title in the mirror paper sends back a distorted reality to the reader. The Riso impression allows to question the imaginary behind the printing process and to highlight particular mechanical qualities. I also inserted between each part of the Thesis some transition pages composed of semi-transparent sheets where are printed flat tints of bitmapped colours.




Brand Success
Ionis Group

Art Direction
2017

I created this book for IONIS Group, in collaboration with FYP Editions.

This book gives 50 reference cases in brand marketing and communication. It explains core concepts, takes readers through the steps for successful project implementation, and shares the know-how of leading professionals in the brand and marketing industries. Brand Success comes from a recognized player in the publishing industry and brings exciting insights into the to iconic accomplishments that nurture today's creativity in advertising. It gives readers a solid theoretical foundation in the science of branding.

To cohesively present advertising campaigns, I chose to design with two colours (black + Pantone). The black is used for content, and the Pantone to highlight specific elements. Working with black-and-white images allows the text and the ideas to be placed at the center of the reader's attention. In order to create a rhythm in the whole book, I produced some breaks made of quotations from renowned commercialists and illustrations.


In order to deal with multiple advertising campaigns without them competing with each other, I chose to design with two colours (black + Pantone). The black is used for content, and the Pantone to highlight specific elements. Working with black-and-white images allows the text and the ideas to be placed at the center of the reader's attention. I produced some pauses made of quotations from renowned commercialists and illustrations in order to create a rhythm in the whole book.


Paperback book cover
230x160 mm, 224 pages
Offset printing
Kinetic Type
Bachelor Project
Experimental Typeface
2014

This typography was created during my Bachelor's degree.

The exercise consisted of generating a modular typography based on simple geometric shapes.

Influenced by kinetic artists, I chose to build a typography playing on the effects of moiré. I focused the work on the volume produced by the software when it is asked to create an interpretation between simple geometrical shapes. With this experimental approach, I was just as concerned with the filling of the letter as its external form

Poster
594x420 mm
Riso printing
Tristan Bézard
T    +49 176 24067420
E    tristan.bezard.studio@gmail.com


© Tristan Bézard