Le Périscope – Nouvelle étiquette

Nouvelle étiquette

is a graphic design bureau located at 14 avenue Foch, Metz, France. It is composed of four graphic designers (Émilie, Francis, Julie and Xavier) driven by the same desire for creativity, interdisciplinarity and quality. Since 2013, Nouvelle étiquette has managed graphic design projects for cultural associations, public institutions, private companies and sometimes big capital. Thought as a place between a graphic design studio and a research workshop, the bureau nurtures the personal experiences of its members. Nouvelle étiquette is defined by an approach that emphasizes the search for meaning as the driving force behind the emergence of relevant graphic forms. Its work is also based on a particular sensitivity to typography, contemporary art and literature, as well as a way of seeing graphic design as a source of understanding and joy. The creative bureau pays the greatest attention to a deeper comprehension of its commissions and strives to establish constant dialogue with its partners. Nouvelle étiquette regularly takes part in conferences and workshops, while some of its members teach at art school in order to transmit, share and advance knowledge in graphic design.

is a graphic design bureau located at 14 avenue Foch, Metz, France. Created to be a place between a graphic design studio and a research workshop, it consists of four graphic designers driven by the same desire for creativity, interdisciplinarity and quality. Here’s a selection of our works. Wanna see more? Try the desktop version or visit our Behance profile!
works

Prix Sciences Po pour l'art contemporain

Graphic Design

Orchestre national de Lorraine 16

Editorial design

Ateliers Ouverts 2017

Graphic Design

Closerie des Moussis

Identity

Le Périscope

Editorial design

Ateliers ouverts 2016

Graphic Design

Contemporary drawings

Julie's work

Centre Pompidou-Metz: Agenda

Editorial design

Compagnie Claire Sergent

Editorial design, Identity, Type Design, Web

Arweider

Editorial design, Exhibition design

Pangramme : learning type design

Editorial design, Exhibition design

Carolinéale

Type Design

How To Do Things With Words

Scenography, Type Design

Accélérateur de Particules

Identity

100 bâtiments protégés

Editorial design

Prix Sciences Po pour l'art contemporain

Graphic Design

Every year since 2010, the "Sciences Po" prize for contemporary art is organized by a team of students from the prestigious school. It is rewarding a young artist working in France, among a selection of ±10 people that are selected to show their work in a dedicated parisian exhibition.

In 2017, the organizing team contacted us to design all the visual communication of the new edition, which was focusing on the theme of "at face value".

We decided to print the majority of the communication elements in silkscreen, on only a single sheet of 120x176 cm. Once cutted-out, this sheet allow the prize to use various declination of A2 posters, A3 posters, A4 posters, jackets for the exhibition's catalog and invitation flyers. Using the photographic archive of "La Conserverie" (the national conservatory of family picture in France), as well as 3 "primary" bold colors, we installed a versatile, playful, straightforward and upbeat identity.

Next Project
Orchestre national de Lorraine 16

Orchestre national de Lorraine 16

Editorial design

For over 40 years, the Orchestre national de Lorraine has been a major player in French and international cultural life. Its repertoire is demanding and eclectic, placing equal value on both the great classical works and contemporary creations.

After a first year of fruitful graphic design cooperation, the orchestra has again invited us to create their visual identity for the 2016-2017 season.

We designed a strong, subtle and ethereal graphic identity. With the poem "La Chevelure" by Baudelaire as a common thread, we created a set of graphical backgrounds, considered as multiple resonances of the talent of the artists invited by the orchestra. These soundscapes display a demanding and contemporary identity, distilled through the orchestra's various documents.

Next Project
Ateliers Ouverts 2017

Ateliers Ouverts 2017

Graphic Design

For over twenty years, Accélérateur de Particules has been organising the opening of artist workshops in Alsace during the month of May: events accompanied by presentations, school visits, professional meetings and a directory of contemporary art in Alsace.

For this year's event, we relied on François Génot's artistic work to propose communication documents that display the same degree of plasticity as the works of the participating artists. Each communication elements of the event displays a "clue" on the way the artist is creating his artworks. François, among other things, is creating some "giant sized" stencils. In order to creates those stencils, he is using some objects or plants he finds during his walks around his workshop. He then "paints" the shadow of those objects on paper.

The big posters have been created in a close collaboration with François Génot. We designed two different typography based patterns, printed in silk print, and we produced with him 100 unique hand made posters that were displayed in the Strasbourg area, accompanied by the "classic" smaller posters printed in offset. Those smaller posters (and every other communication object) are displaying the painted objects that we used to create the big posters.

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Closerie des Moussis

Closerie des Moussis

Identity

In 2010, Pascale and Laurence, who were passionate about agriculture, ecology and wine, decided to create their own wine estate to produce originals wines inspired by the principles of biodynamics.

They therefore entrusted us to design the graphic identity of the estate and of each vintage from the start.

We created an identity with an uninhibited creative twist. The subtle blend of precision and finesse of the custom designed stencil figures and the artisanal and warm dimension of the illustrations accompanies and characterises each wine. The red colour, common to all the productions, is a strong marker of identity by referring to both the wine and the region in which it is produced.

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Le Périscope

Le Périscope

Editorial design

Le Périscope is a free scientific journal. Its articles are intended to make the academic and research work of young scientists and students in the field of arts and culture of the University of Lorraine accessible and visible.

Our mission was to support and advise the editorial board of the journal from its inception to design an object that matches the challenges of such a publication.

We designed a magazine that explores the concepts of verticality, plans and scale changes, through a bold typography and a very identifiable typeface (Amster, designed by Francisco Gálvez and distributed by Pampatype). A combination of black and a striking colour also installs a flexible graphical principle that can be adapted to each issue and allows for a sequence of simple and effective folios.

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Ateliers ouverts 2016

Ateliers ouverts 2016

Graphic Design

For over twenty years, Accélérateur de Particules has been organising the opening of artist workshops in Alsace during the month of May: events accompanied by presentations, school visits, professional meetings and a directory of contemporary art in Alsace.

At the invitation of Accélérateur de Particules, the entire communication for Ateliers ouverts 2016 was designed by Nouvelle étiquette.

We relied on the Julie's artistic work to propose communication documents that display the same degree of plasticity as the works of the participating artists. Three graphics axes emerge from this experiment: the poster is like a plastic proposal in itself; the drawing's status is exceeded and questioned throughout the variations and each support is a visual way to attract the attention of passersby.

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Contemporary drawings

Contemporary drawings

Julie's work

While she is working as a graphic designer at Nouvelle étiquette, Julie is also pursuing a career as a plastic artist inside the bureau. She mainly conducts research work based on drawing.

The resulting graphic traces constitute the materialised physical part of her work. But here, the drawing is especially considered as a kind of common approach of the expression, as a first language. It is through the "familiarity" of this medium and its universal character that Julie establishes participatory action protocols.

Drawing becomes a vehicle for dialogue between her and other people. It is a way of opening a door with no consequences other than creating and sharing moments together.

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Centre Pompidou-Metz: Agenda

Centre Pompidou-Metz: Agenda

Editorial design

The Centre Pompidou-Metz is a structure dedicated to modern & contemporary art. It opened in Metz in 2010 as the first offshoot of a national cultural public institution. Since then, it quickly became a major cultural centre in the Grand Est region and in France.

To better communicate its diverse arts programming to its many visitors, the Centre Pompidou-Metz has entrusted us with the complete graphic redesign of its biannual publication.

We are designing the Centre's agenda as a book that accompanies the visitor, like a small diary that you can put in your pocket. Organised using a colourful, efficient and convenient system, the Centre Pompidou-Metz's agenda allows everyone to find the information they are looking for easily.

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Compagnie Claire Sergent

Compagnie Claire Sergent

Editorial design, Identity, Type Design, Web

The Compagnie Claire Sergent was founded in 2012 by theatre director Chloé Brugnon. At the heart of its concerns: our everyday life, its share of the strange and the extraordinary, but also the intuition that theatre is a place of cohesion that transforms intimate experiences into universal experiences.

The Compagnie Claire Sergent has asked us to transcribe its aesthetics and theatrical research into a coherent and intelligent visual identity.

We designed the identity of the company starting with a custom typeface. "Claire Sergent" is inspired by the first "sans serif" typefaces published by the German and British type foundries in the late nineteenth century. The typeface seeks to transmit the company's texts, infusing a feeling of strangeness throughout its documents. The italics are replaced by a deliberately awkward oblique. Too much slanted, drawn without any optical corrections, the "Claire Sergent" oblique adds a sense of “je ne sais quoi" to the composed texts. It thus establishes a direct link with the texts that the company stages, where the ordinary slowly cracks and gives way to a disturbing form of poetry. This feeling is reinforced by a deliberately rational composition of documents published by the company, using minimal graphic effects.

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Arweider

Arweider

Editorial design, Exhibition design

Arweider is a local word meaning "worker" in the Bictherland, an small area of the North-Est of France. Julie and Anne Delrez chose to call their exhibition at "La Grande Place, musée du cristal Saint-Louis", by this name. The exhibition aims to retrace the stories of various workers of the crystal factories of the valley. Many meeting with the inhabitants of the area allowed Julie and Anne to better determinate who were the people that are making the heart of crystal factories. Each person that the artists met chose with them a few objects he or she felt connected to, and displayed them in the exhibition space. From Meisenthal to Saint-Louis, from Goetzenbruck to Montbronn, Lemberg, Soucht, Wingen-sur-Moder, the two artists collected the images and the stories during months, until the exhibition.

"At first, we knew nothing about the crystal factories that punctuate the daily life of this territory. With generosity, the inhabitants of the « étoiles terrestres » teached us how to know, to understand and to love thoses sparkling objects that they proudly put in the windows of their homes. Small and fragile things that tell so many stories… Glasses, vases, carafes survive to humans, are transmitted from generation to generation, and, sometimes, break."

The exhibition's catalog has been thought with the artists as a true "present" to the inhabitants of the valley. The catalog was distributed freely to the visitors of the exhibition. Inside a luxurious box evocating the precious casket in which the crystal is delivered, pages of a journal are graphically displaying stories of ordinary people.

Arweider, an exhibition at "La Grande Place, musée du cristal Saint-Louis"
Created by Julie Luzoir, Anne Delrez and the inhabitants of the "étoiles terrestres" area
Curator: Béatrice Josse
With the support of the Hermès fondation and the 49 Nord 6 Est – Frac Lorraine
Photographs of the exhibition: Camille Roux
Catalogue and exhibition design: Julie Luzoir & Nouvelle étiquette
Typeface: Coline Première, By Émilie Rigaud (A is for Apple)

Next Project
Pangramme : learning type design

Pangramme : learning type design

Editorial design, Exhibition design

"Pangramme: learning type design" is an exhibition that seeks to establish an overview of the current stage of student type design. This exhibition and its catalogue were created, organised and designed by the Graphic Design & Typography class at École Supérieure d'Art de Lorraine – Metz, under the direction of Jérôme Knebusch with assistance of Francis and Rafael Ribas. A professional jury (Hans-Jürg Hunziker, Andrea Tinnes, Matthieu Cortat, Gerard Unger and Alejandro Lo Celso) selected 50 projects for the exhibition from an international call for applications.

Of these projects, 5 were designated as the "favourite" of each member of the jury and 15 others received an "honourable mention". Pangramme also presents a selection of books about typeface design and graphic design from the 20th century. Finally, there is the complete archive of the call for applications. The catalogue was distributed free of charge on the opening night.

Carolinéale, the typeface designed by Francis, received at Pangramme an honourable mention.

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Carolinéale

Carolinéale

Type Design

The emergence of early musical notations, which started from the eighth century onwards, ended a secular tradition of melodies’ learning based on word-of-mouth. The first musical notes written down on parchment (called neumes) will then evolve over the centuries to become our modern system of musical notation. Two carolingian scriptures particularly caught the attention of paleographers : the Messine writing and the writing of St. Gall. Those are still used today to interpret the Gregorian chant as faithfully as possible to its ancestral form.

The drawing of Carolinéale was based on the observation of two peculiar manuscripts, which are considered as landmarks with regards to the study of early notation systems. It was also sustained by the community of the Gregorio project, an open-source software whose objective is to enable publication of partitions using Carolingian notation systems. The design process has led to a relatively informal drawing style for the musical signs, which is reminiscent of handwriting, and to a sans serif alphabet thought as a contemporary interpretation of the ductus of the Carolingian minuscule. The typeface is integrating some telltale features of the ductus of the Carolingian minuscule while seeking to remain stable, contemporary and readable.

Carolinéale is still in progress. Among other things, the Messine writing is to be added to the family, as well as an appropriate italic and a few extra weights.

Next Project
How To Do Things With Words

How To Do Things With Words

Scenography, Type Design

Design City Luxembourg is a biennial show thought as a laboratory of ideas, interested in the issues of public space design and its resonance in our daily lives. Artists are invited to use the city as a basis to offer the public an experimental approach to design.

Invited jointly by the MUDAM - Luxembourg Museum of Modern Art - and the Design City biennial show, we had free rein to invest the closing of the site of the Court of Auditors of Luxembourg City.

We suggested a constrained, gradual and ephemeral typographical installation. Our proposal reinvests the public space by offering the reading of poetic and offbeat phrases about the place where it is visible. In order to minimise costs and introduce an additional graphic constraint, we used illegal postering codes. The installation has been printed on hundreds of A3 sheets, assembled on site to form a visual display of several square metres. Upstream of this work, we ran a writing and typeface design workshop with Gaëtan Naudet-Celli at a high school in Luxembourg.

"How To Do Things With Words" gave rise to a custom typeface for this project. Letters from "Luxembourg mono" integrate the constraints of the installation. Their size and spacing are determined by the proportions of an A3 sheet. Each glyph therefore refers to the construction grid of the set.

Next Project
Accélérateur de Particules

Accélérateur de Particules

Identity

Accélérateur de Particules aims to promote contemporary art and support young artists working in Alsace and along its borders. The association conducts various projects including exhibitions, visits of artists workshop, etc.

Founded in 2005, the association suffered from a poor image and reputation in relation to the events and exhibitions it produces. It has asked us to develop a global identity that emphasises its actions and makes them visible.

We completely redesigned the identity of this structure, as well as the different moments it organises throughout the year: La Dînée, Ateliers ouverts, Grenzgänger and Regionale. Accélérateur de Particules now uses the same identifying blue colour for all its documents, and writes its texts using Instant, a typeface exploring the graphic implications of the shift of speed in the design of the letter, designed by Jérôme Knebusch. Finally, the Accélérateur de Particules' typographical sign expresses the flexibility and vitality of the association with ease.

Next Project
100 bâtiments protégés

100 bâtiments protégés

Editorial design

Metz has no fewer than 41 listed monuments, 3 sites and 58 buildings listed as historical monuments. To better understand the diversity and specificity of this heritage, the Cultural Heritage Department has compiled a comprehensive inventory of the city's architectural treasures.

This city town department has asked us to design a book highlighting these notable buildings. It gave us the opportunity for a greater freedom of action in order to design an elegant edition to do architecture of Metz justice.

"Architecture in Metz: 100 bâtiments protégés" is a book, a guide and a scientific work at the same time. We designed a cover with a strong graphic impact, where the typography is ubiquitous. The cover area is used to present the contents of the book at first glance. Inside, folios show the principle of the general index: one number per building. The system is galvanised by a graphic play on the scale and placement of numbers. Finally, the ubiquitous yellow refers the reader to the dominant colour of the city, which was partly built using a yellow "Jaumont" stone.
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GENERAL INQUIRIES
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14, Avenue Foch
F-57000 Metz
+33(0) 3 54 62 61 80
contact@nouvelle-etiquette.fr

COLLABORATIONS & INTERNSHIPS
—
works@nouvelle-etiquette.fr
internships@nouvelle-etiquette.fr

WANNA SEE MORE?
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Behance
Facebook
Instagram

Julie’s personal website:
www.julieluzoir.com

We are proud to be members of:
Les éditions Hiatus
La Conserverie, un lieu d’archive
CIREMM

CREDITS
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Graphic design: Nouvelle étiquette
Typeface: Founders Grotesk,
Klim Type Foundry
Coding: Athemium (Olivier Paris)
© 2013 — 2017 Nouvelle étiquette

PUBLICATIONS
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Behance 2013 — 2017:
7 publications on the world homepage
17 publications on the graphic design specialized gallery
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brutalistwebsites.com
December 2017 — Nouvelle étiquette’s website
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Sandu Publishing
November 2016 — Color code: Branding & identity (Orchestre National de Lorraine 2015 & Closerie des Moussis)
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étapes: éditions
November 2016 — 365 Typos 2016 (Pangramme: learning type design)
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etapes.com
July 2016 — Pangramme: learning type design
May 2014 — How to Do Things With Words: Interview
April 2014 — Architecture à Metz, 100 bâtiments protégés
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Mylo.com
May 2016: Interview
August 2014: 20 European Graphic Design Agencies Bound to Inspire
September 2014: Nouvelle Etiquette’s Favourite Thing: Eric Gill’s Joanna
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fontinuse.com
March 2017: Périscope
December 2015: Ateliers ouverts 2015
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IDpure blog:
May 2015 — Les éditions Hiatus, Athemium, Bruno
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Revue Après/avant:
May 2013, with the typeface « Bouture »

CONFERENCES
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March 2016:
Conference about the publishing house Hiatus, Lorraine Art School – Metz
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October 2015:
Seminar about the Luxeuil writing — Conference: a typeface for the first european musical notations, the cases of Metz and Saint-Gall. (Francis)
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August 2015:
« Les éditions Hiatus, une volonté de faire », conference, Rencontres internationales de Typographie, Lurs, Provence.

RESIDENCIES & EXHIBITIONS
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September 2017 — August 2018
Research grant from the National institute for visual art (CNAP) allowed to Francis’ typographical research project: Carolinéale, a typeface inspired by the musical manuscripts of the 9th century
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October — December 2016:
Art residency in the « étoiles terrestres » area, Bitcherland (FRAC Lorraine & fondation Hermès) (Julie)
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August 2015:
« Deux ans d’ANRT », exhibition & collective conference, Rencontres internationales de Typographie, Lurs, Provence. (Francis)
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May — June 2015:
Art residency in the city of Montrouge, within the framework of the 60th contemporary art salon of Montrouge (Julie)
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October — December 2013
Art residency aiR, FRAC Franche-Comté (Julie)
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May 2016 — April 2018 :
Pangramme, learning Type Design, a travelling exhibition: Metz, Amiens, Chaumont, Montréal, Liepzig
The typeface Carolinéale has received at the occasion of the exhibition an honourable mention by the jury (Francis)

WORKSHOPS
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April – May 2016:
Pangramme, learning Type Design, workshop with the student of the graphic design & typography cursus of the Metz Art school: Graphic design, editorial design and exhibition design.
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March 2015:
French Type Design Federation: collective workshop led with the students/researcher of the ANRT (2014-2015). Type design and football with the graphic design students of the National Art School of Nancy (Francis)
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October 2014:
Hors Cadre — MUDAM, Musée D’art Moderne, Luxembourg
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November 2014:
« Quelques mots dans l’espace » — MUDAM, Musée D’art Moderne, Luxembourg
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March 2014:
« How to do things with words », Type Design workshop at lycée Aline Mayrisch, Luxembourg
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Februrary 2014:
Art Freak, « Investir la page » — MUDAM, Musée d’Art Moderne, Luxembourg
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October 2014 — January 2015
+ October 2015 — January 2016
+ October 2016 — January 2016
« Raconte-moi ton quartier », workshops led with new arrivants in France. With the support of « La Comédie », National theater of Reims (Julie)

REFERENCES
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Accélérateur de particules, Adidas (Herzoguenaurach-GER), Alstom, Amadeus avocats, APAP (New York-USA), Athemium, Benjamin Berceaux, Blotter Atelier, Bouygues construction, Bouygues Telecom, Casalib, Centre Pompidou-Metz, Compagnie Claire Sergent, CINARS (Montréal-QC), CIREMM, Closeries des Moussis, Comité national de liaison des EPCC, Cyrielle Lévèque, Département de Moselle, Domaine de la Calmette, DRAC Lorraine, Faux Mouvement centre d’art contemporain, Fensch Toast, François Martig, Grand Besançon, Groupe Lucien Barrière, Hachette éditions, Haute Autorité pour la transparence de la vie publique, Kazak productions, La Revue Automobile, Les éditions Hiatus, Mairie de Besançon, Mairie de Lens, Mairie de Paris, Ministère de la Culture et de la Communication, Moselle Arts Vivants, Musée d’Art Moderne Grand Duc Jean (Luxembourg-LUX), Musée d’Art Moderne et d’Art Contemporain de Nice, Musiques Volantes, Off-Jazz Montréal, Office du tourisme de Biarritz, Orchestre National de Lorraine, Pampatype (Cordoba-ARG), Parc Naturel Régional des Vosges du Nord, Périscope, Prix Science Po pour l’art contemporain, RATP, Ville de Metz, We are Ludwig (Luxembourg-LUX).

EXPERTISES
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Art Direction
 Concept development 
Editorial Design 
Environmental Design
 Exhibition Design
 Identity 
Interactive 
Print Design 
Poster Design 
Type Design
 User Experience
 Wayfinding
Web Design 
GENERAL INQUIRIES
—
14, Avenue Foch
F-57000 Metz
+33(0) 3 54 62 61 80
contact@nouvelle-etiquette.fr

COLLABORATIONS & INTERNSHIPS
—
works@nouvelle-etiquette.fr
internships@nouvelle-etiquette.fr

—
Graphic design: Nouvelle étiquette
Typeface: Founders Grotesk,
Klim Type Foundry
Coding: Athemium (Olivier Paris)
© 2013 — 2017 Nouvelle étiquette