mini studio
Paris — Tokyo

mia [@] mini-studio.fr
justine [@] mini-studio.fr

Atelier suspendu
18, rue de Belzunce
75010 Paris

Nogata 5-7-2
165-0027 Tokyo

@ministudio.graphique

about contact fr
in Paris
 in Tokyo

Épidémies, prendre soin du vivant

art direction, book design · 165 × 240 mm · 112 pages
Musée des Confluences and Éditions courtes et longues

As the world recovers from Covid-19 pandemic, what do we remember of past epidemics, and how can we prepare for those to come?
This catalogue, published alongside the eponym exhibition at the Musée des Confluences (from Apr. 12, 2024 to Feb. 16, 2025) traces the historical thread of several major epidemics from Greek Antiquity to today.

Paris Rêvé

layout, editorial management · 210 × 292 mm · 392 pages · with Twice studio
Chêne éditions

A love letter to the City of Lights, written by illustrator Clara Panetier through more than 300 drawings of her favorite spots in Paris. From high-fashion boutiques to small breweries, she paints a dreamy portrait of the capital in vivid colors and striking compositions.

Je veux être riche et célèbre, je serai artiste

art direction, book design · 170 × 240 mm · 112 pages
Éditions courtes et longues

From word-famous paintings to contemporary pieces, Je veux être riche et célèbre, je serai artiste aims at showing children and teenagers the various aspects of what it is to “be an artist”.
Tired of the overtold story of the pennyless genius, Dominique de Font-Réaulx (mediation director at the Louvre) tries to paint a different picture with detailed explanations about artist’s works, historical context, and vision.
A presentation label accompanies each artwork, giving useful details such as artists’ names, title and techniques but also unexpected ones like the moment the work was created in the artist’s life, or the artwork size compared to an average human being.

Loading, l’art urbain à l’ère numérique au Grand palais immersif

art direction, magazine design · 215 × 285 mm · 48 pages
Connaissance des arts

A free-rein project created to accompany the Loading exhibition at the Grand Palais Immersif in Paris (December 6, 2023 – July 21, 2024). While retracing the beginnings of street art, the exhibition explored how new tools and technologies influence creative production today.
In this perspective, the magazine was designed as a fanzine—vivid and seemingly chaotic, yet still legible. The variety of layouts and fonts serves as a series of homages to different eras and styles of street art.

The Unesco collection

art direction, magazine design · 215 × 285 mm · 64 pages
Connaissance des arts

This special issue explores the rich collection of UNESCO’s Artothèque — nearly 1,800 works from 150 countries — housed in UNESCO’s Paris headquarters, a modernist landmark inaugurated in 1958, whose monumental geometry strongly inspired the layout design.

Man Ray, le beau temps

art direction, book design · 245 × 280 mm · 176 pages
La Banque, musée d’Hyères and Éditions courtes et longues

This book retraces Man Ray’s encounters with some of the most important artists of the 20th century, from Duchamp to Éluard and Cocteau. Set against the summers of 1936–1938 on the Côte d’Azur, it evokes a circle of avant-garde friendships and romances, where Picasso, Dora Maar, Lee Miller and others shared both inspiration and intimacy. For Man Ray, these were also moments of bold experimentation—portraits, color, photomontage and rayographs—always driven by his desire to turn photography into art.

Rencontres de Lure 2023

art direction, editorial management · 125 × 176 mm · 36 pages
Rencontres internationales de Lure

The 71st Rencontres de Lure, titled “Lure et compagnie” (Lure and co.) was a tribute to the richness of the individual characters that make up an ensemble.
The programme was created fanzine-style: copy machine look, rough hand-drawn letters, very simple hierarchy, a single font family and minimum size variation. However, since diversity and inclusivity were also a strong subject, several inclusive glyphs from various fonts can be found everywhere as little stickers stuck where needed in the text. The goal was to make them voluntarily visible and disruptive, as a mockery of criticism about their legibility or discretion in texts.
On the cover, ribbons allowed people to draw their own glyph, sign or letter, acting as a metaphor of the bonds that binds us all together.

Ceci n’est pas une nature morte

art direction, editorial management · 220 × 280 mm · pages
Louvre éditions and Éditions courtes et longues

This children’s book was designed to accompany the Louvre exhibition Les Choses. Une histoire de la nature morte (“Things. A History of Still Life”) in 2022.
Each spread puts in perspective one of the artwork shown in the exhibition, with a recap of its historical context and particularities, as well as a contemporary artwork that resonates with it.
Similar to how our thoughts go from one thing to another, various anecdotes, quotes or concepts dance around the artworks, throwing some light on various related point of interests. Some pages even feature activities, playfully inviting readers to look more closely.

J’écris en hiérolyphes

art direction, copywriting, book design · 140 × 190 mm · 56 pages
Louvre éditions and Éditions courtes et longues

This book is a joyful and colorful invitation to discover hieroglyphs. Blending glimpses of ancient Egypt with grammar essentials, each spread draws young readers in through clear, engaging design. Activities throughout the book encourage closer observation, while a final section offers more in-depth exercises to put their learning into practice.

Amélie Chiba

logo design · logo and hallmark · with Timothée Goguely
Amélie Chiba

Amélie Chiba is a jewelry brand led by designer Amélie Chiba, based in Tokyo. Her process of creation is deeply respectful the intricate relationship between the object itself, the artisan’s crafts, and history of jewelry.
The hallmark design, three overlaping leaves, is based on the meaning of the name Chiba in Japanese, “a thousand leaves”. The leaves’ curve then served as base for the C in “Chiba”, turning into a chiseled logo, mixing both geometry and organic.
Jewelry photos ©MasanoriAkaishi and ©AmelieChiba

Réderie Amiens

art direction, branding, visual identity · mixed media

The Réderie is a vast flea market held twice a year, in spring and autumn, in the city of Amiens. First held in 1909, it has become one of the city’s highlights and plays a key role in its cultural identity. This eclectic spirit is captured in colorful kaleidoscopes, created from the shapes of objects and adapted into spring and autumn variations. Like the Réderie itself, the visual identity can reinvent itself endlessly while preserving strong, recognizable codes.

Collection collective

art direction, editorial management, web design

Projects, documentation, and designers exploring feminist questions in graphic design are often difficult to find and remain isolated from one another.
Collection Collective is a collaborative platform conceived to address this gap. It highlights and archives resources related to feminist and alternative graphic design, creating a shared space of knowledge. By showcasing the diversity of existing references, it gives visibility to projects and facilitates access to resources, whether available online or in physical form.

Voir manger, regards sur la nourriture au Japon

art direction, editorial management, copywriting, research work · 176 × 250 mm · 75 pages

  Is there a specifically Japanese connection between pleasure and oral consumption? This is the question at the heart of the research from which this book is drawn. Through striking visual associations and dialogues with various texts on food in Japan, it touches on the many facets of Japanese food culture—from refined aesthetics to instinctive, almost voracious desire—where gaze and mouth are always intertwined.

Kit Konbini, le cahier

art direction, editorial management, copywriting · 176 × 250 mm · 64 pages

Japanese learning materials, whether printed or digital, suffer from a deeply unbalanced relationship between content and form. Printed materials are mainly available in English and often visually dry. Digital materials, although shinier, are more often than not offering superficial and over-gamified content.
Kit Konbini aims to make Japanese learning easier, coming from French, by offering a system where content and visuals would be conceived in coherence, addressing grammatical, linguistic, and cultural aspects alike.
It relies for this on a physical cultural entrypoint: the konbini (Japanese convenience store), a place where you can find everything which represents Japanese daily life.

Le rose en actes chromatiques, approche anthropologique d’une couleur plurivoque

art direction, editorial management, research work, book design · 130 × 210 mm · 202 pages

Le Rose en actes chromatique (Pink in Chromatic Acts) is an anthropological inquiry into the uses and practices associated with the color pink. It examines the issues raised by our relationship to this color and the ways in which our signs become carriers of meaning. This research brings together scientific, historical, cultural, and semiotic approaches to analyze the choices, tastes, and aesthetics that shape our societies.

Serge Huguenin

art direction, editorial management, web design

The work of illustrator Serge Huguenin sits at the crossroads of colorful daydreams, object collecting, and strangeness. Poetry plays a major role, and his website is heavily influenced by editorial visual codes, which have been adapted into this digital form.
Unfortunately, due to some technicalities, the website is not up at the moment.

Roaring Twenties party invitation

art direction, illustration, lettering · 148 × 210 mm · gold finish

This custom illustration for a Roaring 20’s theme party was directly inspired by the facade of the famous Madison Belmont building in New York. It features an opulent Art Deco fountain which served as a base for our composition. A simple lettering based on the Bifur (a font designed by french designer A. M. Cassandre for Deberny and Peignot foundry in 1929) continues to echoe the very geometric linebased style of the Art Deco, as flowers scattered on top of the drawing add some levity to it all.