Benoît Canaud
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The desciption about new projects coming soon.

  • La culture de poche
  • , Hubert Damisch, Book, 2016 

    Technical informations

    130 x 195mm, 80 pages

    Typefaces

    Totentanz Regular and Italic (
  • Yoann Minet
  • ) and Spartan LT Heavy Classified (Linotype),

    Papers

    Fedrigoni Arcoprint Edizioni 85g and cover with offset falling packaging of consumer products
    The philosopher Hubert Damisch who is condemned in 1964 « la culture de poche » remains skeptical about what he says, has created a false abundance. It is hard to believe that the book in paperback belongs to natural and familiar landscape inside us. Neither it does not debate nor give us any hint about how it could be debated. Yet the literary year 1964 was marked by a sharp polemic against the publishing small.
    With a constraint printing plates and a limited amount of 80-page sequence in reference to the book by Jost Hochuli (first edition) the indictment Damisch revolves around two Antoine Journalist’s texts Gaudemar and novelist Pierre Assouline. With a quick examination of editions 10 |18 cover, it can still be questioned whether the paperback is it a product or not?
    « Rien ne mène plus sûrement à la barbarie qu’un attachement exclusif à l’esprit pur » said Valéry.


  • Rencontre photographique de Rabat
  • , Photographie et Territoire, Catalog, 2016 

    Technical informations

    190 x 270mm, 76 pages

    Typefaces

    Times (H. Berthold),

    Papers

    Olin Bulk White 80g and Arctic Volume White 170g. With the Gallery Bab Rouah and the BNRM. Curated by Akil Jaâfar and Badr El Hammami. In collaboration with my friend Thibault Mariage.

  • Physical Players, Spaceborn
  •  (Barking), Performance and Installattion, 2016 Initiated during a workshop at Ensci, Smartphones and movement : explorations around the captured gesture.
    « Perfect for gaming », said Steve Jobs. Two billion smartphones on Earth. Each continuously measures its orientation in space. Deconstructing the action of these smartphones and offer to change our view of these objects. We decided to change the functions of our devices, the screen becomes gestures. A kind of mise en abyme of smartphone. An installation around the deambulation of space rebounding in the ryhtm of barking. An experiment combining our speed of deambulation associated with our own actions. Walking, running, jumping, rolling ... Three people for three audio tracks. Playing music through movements, the participation becomes physical by the body in space. A physical mix in real time.
    We want now to develop the project by making use of loudspeakers embedded in smartphone to provide additional sound layer and also expand the relationship with the public through our dual performance / installation format.
    A project in collaboration with Gautier Bourdonnay and Luca Notarfrancesco. Special thanks to Joël Chevrier and Norbert Schnell.


  • Liquid typography
  • , experimentation , Installtion, 2016 

    Technical informations

    Typefaces

    Latex (Benoît Canaud)
    Experiment using water as reflexion about dynamic typography on screens. In collaboration with my friend
  • Johan Chaneac


  • Aux armes citoyens
  • , theater show by Louis Calaferte , Poster, 2016 

    Technical informations

    600 x 800mm.

    Typefaces

    Helvetica Neue 65 (Linotype) and Scotch Micro Regular (ShinnType).
    A structure which shows a contrast between a rigid layout and an absurd dialogues. In collaboration with my friend
  • Johan Chaneac


  • Fragment
  • , issue 01, Magazine, 2016 

    Technical informations

    225 x 300mm, 80 pages. 

    Typefaces

    Atlas Grotesk (Commercial Type), Druk Wide Medium (Commercial Type) and Romain BP (Swisstypefaces),

    Papers

    Arcoprint Fedrigoni 85g, DCP Gloss Coated 135g. Silver silkscreen. Image cover by Jean-Vincent Simonet.

    Contributors

    Sepus Noordmans, Jean Vincent Simonet, Anthony Masure, Maxime Guyon, Steven Mazzola…
    Fragment To build a magazine, a moment. Defining a logic of agencing and layout. Articulating around a space for cohabitation of texts and images that compose our present, past and future. To compare the diverse operations of assembling that use thought and creation, placing the magazine as an interface. At the origin of the project, exchanges. Speed. We are speeding to maintain our situation in a present that is fleeing. E-mails, calls, texts, rendez-vous, obligations that today, fragment and rythm our everyday life, our vision and our way of working. Time is accelerating, technology also. It is dictating our pace. We are surrounded by electronic devices, screens, altering our being, seeing and even thinking. This first issue shows the evolution of our spaces of exchange through the biais of new tools, and their connexions with graphic design.

  • Fragment
  • , issue 00, Magazine, 2016 

    Technical informations

    125 x 300mm, 52 pages, Printed in Ésad Valence

    Typefaces

    Romain BP (Swisstypefaces) and Druk Wide Medium (Commercial Type),

    Papers

    Arcoprint Fedrigoni 85g.
    In relation with Fragment issue 01. Simply discussions and pictures exchanged during the construction of the layout of the magazine. Offscreen.

  • Relic.01
  • , from the future with love, CD, 2016 

    Typefaces

    Romain BP (Swisstypefaces), Druk Wide Medium, Druk XCond Super Italic and Atlas Grotesk (Commercial Type),

    Papers

    DCP Gloss Coated 135g
    CD-audio 3.0. Send me an email for listening the compilation.
    Curated with Gautier Bourdonnay. Cover crop of Fragment issue 01.


  • Latex
  • , the liquid typography, 2016 (work in progress) 

    Technical informations

    Opentype Svg
    Are typeface design and typographic shapes today, made for screens ? How and why does evolution of languages allow to imagine solutions/thoughts on this matter ? As much as any other technology, text evolves for the screen and the dream of a new adaptable optic scale in our navigators becomes reality. However, typography stays fixed. I see here a window offering the possibility to offer a new typographic form. In its drawing, through the shapes and texture of the letter, but also in the means of making it flexible, variable ? In relation with Fragment.


  • Une trop Bruyante Solitude
  • , Bohumil Hrabal, Book, 2015 

    Technical informations

    177 x 236mm, 144 pages.

    Typefaces

    Galaxie Copernicus Book (Village) and Aktiv Grotesk Regular (Dalton Maag),

    Papers

    Fedrigoni Acroptint Edizioni 70g, Gestetner Gestner Durotype 62, cover paper Rivoli 240g.
    A project about book and page scale. Initiated by a subject on measure, I chose to unify the grid and baseline in millimeters. Thus, the design taking shape with the set of rules that I imposed myself, this constraint allowing many freedoms. Building the storyline, the mirror, the architecture of the page by placement and composing of the images, the text is used to build the rythm of reading. The text is nourrished by the reading of Hanta, along the pages it creates a fiction, two time frames, moving away and regrouping all along the pages. All ways of reading are paths, a time in physical space which allows a vision of the text. The system creates a story.

  • The Ctystal Goblet
  • , Beatrice Ward, Poster, 2015, (FR/EN) 

    Technical informations

    600 x 800mm, recto/verso.

    Typefaces

    Neue Haas Unica (Linotype),

    Papers

    Fedrigoni Acroptint White 85g.
    The crystal Goblet The essay is known historically as a call for increased clarity in printing and typography. It is now significant as a common reading for he who studies typography and graphic design. The poster appears as a catalogue of forms of transformation of the letter, to the point where the gap between reality and its representation tends to become imperceptible.

  • Grotesque N.10
  • , Revival, 2015 

    Technical informations

    Opentype with stylistic.
    Text description coming soon.

  • To screen, an idea of simulacre
  • , 2016 

    Technical informations

    315 x 470mm, 8 pages.

    Typefaces

    Stanley Regular and Bold (Optimo), Neue Haas Unica (Linotype),

    Papers

    Olin Bulk Gold 80g.
    Trying to describe the making of design today, but especially to invent, through the naivety of an imaginary designer, a way of telling a story, to to show the wheels of the system. Current transformations related to new media in the sharing of his work. To seek, through the fictional voice of the designer, where lies the truth.

  • Ocr
  • , Index , 2015 

    Technical informations

    140 x 210mm, 176 pages.

    Typefaces

    Selectric Mono by Leonard Mabille,

    Papers

    Olin Bulk Gold 80g.

  • Ms Bou
  • , Font, 2015 

    Technical informations

    Opentype with stylistic.
    Ms Bou is a font drawn and inspired by the proportions of the small street Lieutenant Bonparte. She gives a voice to exchanges and projects the viewer into what could be the next bubble, a futuristic scenario between past, present and future.

  • Autopsie
  • , Page and format, 2015 

    Technical informations

    194 x 291mm, 128 pages.

    Typefaces

    Galaxie Copernicus Book (Village)
    Autopsy analyses the norms of the page, of books. From the format to typographical body. Has the point standardised composition ? What about the millimeter, the em ? A selection of books where the pages’ architecture is examined and retranscribed in millimeters, scale 1.

  • Conventions typographiques
  • , Jason Santa-Maria, Jacques André and Denis Girou, Robert Bringhurst, Newspaper, 2015 

    Technical informations

    450 x 650mm, recto/verso.

    Typefaces

    Romain BP Text and Headline (Swisstypefaces),

    Papers

    Olin Bulk Gold 80g.
    The poster includes research on reference texts made by connecting the measurement of the romain du roi typography to laTex, from print to computer. Should we burn the design norms? The structure is a principle.

  • Chalk
  • , Font, 2014 

    Technical informations

    Opentype.
    My subject is the meeting point between an intimate relationship with space and movement built by writing, visual poetry, becoming a tool of communication understood by everybody. Questionning the idea of our journey through reading: contemporary artistic work. Through signs inscribed in the city, editing dictates the walker a personal reading, poetry, punctuated by a path.

  • PLMD conference
  • , Poster, 2014 

    Technical informations

    600 x 800mm. 

    Typefaces

    Theinhardt regulard and bold (Optimo).
    White card.

  • Semaine internationale des arts numériques et alternantifs
  • , Visual Identity, 2014 

    Technical informations

    Website, Lettering, Catalog, Poster, Scenography and Installation 

    Typefaces

    Fovea (Benoît Canaud).
    Text description coming soon.