Web design

and digital interface.

Graphic design, interface design, user experience for web sites and softwares for mobile devices.

Magazine templates for Flipboard. Partners: Architectural Digest, Ars Technica, Buzzfeed, CBS News, Chicago Tribune, CNET, CNN, Condé Nast, Elle, Fast Company, Financial Times, GQ, INC, Mashable, The New Yorker, Paris Match, Quartz, Rolex, Time Magazine, Vice Magazine, Vogue, Vox Media, The Wall Street Journal, The Washington Post, 2013 til now


Hand-picked logotypes.

Logos and brand identities designed for various clients over the last years, 2010-2016.

Editorial design

We specialize in book making…

Typography, layouts and compositions in the form of newspapers, magazines and books.

"SchönerHeit" by Julia Krahn, 2016.
"The Anarchist Doctrine Accessible to All", Word+Moist Press written in 1925 by José Oiticica, 2014.


What is illustration but the spice of life?

Decoration, interpretation or visual explanation of a concept or an idea designed for integration in published media, like posters, flyers, magazines, books, websites, record sleeves, tee-shirts. 2010-2016

Cédric Virassamy

Textpattern icon Phograph © Studio Twins Berlin

Cédric Virassamy (Cédric Bouvard) is a french art director/illustrator born in 1980.

He graduated from the École des Beaux-Arts in Bordeaux. He combines hand drawing with contemporary production techniques. His incisive style can take a number of forms from editorial illustrations, visual identities, posters and clothing.

Skills: Art direction, Web design, Illustration

Brice Delarue

Photo: Nick Grossman

Brice Delarue, is a french graphic designer/art director born in 1981.

He graduated from the École des Beaux Arts in Bordeaux.
Co-founder of Zirkumflex, he started as a freelace in Milan in 2004 working with magazines and cultural institutions. He applies a rigorous and functional use of typography to digital and printed work.

Skills: Art direction, Web design, Editorial design

He has participated at Documenta X (1997); Sao Paulo Biennale (2002); Venice Biennale (2003); Taipei Biennale (2004) and Sharjah Biennale (2010). Born in 1955, Jean-Luc Moulène studied Aesthetics and Art Sciences at La Sorbonne, Paris. He has participated at Documenta X (1997); Sao Paulo Biennale (2002); Venice Biennale (2003); Taipei Biennale (2004) and Sharjah Biennale (2010).
Between the institiutions that have devoted a solo show of the work of Moulène we mention: ARC / Musée d’Art Moderne de la Ville de Paris (1997); Center for Contemporary Art, Kitakyushu (1998 & 2004); Centre d’Art Contemporain de Genève (2003); Musée du Louvre, Paris (2005); Jeu de Paume, Paris (2005); Culturgest, Lisbon (2007); Carré d’art-Musée d’Art Contemporain, Nîmes (2009); Dia: Beacon, Beacon, New York and Dan Flavin Art Institute, Bridgehampton, New York (2011-2012), Modern Art Oxford, Oxford (2012), Extra City Kunsthal, Antwerp (2013), Kunstverein, Hanover (2015), Villa Medici, Rome (2015), and Centre Georges Pompidou, Paris (2016).

The Runes Large Poster by Grems

Digital print 70×100 cm
Paper matt 130 gr/m2
Size: 70 × 100 cm
Vector illustration, 3 colors (orange, green teal and black)
Unique copie signed by the artist.
Delivered with a certificate of authenticity after the end of the exhibition without frame.

Price: 300 €


Poster / Digital print 70 × 100 cm, paper matt 130 gr/m2. Illustration by Grems. Unique copy! Signed by the artist with a certificate of authenticity.

Maria Thereza Alves made Why here?. She worked about art and ecology, presenting local and environmental stories involving botanists, archives and communities. She concentrated on the Central Market of the city and its regular visitors. Street vendors, traders, university, researchers, immigrants, political refugees, native citizens, have all participated to the realization of two video interviews, answering to these two questions: “Why are you here?” and “Which is your favorite plant?”.

Jimmie Durham worked on his installation Practically Pinnacle. The title makes reference to architecture, in particular to one element, the “pinnacle”, which contributes to the stability of a building. At the same time, it creates the possibility of transforming into décor. A work that can “remind people of Luis Buñuel or a more elevated form of Marcel Duchamp” suggested by Durham.

Flipboard, autobiz, Peugeot, Renault, Citroën, Arte, Rue de Plaisance, Kunstverein Milano, Editions Terre en Vue, Word+Moisture Press, Institut Français Deutshland, Skunkfunk, Word Magazine.

Grems, Julia Krahn, Juan Pablo Macìas, GUsto, Club Milano Magazine, Eyebook, Wu Magazine.

Tiempo Muerto #4 - 2015

Editor's note – The Anarchist Doctrine Accessible to All

by Juan Pablo Macías

“Juan Pablo Macías”:http://juanpablomacias.tumblr.com (Mexico, 1974) explores the relation between systems of representation and affectivity, and analogically, between power knowledge and insurrectional knowledge. With his actions, interventions, work on archives and editorial projects, he intends to cause tensions between institution, art practice and social field, by producing programs that operate directly on the biological, social and economic bodies. His work has been shown in major art museums in Mexico and around the world.

What are seeds if not ideas?
Seeds and ideas are human’s substance, human’s lifeblood… Sap! It’s always Deleuze’s Hyle, this continuum amorphous that bounds everything together in cosmos, that through desire produces life as creation, as knowledge, but as tyranny as well.

What are seeds if not the desiring dialogue of humans and nature?
What do seeds carry within them if not human knowledge?
What are ideas if not the praxis of human happiness in Earth?
Why hinder this praxis?
Why unbound this relation to Earth through exclusivity?
(The human problem consists in obtaining from earth the greatest amount of general happiness José Oiticica).
What are ideas if not the process of production of the cosmos, of the univocal process of production of man and nature as one, as desire?

Occident’s history of progress is the denial of this bound through abstract deaths they call truths. But nonetheless, there are words of truth, humble ones that vanish in the accomplishment of their affection. To speak with true word lasts the moment of its enunciation, of its performance – it is not its desire to last an eternity as the State’s rotten dead letters, as the petrification of the death sentences of the colonizers of labor – life congealed and concealed. These truths last the duration of their spoken moist, of their germination, of their warm vibrato, that hopefully will carry on, mouth-to-mouth, soil-to-soil, as warm lifeblood. There is no possible affectivity – of experiencing moist and warmth – in reading constitutions, contracts, laws, testaments and school texts, as the warmth we experience reading about life. Notwithstanding the printed matter that carries these words of truth, codifying them, they raise our temperature. Notwithstanding the machine that cuts ink’s continuum, printing it into word-images subject to law, we become happy and willing to pay any price – because this warm flux is life.

Tiempo Muerto #2 Supplement

Utopic Colony in North Mexico
432 photographs published without permission and plastered inside the walls of tranzitdisplay, Prague.

Exhibition "Ja ich will!" by Julia Krahn 8 October – 12 November 2010 Photo: Laura Gianetti
Backstage of the installation "BotoxCloud" by Andrew Seskunas & SAQ 28 January – 26 February 2011.
Opening party of "BotoxCloud" by Andrew Seskunas & SAQ 28 January 2011. Photo Laura Gianetti


Zirkumflex GbR
Fontanestraße 25 – 12049 Berlin – Deutchland

+49 (0) 30 33 02 94 78

Brice Delarue & Cédric Bouvard


All content on this website is the property of Zirkumflex. Unless otherwise indicated, all materials on this website are copyrighted. No part of these pages, either text or images may be used for any purpose other than personal use, unless explicit authorisation is given. Therefore reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means – electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

Website Credits
This website was designed and built by Gregory Cadars and powered by Textpattern.

Terms of use & Privacy policy

The Zirkumflex Shop operates according to the following conditions. Please read them carefully. You automatically agree to all these conditions when you buy something from the shop. This website is owned and operated by Zirkumflex. If you have any questions or issues about the shop or the website, please let us know: info@zirkumflex.com

This shop sells limited edition products published by Zirkumflex. Prices and availability are subject to change without notice. Zirkumflex reserves the right to refuse or refund any purchase for any reason related to availability and price. Zirkumflex makes every effort to ensure that our listed prints, product descriptions, and prices are accurate and up to date. Zirkumflex reserves the right to refuse or refund any purchase if the order is made based on a product listing error.

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We may periodically change or amend our privacy policy and terms & conditions. We encourage you to review our privacy policy and terms & conditions whenever you provide information on www.zirkumflex.com.

This privacy policy and terms & conditions was last updated on September 26 2016.

Four questions to GUsto

GUsto (Garcia Usine Studio) is a polyvalent structure created in 2005 by Fanny Garcia and Jack Usine, graphic designer graduated from the “École des Beaux-Arts” of Bordeaux. In addition to ordinary work, the duo’s production is characterized by exhibitions and publications projects with “Sainte-Machine”, “Le Vilain” and “TT” collectives. The studio also works on the typographical creation and diffuses its typefaces via Smeltery.

What are the origins of Cnocession project?
Zirkumflex determines the starting point, suggesting us to think about the use of Initial Letter nowadays: are they dead? In cold blood and ironically, we have been to a cemetery in our town, looking for an answer…

What’s the reason of this name, Cnocession?
The name originates from a typographic misprint engraved on an headstone in Castillon-la-Bataille cemetery. This “misprint” symbolizes, for us, the “handmade” concept, the sign of a human being behind the tool, an unexpected detail which is part of a local heritage. That’s what motivates our work.

By which criteria have the letters been chosen?
The letters have been chosen in order to have a plasterboard which can eclectic and representative about the typographic matter of the place. We have favored the most unusual letters to establish harmony between the
differences of the set.

What are the aims of this project, if there are?
It’s alive!

Welches Wachstum für Europa?

What Growth For Europe?: a series of French/German debates

The German-French debate series 2014-2015 titles Welches Wachstum für Europa? / Quelle croissance pour l’Europe? is a collaboration between the Institut Français in Germany, The Goethe-Instituts and the Bertelsmann Foundation.

The aim of this series of events is to discuss important issues relevant to the future growth and to provide German-French and European responses.


Photography as a part of therapy; Perspective change by reverting roles.

A photography exhibition by Nick Grossmann in collaboration with Pinel Institute.

HELP — Opening

17 May 2013

Tiempo Muerto #1

Rue de Plaisance's Posters

Posters for Rue de Plaisance’s parties in clubs all around european capitals: Paris, Berlin, Brussels, Barcelona

Bookmark 1

A selection of Printed Matter.

Bookmark 1, a selection of Printed Matter is the first chapter of series of exhibitions and events about publishing intended to exist as a pop-up bookshop which provides the public the opportunity of discovering selected prints from artists and independent publishers works.

March 18 to May 20, 2011

View of the exhibition. © Dellastrada


6 offset posters by Diego Fellay with Raphaël Garnier

July 29 – August 5.

Bookmark 2 hosted – as second temporary exhibition – WALL OF TOMORROW, from July 29 to August 5, six offset posters realised & presented by Diego Fellay at the Swiss Pavillon of Le Corbusier.

Swiss graphic designer Diego Fellay, in residence at the swiss Foundation, welcomes illustrators and photographs to recreate this forgotten mural with him. Six original posters will be produced and distributed, as well as 400 copies of each.

Five questions to Drew Seskunas

Born not far from Charles in Baltimore in 1981, Drew Seskunas studied architecture at the University of Maryland and later received his Master’s from the Pratt Institute in New York. After moving to Paris in 2008 he began collaborating on architectural projects with the artist Arne Quinze, ultimately directing the Berlin office of SAQ Architects before returning to New York in 2011 to form The Principals.

What is the origin of BotoxCloud project?

The project developed from explorations into deep levels of logic, order and interaction with form. Normally someone sees a cloud or some other natural phenomenon and on one level it looks like a disordered mess, but we also know there is a deep logic to that form, but it may not be intellectually accessible. We were looking for ways to make the logic of complex form accessible to people.

Why this interest in paper-cut and origami?

Origami has a very interesting relationship between math, form and materiality. It’s a hands on way of realizing complex equations in material qualities. This parallels very closely our relationship to architecture, light and shadow. Architecture is essentially the medium between the abstractness of math and the tangible qualities of our material environment. The play of light across architecture is how these connections are made. So origami is like a micro environment to test highly complex architectural environments and their mathematical rationale.

How the installation reacts with the public? In particular, how do you envisage the relation between the lighting system and the public?

The installation has a series of layered logics or ordering principles which people can understand through different interactions. One level is through a sensored environment ; their motions through the gallery direct intensities of the light which are then read through other sensors and reactions, creating a feedback loop within the environment mixed with certain random aspects programmed into the system. The complex forms trap, reflect and dissipate the changing light in various ways, like lightning in a thunderstorm. Therefore there are direct and indirect consequences of people’s interaction with the installation. Sometimes their impact is evident, other times what they are seeing is the result of an interaction several generations past. On another level there is the construction of the form itself. There are 2 editions we designed in the installation which are also sold as part of BotoxCloud so that people can experience the act of actually building the geometry. The two pieces can be assembled individually or together in various ways. There was a lot of engineering put into how we could have a complex, light transmitting form which could be assembled by a normal person, so that the act of building would intuitively deliver another level of understanding the installation and the rational of the form.

Could you explain the cognitive name of the project?

The title BotoxCloud comes from the desire to translate the complex formal language of a Cloud to a tangible medium. To do this you are translating 3D data into 2D data and back. So you inflate the 2D shapes into complex 3D volumes, hence the analogy of cosmetic surgery, or Botox, where you add in volume to features which were previously flat. There is also the reference to superficial aspects of formal study. In architecture right now there is a big anti-formal movement. People see it as a superficial aspect of architecture, something egotistic architects want to impart that lacks real substance, which we obviously disagree with. So equating our work to cosmetic surgery is a subtle jab at those people which would label us formalists.

In your opinion, what is the function of design in our everyday environment?

Design plays a massive role every day, whether people like it or not, and whether they realize it or not. Some people say the best design is that which solves problems yet people never notice. I completely disagree with that, design is a learning tool, it is a medium to understand more deeply the world.

Burn! Burn! Burn!

Promotional Clip for Skunkfunk.
Art Collage 2011