Information !
I'm Adrian Sadoun, welcome to my website. All elements on this page are moveable. To open them, just double-click on it.
Work
Font
About
FFFonderie
Colors
“Signature Parisienne” is my Master 2 final year project. The aim was to renew the creation of digital fonts by drawing inspiration from the aesthetics of graffiti. The project comprises four editions that retrace my process. The first is a photo book on Parisian tags. The second edition presents vectorized “signatures” of Parisian graffiti artists, each page containing a “signature”. I then chose the “O'feu” tag to create my font, which I named “Au Feu” in reference to its name. It incorporates variations on graffiti forms. It includes 640 glyphs, each letter with several versions, allowing users to compose their own ligatures. It also contains 676 ligatures composed by myself. The third edition is therefore the specimen of my font, and the fourth edition uses my typography to rewrite the names of the graffiti artists from the second edition. These four editions are collected in a folder called “Signature Parisienne”.
FFFonderie is a collective project set up at ESA Saint-luc Liège (CVG section). It brings together students, teachers and supporters of typographic practice in the broadest sense. Its members aim to initiate, deepen, perfect, criticize and share their approach(es) to lettering. I'm one of the students behind this project. I designed the FFFonderie website and, along with one of the other foundry founders, we made merch to sell. We also produced posters to promote typos evenings at our school. I'm still part of the project today, even though I'm no longer at school.
My passion is typography, and I love designing and composing logotypes. Each time, I try to draw different letters to obtain different styles. Here's a selection of some of them, some are my own creations, others are professional designs. I drew each of these logotypes on paper before transferring them to the computer.
My half-brother is currently coding and developing his own video game. He told me he couldn't find a good font for it. So I thought it would be interesting to create the font myself. So I created this font, which is usable today and available on this site. I also created ligatures for this font, as I thought it would be interesting for a pixel font to have ligatures. I also created a specimen for my typeface. The principle is that each page is a card, and each card represents a letter. At the top of each card, it says “Color the right boxes”, with numbers and letters next to them (E 4, B-2, F 0 etc...). These numbers and letters correspond to the boxes below from A to I horizontally, and from +2 to -2 vertically. If B-2 is marked, I look at the point where line B crosses line -2 and color it in. When all the squares have been colored, the final letter appears (a letter from my font). These cards contain all uppercase letters, lowercase letters and numbers. There's an additional card containing all the ligatures.
As part of a course, I decided to create an archive of graffiti on trains. Passionate about graffiti, I wondered what happens to graffiti on trains once it's erased. Unlike urban artworks, which are often protected, graffiti on trains disappears without a trace. I've noticed that many people on Instagram share photos of this graffiti, but it's hard to keep track of it all across different accounts. So I decided to bring it all together in one place. My site is divided into two parts: a “tracker” section where you can see the trains live and click on them to discover the graffiti that has been done on them, as well as a map of the stations with the photos that have been taken there. There's also a community section where you can upload your images, specifying location, train number and graffiti artist, enabling you to archive your work. The second part is an “archive” area for searching graffiti by date, train or artist name. The site, entirely coded in HTML/CSS, is designed to centralize and preserve these creations.
36 Days of Type is a project that invites designers, illustrators and visual artists to express their unique interpretation of the letters and numbers of the Latin alphabet. The aim is to design a letter or number every day for 36 consecutive days, in order to create a complete alphabet, including the numbers. So I decided to take part in this project and make an edition for one of my Master 1 courses. I thought it would be interesting to make a leporello edition, so that if you unfolded the whole thing, you'd have a sort of poster. The cover of this book could be torn off, and you'd get a square poster on which you could see my whole alphabet. The cover could also be left on to keep the book format. I first drew all the letters by hand, then traced them on the computer.
The fixie manual is a leporello edition. The aim of this manual is to show which parts you need to buy to build your own fixie. The manual is humorous, as all the brand-name items I mention in it are very expensive and are not compulsory for riding a fixie, they just look better and cooler. The entire manual was initially created by hand, including all the drawings and typography. I then redrew everything on the computer to get a more professional look.
During my first year of the Master's program, I completed an internship at Smartex, a textile printing company. Also on site was Givemefive, a textile printing company dedicated solely to sports. Givemefive wanted to create its own garments to sell to the company's various partner teams. I was therefore asked to create visuals and logotypes for the brand. I designed several different typographies and logotypes for them and some of my visuals was chosen to be printed on several different supports (tee-shirt, sweatshirt, tote bag etc.). I also had to work on their website, and made 3D mockups of the tee-shirt so they could post it on their networks.
For the publishing course, we were asked to make a diary for 2024. I decided to make a diary using transparent sheets. All the months of the year were printed on transparent sheets, with all the days making up that month. To structure the calendar, there was a white sheet with a grid and numbers behind it. When the transparent sheet containing the month was superimposed on the white sheet containing the squares and numbers, the calendar was structured and completed, with the squares appearing behind the transparent sheet, which could then be written on. Once the month was finished, there was a small fastener that could be removed, so that the sheet for the finished month could be removed and the sheet for the following month placed in front of the white sheet. An illustration on the back of my calendar explained what to do.
As part of a course, we were asked us to create a project on a wooden board, in which we put elements from our lives that led us to the studies we're doing today. I then drew several elements that were part of my life at the time (obviously I didn't burn a police car as in the drawing you can see, but during adolescence many of us had this rebellious side towards the forces of law and order that I obviously no longer have today). First I drew all the elements on the odinator, then I used a projector to redraw everything on the board and then painted it by hand. Translated with DeepL.com (free version)
I'm Adrian Sadoun, graphic designer who recently graduated with a Master's in Publishing from ESA Saint-Luc Liège. I am passionate about art in general, and this is what led me to pursue studies in graphic design. My area of expertise is typeface design.
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