Camille Weber is a graphic designer and sign painter. She has a special interest in typography and lettering. Throught her design she likes to study the language and the graphic and rhetoric conventions.
Tifamade, 2020.
Lettering (digitalized) for the chef Tiffany Lung.
Piece of Cake!, 2022.
Lettering (digitalized) for a t-shirt prop for the pastry shop Piece of Cake! and sketches.
Handpainted posters & lettering, Puces Typo, 2021.
4 handpainted posters, 300x300mm, 230gm2 and lettering for the typographic event in France, Puces Typo, 2021.
Leaflet for Adele, 2018 (contemporary art galleries network of Lyon), proposal not accepted.
Two-side document, quarter print, 700 × 400 mm, composed with the Chiswick family (Commercial Type), designed with Justine Lhote.
Type@Cooper Condensed Program, 2021.
Spreads from the final presentation of the text typeface Loob. Loob was developed during the Type@Cooper Condensed Program, June, 1st to August, 5th, 2021.
Type@Cooper Condensed Program, 2021.
Spreads from the final presentation of the text typeface Loob. Loob was developed during the Type@Cooper Condensed Program, June, 1st to August, 5th, 2021.
Des unes et les autres (The Headlines and the others), hand-drawn lettering on journal paper, 70gm2, 280 × 430 mm, 8 p., 2015.
Hand-drawn single original journal with real selected headlines about public and political corruption affairs. The letterform are inspired from an 1840's american woodtype (Rob Roy Kelly's book) and designed to constrain the readability of the titles.
Annual Activity Report for the National School of Fine arts of Lyon, from 2018 to 2022 (3 editions); , 200 x 250 mm, 70 pages, 2020.
Graphic chart and layout, composed with the Mallory (Frere Jones), designed with Justine Lhote.
Piece of Cake!, visual identity, 2020.
Visual identity and signpainting for the pastrie in Lyon. Designed with Thomas Berthou.
Slavs & Tatars, poster, 297 × 420 mm, risograph print, 2016.
Hand-drawned poster for the internship with the contemporary artists Slavs & Tatars. The lettering is based on the Haiduk Antiqua typeface, drawn by A. Haiduk in 1923, Bauersche Giesserei’s specimen.
Satta, visual identity, 2020.
Logotype and signpainting for the frontshop of the restaurant. Designed with Thomas Berthou.
Qit Qat Qlub, poster-brochure (recto-verso), 600 × 800 mm, offset, 2015.
Poster designed with Stan De Natris and Melani De Luca for the exhibition of Slavs & Tatars, Qit Qat Qlub at the National Gallery of the Hamburger Bahnof museum in Berlin.
Promotion, handpainted posters, 2020.
Serie of 5 posters handpainted for an exhibition at the art gallery La Galerue (Lyon, FR). This posters were presented as art. To make reference to the common use of signpainting, they promoted the art gallery like a kind of "shopping window".
Vincent Jeannerot, Art book & visual identity, 2017.
Design of the monograph, Regards, Aquarelles botaniques de Vincent Jeannerot, 240 × 340 mm, carré-collé, 136 pages, offset, 2017.
Visual identity and web site’s mock up (e-shop) for the botanical watercolour artist Vincent Jeannerot.
Le journal ou la mise en forme de l’événement (The newspaper or the event’s layout), 200 × 260 mm, 84 p., laser, 2016.
Master thesis about the authority of the newspaper layout and it familiarity relation with the readership (daily from USA, FR and UK).
Hill Golf Center’s website, 2022
Visual identity and webdesign for the Hill Golf Center’s website (e-commerce). HCG is a golf indoor center in Seignosse (FR). Composed with the typeface Retina (Frere Jones).
LQR project, performance & editions, 2014.
Design of explanatory panels and four editions (210 × 280 mm, variable number of pages, laser, 2014). These are didactic and synthetic presentation materials for the LQR (Lingua Quintae Respublicae), which is a linguistic analysis of the political-media language of Éric Hazan. The name “Sunglasses paper” refers to power of John Nada’s sunglasses in the movie “Invasion of Los Angeles” by John Carpenter, 1989.