A map guide to Paris in the 1950s and 1960s adds another dimension to the publication, connecting the history of the movement to the places where it unfolded.

I designed two parallel reading paths that allow these perspectives to coexist within a single publication.

The main text of the book is formatted in blue, and the interview in brown. The page numbers and headers are asymmetrical—the blue elements correspond to the blue text, and the brown elements to the brown text.

The interview begins at the point the character is mentioned in the main text and may span several chapters of the book.

The book features a chapter where the text color is deliberately switched to black to draw attention to the posters for iconic New Wave films.

Layout Principles

The placement of each character is reflected in the layout. Hamm’s default position is the center of the room—his lines will thus be centered on the page. As he moves, his lines will move with him.

The same principle applies to Clov, though he moves far more frequently throughout the play, giving his movements a more dynamic quality.

Nagg’s and Nell’s lines will be positioned statically at the edges of the page.

The play also conveys a sense of tension through the characters’ restraint, which is why the leading has been intentionally reduced.

The action unfolds in a small, vacant semi-basement room within a post-apocalyptic wasteland, featuring only two windows. This setting dictates the generous margins and the frame around the text area. Both windows are also indicated on the border surrounding the type area—the characters interact with them in some capacity throughout the piece.

Following the main text, there are two reviews that help to better understand the play’s concept. They are also necessary to fully illustrate the dimensions of the typesetting area. The play transitions from a single column to a two-column format; the column numbers on the vertical axes drop down, and all white space is filled with text.