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PORTFOLIO SIMON
2020 RENAUD
DESIGN
GRAPHIQUE &
TYPOGRAPHIQUE
1
PORTFOLIO 2020 TUNER DESIGN TYPOGRAPHIQUE
2 3
PORTFOLIO 2020 CIPHER A, B, C, D, ETC. DESIGN TYPOGRAPHIQUE
année → 2020 (2014)
IN CRYPTOGRAPHY, ENCRYPTION IS THE PROCESS OF ENCODING MESSAGES OR
CIPHER A INFORMATION IN SUCH A WAY THAT ONLY AUTHORIZED PARTIES CAN READ
IT. ENCRYPTION DOES NOT OF ITSELF PREVENT INTERCEPTION, BUT DENIES
THE MESSAGE CONTENT TO THE INTERCEPTOR.IN AN ENCRYPTION SCHEME, THE
lieu
catégorie
format
styles
graisses
→
→
→
→
→
Paris (FR)
Design typographique
OTF
8
1 (roman)
CIPHER B MESSAGE OR INFORMATION, REFERRED TO AS PLAINTEXT, IS ENCRYPTED USING
AN ENCRYPTION ALGORITHM, GENERATING CIPHERTEXT THAT CAN ONLY BE READ
IN CRYPTOGRAPHY, ENCRYPTION IS THE PROCESS OF ENCODING
CIPHER C MESSAGES OR INFORMATION IN SUCH A WAY THAT ONLY
AUTHORIZED PARTIES CAN READ IT. ENCRYPTION DOES NOT OF
ITSELF PREVENT INTERCEPTION, BUT DENIES THE MESSAGE CONTENT
exposition
conférences
→
→
Contre-Mesure – Néon (2014, Lyon)
Printemps de la typographie (Estienne,
CIPHER D
2019)
TO THE INTERCEPTOR.IN AN ENCRYPTION SCHEME, THE MESSAGE → Campus fonderie de l’image (Bagnolet,
OR INFORMATION, REFERRED TO AS PLAINTEXT, IS ENCRYPTED 2019 et 2016)
→ Les Rencontres de Lure (Lurs, 2016)
INOF CRYPTOGRAPHY, ENCRYPTION IS THE PROCESS → INSA (Strasbourg, 2015)
CIPHER E ENCODING
AIT.WAY THAT MESSAGES
ONLY OR INFORMATION
AUTHORIZED PARTIES IN
CAN SUCH
READ
workshops →
→
→
ERG (Bruxelles, 2018)
Campus Fonderie de l’Image (Bagnolet,
2017)
HEAR (Mulhouse, 2017)
CIPHER F ENCRYPTION DOES NOT OF ITSELF PREVENT → ÉSAD (Amiens, 2017)
IN CRYPTOGRAPHY, EN-
CIPHER G CRYPTION IS THE PRO-
CESS OF ENCODING MES-
CIPHER H SAGES OR INFORMATION
IN CRYPTOGRAPHY, ENCRYPTION IS THE PROCESS OF ENCODING MESSAGES
OR INFORMATION IN SUCH A WAY THAT ONLY AUTHORIZED PARTIES CAN
READ IT. ENCRYPTION DOES NOT OF ITSELF PREVENT INTERCEPTION, BUT
DENIES THE MESSAGE CONTENT TO THE INTERCEPTOR.IN AN ENCRYPTION
SCHEME, THE MESSAGE OR INFORMATION, REFERRED TO AS PLAINTEXT, IS
ENCRYPTED USING AN ENCRYPTION ALGORITHM, GENERATING CIPHERTEXT
THAT CAN ONLY BE READ IF DECRYPTED. FOR TECHNICAL REASONS, AN
COMPUT
SCIENTIST
IN CRYPTOGRAPHY, ENCRYPTION IS THE PROCESS OF ENCODING MESSAGES OR INFORMATION IN SUCH A WAY THAT ONLY AUTHORIZED PARTIES CAN READ IT. ENCRYPTION DOES
NOT OF ITSELF PREVENT INTERCEPTION, BUT DENIES THE MESSAGE CONTENT TO THE INTERCEPTOR.IN AN ENCRYPTION SCHEME, THE MESSAGE OR INFORMATION, REFERRED
TO AS PLAINTEXT, IS ENCRYPTED USING AN ENCRYPTION ALGORITHM, GENERATING CIPHERTEXT THAT CAN ONLY BE READ IF DECRYPTED. FOR TECHNICAL REASONS, AN
ENCRYPTION SCHEME USUALLY USES A PSEUDO-RANDOM ENCRYPTION KEY GENERATED BY AN ALGORITHM. IT IS IN PRINCIPLE POSSIBLE TO DECRYPT THE MESSAGE WITHOUT
POSSESSING THE KEY, BUT, FOR A WELL-DESIGNED ENCRYPTION SCHEME, LARGE COMPUTATIONAL RESOURCES AND SKILL ARE REQUIRED. AN AUTHORIZED RECIPIENT CAN EASILY
DECRYPT THE MESSAGE WITH THE KEY PROVIDED BY THE ORIGINATOR TO RECIPIENTS, BUT NOT TO UNAUTHORISED INTERCEPTORS. ENCRYPTION HAS LONG BEEN USED BY
MILITARIES AND GOVERNMENTS TO FACILITATE SECRET COMMUNICATION. IT IS NOW COMMONLY USED IN PROTECTING INFORMATION WITHIN MANY KINDS OF CIVILIAN SYSTEMS.
In cryptography, encryption is the process of encoding messages
or information in such a way that only authorized parties can
CHIFFRE
CALCUL
read it. Encryption does not of itself prevent interception, but
denies the message content to the interceptor.In an encryption
scheme, the message or information, referred to as plaintext, is
encrypted using an encryption algorithm, generating ciphertext
4
PROGRESS
5
PORTFOLIO 2020 CONTRE-MESURE EXPOSITION
6 7
PORTFOLIO 2020 CONTRE-MESURE EXPOSITION
année → 2014
lieu → Lyon (FR)
commanditaire → —
catégorie → exposition
format → 300 × 600 cm, 60 × 80 cm
collaborateur → —
typographie → Cipher A
lien → www.chezneon.fr
8 9
PORTFOLIO 2020 FONTS AND FACES #6 IDENTITÉ + DESIGN TYPOGRAPHIQUE
année → 2019
lieu → Bagnolet
commanditaire → Campus fonderie de l’image
catégorie → Poster, drapeau, badge, design
typographique
format → 60 × 80 cm,
typographie → Elementary K
collaborateur → —
lien → —
organisation Fonts & Faces #6, Colloque
des conférences international de typographie – Let it
Read (designer l’expérience de lecture)
conférences et workshop – Campus
Fonderie de l’Image de Bagnolet › le 14
novembre 2019
10 11
PORTFOLIO 2020 FONTS AND FACES #5 IDENTITÉ + DESIGN TYPOGRAPHIQUE
année → 2018
lieu → Bagnolet
commanditaire → Campus fonderie de l’image
catégorie → Poster, drapeau, badge, design
typographique
format → 60 × 80 cm,
typographie → Elementary J
collaborateur → —
lien → —
organisation Fonts & Faces #5, Colloque
des conférences international de typographie – Le
passé récent et le futur immédiat
(automation typographique)
conférences et workshop – Campus
Fonderie de l’Image de Bagnolet › le 13
novembre 2019
12 13
PORTFOLIO 2020 ELEMENTARY J + K DESIGN TYPOGRAPHIQUE
IT WAS WITHIN THE CONTEXT
ELEMENTARY J EXTRALIGHT OF ALL THIS OTHER WORK
THAT BROWN PRODUCED
ELEMENTARY J THIN HIS MANIFESTO. EVEN THE
IT WAS WITHIN THE CONTEXT
ELEMENTARY J LIGHT OF ALL THIS OTHER WORK
THAT BROWN PRODUCED
HIS MANIFESTO. EVEN THE
ELEMENTARY J REGULAR IT WAS WITHIN THE CONTEXT
OF ALL THIS OTHER WORK
ELEMENTARY J MEDIUM THAT BROWN PRODUCED
HIS MANIFESTO. EVEN THE
ELEMENTARY J BOLD IT WAS WITHIN THE CONTEXT
OF ALL THIS OTHER WORK
ELEMENTARY K REGULAR THAT BROWN PRODUCED
HIS MANIFESTO. EVEN THE
It was within the context of all this other
work that Brown produced his manifesto. Even COMPUT
the dedication of the book to “all eye-writers”
and “readers who want an eyeful” alludes to SCIENTIST
the recurring motif in his other work of the
celerity of the eye” (versus the “clumsy hand” CHIFFRE
année
lieu
catégorie
→
→
→
2018-19
Paris (FR)
Design typographique
IT WAS WITHIN THE
CONTEXT OF ALL THIS CALCUL
PROGRESS
format → OTF
styles
graisses
→
→
7
6 (roman)
OTHER WORK THAT BROWN
PRODUCED HIS MANIFESTO.
14
EVEN THE DEDICATION
OF THE BOOK TO ALL EYE- DATA
15
PORTFOLIO 2020 AVA DESIGN TYPOGRAPHIQUE Program Hardware Software 16 17
PORTFOLIO 2020 AVA DESIGN TYPOGRAPHIQUE
AVA Extralight AVA ALT Extralight It was within the context of all this other
work that Brown produced his manifesto. Even
AVA Thin AVA ALT Thin the dedication of the book to “all eye-writers”
and “readers who want an eyeful” alludes to
AVA Light AVA ALT Light
It was within the context of all this other
AVA Regular AVA ALT Regular work that Brown produced his manifesto. Even
AVA Medium AVA ALT Medium the dedication of the book to “all eye-writers”
and “readers who want an eyeful” alludes to
AVA Bold AVA ALT Bold It was within the context of all this other
AVA ExtraBold AVA ALT ExtraBold work that Brown produced his manifesto. Even
the dedication of the book to “all eye-writers”
AVA Black AVA ALT Black and “readers who want an eyeful” alludes to
Signal It was within the context of
It was within the context of all this other work that
Brown produced his manifesto. Even the dedication all this other work that Brown
of the book to “all eye-writers” and “readers who
produced his manifesto. Even
want an eyeful” alludes to the recurring motif in
his other work of the “celerity of the eye” (versus System the dedication of the book to
Screen
the “clumsy hand” turning pages), especially in It was within the context of
visual poetry. In the manifesto’s Chapter I, “An all this other work that Brown
Eyeful,” he illuminates that literary context all
produced his manifesto. Even
information
the way back to his reading Stephen Crane’s “Black
Riders” as a youth, and the socio-technological
the dedication of the book to
changes necessitating a more fitting way to read: It was within the context
machine
“we have the talkies, but as yet no Readies.” The of all this other work that
chapter, written with a playful but passionate tone,
Brown produced his manifesto.
demonstrates and explains the Readies’ style, filled
technology
with what he calls “smashum” words, including a
Even the dedication of the
It was within the context
Computer
of all this other work that
année
lieu
→
→
2019 (2016)
Paris (FR)
Brown produced his manifesto.
catégorie → Design typographique Even the dedication of the
Engineers
format → OTF
styles → 16 + 8
graisses → 8 (roman + alternative et italic) It was within the context
of all this other work that
distribution
collaborateur
lien
→
→
→
—
—
— Quality Brown produced his manifesto.
Even the dedication of the
18 19PORTFOLIO 2020 ZONE RECORD SITE INTERNET
année → 2018
lieu → Paris (FR)
commanditaire → ZONE
catégorie → site internet
format → html, css, javasript
collaborateur → —
typographie → AVA
lien → —
RELEASES
RELEASES
MIXS
MIXS
GOODIES
GOODIES
CONTACT
CONTACT
ARTISTS
ARTISTS
CARDOPUSHER
CARDOPUSHER
DAVID CARRETTA
DAVID CARRETTA
JON CONVEX
JON CONVEX
DEFEKT
DEFEKT
DER ZYKLUS
DER ZYKLUS
DJEDJOTRONIC
DJEDJOTRONIC
GESAFFELSTEIN
GESAFFELSTEIN
GLASS FIGURE
GLASS FIGURE
CRACKBOY
CRACKBOY
THE HACKER
THE HACKER
KELUAR
KELUAR
KITTIN
KITTIN INTERCEPTOR
JENSEN
JENSEN
NEIL INTERCEPTOR
LANDSTRUMM
NEIL LANDSTRUMM
MAELSTROM
MAELSTROM
MIKRON
MIKRON
MXM
MXM
ARNAUD REBOTINI
ARNAUD REBOTINI MENU
REMOTE
REMOTE
ALI RENAULT
ALI RENAULT
GIN SLING
ÊTRE SÛR DE CE QUI TRAÎNAIT OU NON DANS LES ABYSSES
GIN AVEUGLES
SLING DE CE QUI TRAÎN
VOLKOV
ÊTRE SÛR DE CE QUI TRAÎNAIT OU NON DANS LES ABYSSES AVEUGLES DE CE QUI TRAÎN
VOLKOV
20 21PORTFOLIO 2020 TUNER DESIGN TYPOGRAPHIQUE Machine Data 22 23
PORTFOLIO 2020 TUNER DESIGN TYPOGRAPHIQUE
It was within the context of all this other work that Brown année → 2018 (2011)
produced his manifesto. Even the dedication of the book to
Tuner Light
lieu → Paris (FR)
“all eye-writers” and “readers who want an eyeful” alludes catégorie → Design typographique
to the recurring motif in his other work of the “celerity format → OTF
of the eye” (versus the “clumsy hand” turning pages), styles → 10
Tuner Regular
especially in visual poetry. In the manifesto’s Chapter I, graisses → 5 (roman et italic)
“An Eyeful,” he illuminates that literary context all the way
back to his reading Stephen Crane’s “Black Riders” as a
Tuner Medium
youth, and the socio-technological changes necessitating distribution → Production Type
a more fitting way to read: “we have the talkies, but as collaborateur → Yoann Minet, Jean-Baptiste Levée
yet no Readies.” The chapter, written with a playful but Quentin Schmerber
Tuner Bold
passionate tone, demonstrates and explains the Readies’ lien → www.productiontype.com/family/tuner
style, filled with what he calls “smashum” words, including
a type of condensed anagram or portmanteau word, and
Tuner Black
a visual design in which “hermaphroditic hypodermic
hyphen” replaces unnecessary words and chops up long
words, all in parodies and experimental writing. Toward the
Tuner Light Italic It was within the context of all this other
work that Brown produced his manifesto.
Tuner Regular Italic Even the dedication of the book to “all
Tuner Medium Italic eye-writers” and “readers who want an
eyeful” alludes to the recurring motif
Tuner Bold Italic in his other work of the “celerity of the
eye” (versus the “clumsy hand” turning
Tuner Black Italic pages), especially in visual poetry. In
It was within the context It was within the context
of all this other work of all this other work
that Brown produced that Brown produced
his manifesto. Even the
his manifesto. Even the It was within the context
dedication of the book of all this other work
to “all eye-writers” and that Brown produced
“readers who want an his manifesto. Even the
24 25v V v
PORTFOLIO 2020 VILLETTE MAKERZ 2017 IDENTITÉ
MMm 26 27PORTFOLIO 2020 VILLETTE MAKERZ IDENTITÉ
année → 2017
lieu → Paris (FR)
commanditaire → Villette Makerz
catégorie → Logo + identité
format → OTF
collaborateur → Chevalvert
lien → —
v V v
MMm 28 29PORTFOLIO 2020 BETWEEN TWO MIRRORS PHOTOGRAPHIES
30 31PORTFOLIO 2020 BETWEEN TWO MIRRORS PHOTOGRAPHIES
année → 2014
lieu → Paris (FR)
commanditaire → —
catégorie → Photographie
format → —
collaborateur → Véronique Pêcheux
typographie → —
lien → www.betweentwomirrors.net
Exposition → Transient Festival – Réalité Altérée
(03/01 › 27/01/2017, le Havre, FR)
→ Transient Festival
(04/11 › 05/11/2016, Paris, FR)
→ NODE15 – The Informed Body
(27/04 › 03/05/2015, Frankfurt, DE)
Publications → Frankfurter Rundschau
(22/04/15)
→ Nichons-nous dans l’internet #3
(03/2015)
→ Étapes: #224 Couverture
(03/2015)
32 33PORTFOLIO 2020 CNAP ÉDITION
34 35PORTFOLIO 2020 CNAP ÉDITION
année → 2014
lieu → Paris (FR)
commanditaire → CNAP (Centre national
des arts plastiques)
catégorie → édition
format → 11,5 × 17 cm (88 pages)
collaborateur → —
typographie → —
lien → www.cnap.fr
36 37PORTFOLIO 2020 NÉON IDENTITÉ + SITE INTERNET
38 39PORTFOLIO 2020 NÉON SITE INTERNET
année → 2017
lieu → Lyon (FR)
commanditaire → Néon
catégorie → site internet
format → html, css, java sript
collaborateur → Francis Josserand
typographie → —
lien → www.chezneon.fr
40 41PORTFOLIO 2020 DANCERS, TIM PARIS ÉDITION
42 43PORTFOLIO 2020 IVAN SMAGGHE ÉDITION
A CHEMICAL ELEMENT
IS A PURE CHEMICAL
année → 2013
lieu → Paris (FR)
commanditaire → —
catégorie → Pochette de CD, Design typographique
SUBSTANCE CONSISTING
format → —
collaborateur → Jérémie Nuel
lien → www.colette.fr
44 45PORTFOLIO 2020 HEAR IDENTITÉ + ÉDITION
46 47PORTFOLIO 2020 HEAR IDENTITÉ + ÉDITION
A CHEMICAL
ELEMENT
IS A PURE
CHEMICAL
SUBSTANCE
SINGLE
TYPE OF
ATOM
année → 2012
lieu → Strasbourg, Mulhouse (FR)
commanditaire → HEAR
catégorie → itentité, édition, deisgn typographique
format → poster, signalétique, flyers, invitations
collaborateur → Jérémie Nuel
typographie → Elementary D
lien → www.hear.fr
48 49PORTFOLIO 2020 MUSIQUES VOLANTES IDENTITÉ + ÉDITION
50 51PORTFOLIO 2020 MUSIQUES VOLANTES IDENTITÉ + ÉDITION
année → 2011
lieu → Metz (FR)
commanditaire → Musiques volantes
catégorie → identité
format → bannières, posters, invitations
collaborateur → Jérémie Nuel
typographie → Lofi
lien → musiques-volantes.org
52 53PORTFOLIO 2020 GOOD TIMES BAD TIMES TYPE DESIGN
54 55PORTFOLIO 2020 GOOD TIMES BAD TIMES DESIGN TYPOGRAPHIQUE
GOOD TIMES,
année → 2011
It was within the context lieu → London (EN)
commanditaire → Dazed and Confused
of all this other work catégorie → Design typographique
BAD TIMES,
format → OTF
that Brown produced styles → 6 (Extended et condensed)
graisses → 3 (roman)
his manifesto. Even the collaborateur → Jérémie Nuel
distribution → —
dedication of the book
YOU KNOW
lien → www.dazeddigital.com
to “all eye-writers” and
“readers who want an
I’VE HAD MY
eyeful” alludes to the
It was within the context of all this other work that Brown
SHARE WELL, produced his manifesto. Even the dedication of the book to
“all eye-writers” and “readers who want an eyeful” alludes
to the recurring motif in his other work of the “celerity
MY WOMAN of the eye” (versus the “clumsy hand” turning pages),
especially in visual poetry. In the manifesto’s Chapter I,
LEFT HOME “An Eyeful,” he illuminates that literary context all the way
back to his reading Stephen Crane’s “Black Riders” as a
It was within the context of all this other work that Brown
produced his manifesto. Even the dedication of the book to GOOD TIMES, BAD
TIMES, YOU KNOW
“all eye-writers” and “readers who want an eyeful” alludes to
the recurring motif in his other work of the “celerity of the
eye” (versus the “clumsy hand” turning pages), especially in
It was within the context of all this other work that Brown
produced his manifesto. Even the dedication of the book to
I’VE HAD MY SHARE
“all eye-writers” and “readers who want an eyeful” alludes to
the recurring motif in his other work of the “celerity of the
WELL, MY WOMAN
eye” (versus the “clumsy hand” turning pages), especially in
56
LEFT HOME FOR A
57PORTFOLIO 2020 XYZ EXPOSITION
58 59PORTFOLIO 2020 XYZ EXPOSITION
année → 2015 (2007)
lieu → Paris (FR)
commanditaire → Kiblind
catégorie → Expérimentation typographique
format → —
collaborateur → —
lien → anamorphosistypeface.tumblr.com
60 61PORTFOLIO 2020 XYZ EXPOSITION
année → 2015
lieu → Metz (FR)
commanditaire → Galerie Toutouchic
catégorie → Expérimentation typographique
format → —
collaborateur → —
lien → anamorphosistypeface.tumblr.com
62 63WWW.SIMON
RENAUD.FR
64PORTFOLIO 2020
SHOWCASE 1 DESIGN
GRAPHIQUE 4
2 DESIGN
TYPOGRAPHIQUE 58
RECHERCHE 3 EXPÉRIMENTAL 78
INFORMATION 4 BIO 92
5 CV 93
6 CONTACT 95
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