INSERT INTO `document` (`id`, `id_type`, `latable`, `id_parent`, `titre`, `document`, `video`, `id_grille`, `ligne`, `ordre`, `online`, `id_vide`, `id_categorie`, `id_client`, `id_projet`) VALUES
(3968, 1, 'travaux', 233, '', '20180913030935_LPSS17.jpg', '', 1, 1, 11, 0, 0, 0, 0, 0),
(3957, 1, 'travaux', 181, '', '20180906050919_Vertical.jpg', '', 2, 0, 5, 0, 0, 0, 0, 0),
(3956, 1, 'travaux', 181, '', '20180906050944_VF_adjani_12.jpg', '', 2, 1, 9, 0, 0, 0, 0, 0),
(3955, 1, 'travaux', 181, '', '20180906050923_VF_adjani_10.jpg', '', 3, 0, 2, 0, 0, 0, 0, 0),
(3952, 1, 'travaux', 220, '', '20180905120908_GIF_20001333_BUSINESS_CARD.gif', '', 3, 0, 1, 0, 0, 0, 0, 0),
(3950, 1, 'travaux', 220, '', '20180905120956_BUSINESS_CARD_20001333.gif', '', 2, 1, 5, 0, 0, 0, 0, 0),
(3949, 1, 'travaux', 220, '', '20180904040953_YORGO_CO_PATTERN.jpg', '', 2, 1, 3, 0, 0, 0, 0, 0),
(3953, 1, 'travaux', 220, '', '20180905120911_GIF_20001333_CARD.gif', '', 1, 1, 12, 0, 0, 0, 0, 0),
(3954, 1, 'travaux', 181, '', '20180906050933_VF_adjani_8.jpg', '', 2, 0, 8, 0, 0, 0, 0, 0),
(3902, 1, 'travaux', 256, '', '20180725030744_B_20180716030718_RICARD_VERICAL.jpg', '', 2, 1, 3, 0, 0, 0, 0, 0),
(3903, 1, 'travaux', 256, '', '20180726040711_LogoR.gif', '', 3, 0, 2, 0, 0, 0, 0, 0),
(3904, 1, 'travaux', 256, '', '20180725030741_M_20180716030737_RICARD_macro_RETOUCH_2.jpg', '', 3, 0, 1, 0, 0, 0, 0, 0),
(3905, 1, 'travaux', 256, '', '20180725040707__Ricard_240718_9.jpg', '', 3, 0, 6, 0, 0, 0, 0, 0),
(3906, 1, 'travaux', 256, '', '20180726120710_Ricard_GIF_verreballon_2000x1333.gif', '', 1, 1, 5, 0, 0, 0, 0, 0),
(3907, 1, 'travaux', 256, '', '20180725040737_20180716020708_RICARD_GIF_2_RETOUCH_anime_A.gif', '', 3, 0, 7, 0, 0, 0, 0, 0),
(3908, 1, 'travaux', 256, '', '20180725040702_B_20180716030707_RICARD_VERT_2.jpg', '', 2, 1, 8, 0, 0, 0, 0, 0),
(3909, 1, 'travaux', 256, '', '20180725040736_RICARD_CARAFFE.jpg', '', 3, 0, 12, 0, 0, 0, 0, 0),
(3910, 1, 'travaux', 256, '', '20180725040758_B_20180717020757_yorgoco_ricard_rosabonheur_11.jpg', '', 3, 0, 13, 0, 0, 0, 0, 0),
(3911, 1, 'travaux', 256, '', '20180725040746_B_20180717010743_RICARD_9.jpg', '', 2, 1, 14, 0, 0, 0, 0, 0),
(3912, 1, 'travaux', 256, '', '20180726030740_GLASSES_V2.jpg', '', 2, 1, 11, 0, 0, 0, 0, 0),
(3913, 1, 'travaux', 256, '', '20180725040748_B_20180716040752_RICARD_fanion_RETOUCH_4.jpg', '', 1, 1, 15, 0, 0, 0, 0, 0),
(3914, 1, 'travaux', 256, '', '20180726120720_SpecimenRicardV6.gif', '', 2, 0, 10, 0, 0, 0, 0, 0),
(3915, 1, 'travaux', 256, '', '20180726030717_SMART_5.jpg', '', 1, 1, 22, 0, 0, 0, 0, 0),
(3916, 1, 'travaux', 256, '', '20180726030732_SMART_SIDE_2.jpg', '', 2, 1, 21, 0, 0, 0, 0, 0),
(3917, 1, 'travaux', 256, '', '20180726030701_SMART_BACK_2.jpg', '', 2, 0, 20, 0, 0, 0, 0, 0),
(3918, 1, 'travaux', 256, '', '20180725040753_B_20180716040723_yorgoco_ricard_rosabonheur_15.jpg', '', 1, 1, 23, 0, 0, 0, 0, 0),
(3945, 1, 'travaux', 256, '', '20180726030755_RICARAVANE_POSTER.jpg', '', 1, 1, 30, 0, 0, 0, 0, 0),
(3946, 1, 'categorie', 9, '', '20180730030732_RICARD_DEMESURE_14_R2.jpg', '', 4, 0, 1, 0, 0, 0, 0, 256),
(3922, 1, 'travaux', 256, '', '20180726120739_RICARD_BEFORE_AFTER_POUR_GIF.gif', '', 2, 0, 16, 0, 0, 0, 0, 0),
(3923, 1, 'travaux', 256, '', '20180725050703_B_20180716030746_RICARD_compo_RETOUCH_2.jpg', '', 1, 1, 9, 0, 0, 0, 0, 0),
(3925, 1, 'travaux', 256, '', '20180726110712_M_20180716040700_RICARD_fanion_RETOUCH_1.jpg', '', 3, 0, 24, 0, 0, 0, 0, 0),
(3926, 1, 'travaux', 256, '', '20180726120736_AFFICHE_V2.jpg', '', 3, 0, 25, 0, 0, 0, 0, 0),
(3927, 1, 'travaux', 256, '', '20180726120710_RICARD_LIGHT_VERT.jpg', '', 2, 1, 26, 0, 0, 0, 0, 0),
(3928, 1, 'travaux', 256, '', '20180726010703_B_20180716050713_RICARD_plaque_RETOUCH_1.jpg', '', 1, 1, 27, 0, 0, 0, 0, 0),
(3929, 1, 'travaux', 256, '', '20180726010722_B_20180716050726_RICARD_macro_RETOUCH_10.jpg', '', 2, 0, 28, 0, 0, 0, 0, 0),
(3930, 1, 'travaux', 256, '', '20180726010750_RICARD_8.jpg', '', 2, 1, 29, 0, 0, 0, 0, 0),
(3931, 1, 'travaux', 256, '', '20180726010731_B_20180716050728_RICARD_bannie_Are_RETOUCH_.jpg', '', 2, 1, 17, 0, 0, 0, 0, 0),
(3932, 1, 'travaux', 256, '', '20180726050725_Specimen_Ricard_Ombre_V9.gif', '', 2, 0, 31, 0, 0, 0, 0, 0),
(3933, 1, 'travaux', 256, '', '20180726010718_B_20180716050738_RICARD_macro_RETOUCH_6.jpg', '', 2, 1, 32, 0, 0, 0, 0, 0),
(3934, 1, 'travaux', 256, '', '20180726010737_B_20180614110620_RICARD_2.jpg', '', 1, 1, 33, 0, 0, 0, 0, 0),
(3935, 1, 'travaux', 256, '', '20180726010751_B_20180717020729_RICARD_DEMESURE_03.jpg', '', 2, 0, 34, 0, 0, 0, 0, 0),
(3936, 1, 'travaux', 256, '', '20180726010709_RICARD_12.jpg', '', 2, 1, 38, 0, 0, 0, 0, 0),
(3937, 1, 'travaux', 256, '', '20180726020717_B_20180717010727_RICARD_10.jpg', '', 2, 1, 35, 0, 0, 0, 0, 0),
(3938, 1, 'travaux', 256, '', '20180726020719_B_20180717020747_yorgoco_ricard_rosabonheur_8.jpg', '', 1, 1, 36, 0, 0, 0, 0, 0),
(3939, 1, 'travaux', 256, '', '20180726020700_B_20180717020733_RICARD_DEMESURE_08.jpg', '', 2, 0, 37, 0, 0, 0, 0, 0),
(3940, 1, 'travaux', 256, '', '20180726020708_B_20180716060735_RICARD_7.jpg', '', 2, 0, 40, 0, 0, 0, 0, 0),
(3941, 1, 'travaux', 256, '', '20180726050755_Specimen_Ricard_Scripte_V5.gif', '', 3, 0, 41, 0, 0, 0, 0, 0),
(3942, 1, 'travaux', 256, '', '20180726020743_B_20180716050729_RICARD_sweat_RETOUCH_.jpg', '', 1, 1, 39, 0, 0, 0, 0, 0),
(3943, 1, 'travaux', 256, '', '20180726020737_RICQRD_SWEAT.jpg', '', 3, 1, 42, 0, 0, 0, 0, 0),
(3944, 1, 'travaux', 256, '', '20180727040735_RICARD_groupe_RETOUCH_0.jpg', '<iframe src=\"https://player.vimeo.com/video/281981441?transparent=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen></iframe>', 1, 1, 4, 0, 0, 0, 0, 0),
(3984, 1, 'travaux', 259, '', '20181011041058_OMEGA_BOOK_3.jpg', '', 2, 1, 11, 0, 0, 0, 0, 0),
(3985, 1, 'travaux', 259, '', '20181012121022_OMEGA_BOOK_5.jpg', '', 2, 1, 8, 0, 0, 0, 0, 0),
(3986, 1, 'travaux', 259, '', '20181022121045_OMEGA_3.jpg', '', 3, 0, 1, 0, 0, 0, 0, 0),
(3987, 1, 'travaux', 259, '', '20181011041048_OMEGA_BOOK_8.jpg', '', 3, 0, 17, 0, 0, 0, 0, 0),
(3977, 1, 'travaux', 258, '', '20181009031012_PHONE.jpg', '<iframe src=\"https://player.vimeo.com/video/294144841?muted=1&background=1&autopause=0&transparent=1&autoplay=1\" width=\"640\" height=\"423\" frameborder=\"0\" allowfullscreen></iframe>', 3, 0, 2, 0, 0, 0, 0, 0),
(3979, 1, 'travaux', 258, '', '20181009031048_Sans_titre_2.jpg', '<iframe src=\"https://player.vimeo.com/video/294148466? muted=1&background=1&autopause=0&transparent=1&autoplay=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>\n', 3, 0, 11, 0, 0, 0, 0, 0),
(3980, 1, 'travaux', 258, '', '20181009031026_Mac.jpg', '', 1, 1, 16, 0, 0, 0, 0, 0),
(4037, 1, 'travaux', 260, '', '20181017041028_Lacombe_I27_07_Adb98.jpg', '', 2, 1, 6, 0, 0, 0, 0, 0),
(3981, 1, 'travaux', 259, '', '20181023031045_OMEGA_book_StillLife_5c_RETOUCH.jpg', '', 1, 1, 4, 0, 0, 0, 0, 0),
(3982, 1, 'travaux', 259, '', '20181012111035_OMEGA_BOOK_OMEGA_LOGO.jpg', '', 3, 0, 2, 0, 0, 0, 0, 0),
(3983, 1, 'travaux', 259, '', '20181023031019_Omega_Book_pile_grey_5_RETOUCH.jpg', '', 1, 1, 9, 0, 0, 0, 0, 0),
(3988, 1, 'travaux', 259, '', '20181012051055_OMEGA_PINbis.jpg', '', 2, 0, 16, 0, 0, 0, 0, 0),
(3989, 1, 'travaux', 259, '', '20181011041024_OMEGA_BOOK_11ter.jpg', '', 2, 1, 43, 0, 0, 0, 0, 0),
(3990, 1, 'travaux', 259, '', '20181011041045_Seamaster_Book_Gif_2.gif', '', 2, 1, 6, 0, 0, 0, 0, 0),
(3991, 1, 'travaux', 259, '', '20181023031000_Omega_Book_macro_30b_RETOUCH.jpg', '', 2, 0, 47, 0, 0, 0, 0, 0),
(3992, 1, 'travaux', 259, '', '20181012111002_OMEGA_BBOK_15.jpg', '', 2, 1, 3, 0, 0, 0, 0, 0),
(3993, 1, 'travaux', 259, '', '20181012121031_OMEGA_DP_OBJECTS.jpg', '', 1, 1, 46, 0, 0, 0, 0, 0),
(3994, 1, 'travaux', 259, '', '20181012051055_OMEGA_BOOK_12.jpg', '', 2, 0, 22, 0, 0, 0, 0, 0),
(3995, 1, 'travaux', 259, '', '20181012121029_OMEGA_DP_2.jpg', '', 2, 1, 23, 0, 0, 0, 0, 0),
(3996, 1, 'travaux', 259, '', '20181015061023_3_Omega_Highrise_2_RETOUCH.jpg', '', 2, 1, 26, 0, 0, 0, 0, 0),
(3997, 1, 'travaux', 259, '', '20181015061048_4_Omega_Boom_1_RETOUCH.jpg', '', 1, 1, 31, 0, 0, 0, 0, 0),
(3998, 1, 'travaux', 259, '', '20181015021000_OMEGA_DP_6.jpg', '', 2, 1, 34, 0, 0, 0, 0, 0),
(3999, 1, 'travaux', 259, '', '20181012121011_OMEGA_DP_7.jpg', '', 1, 1, 38, 0, 0, 0, 0, 0),
(4000, 1, 'travaux', 259, '', '20181012031018_OMEGA_BOOK_TYPO_1.jpg', '', 2, 1, 21, 0, 0, 0, 0, 0),
(4001, 1, 'travaux', 259, '', '20181012031048_OMEGA_BOOK_BLACK_2.jpg', '', 2, 0, 20, 0, 0, 0, 0, 0),
(4002, 1, 'travaux', 259, '', '20181012031019_OMEGA_GRAY_1.jpg', '', 2, 1, 30, 0, 0, 0, 0, 0),
(4003, 1, 'travaux', 259, '', '20181012031011_OMEGA_BOOK_TYPO_2.jpg', '', 2, 1, 37, 0, 0, 0, 0, 0),
(4004, 1, 'travaux', 259, '', '20181012031050_OMEGA_GRAY_3.jpg', '', 2, 0, 29, 0, 0, 0, 0, 0),
(4005, 1, 'travaux', 259, '', '20181012041054_OMEGA_GREY_2.jpg', '', 1, 1, 32, 0, 0, 0, 0, 0),
(4008, 1, 'travaux', 259, '', '20181012041031_OMEGA_BLACK_5.jpg', '', 1, 1, 24, 0, 0, 0, 0, 0),
(4009, 1, 'travaux', 259, '', '20181012041007_OMEGA_LIGHTG_1.jpg', '', 2, 0, 33, 0, 0, 0, 0, 0),
(4010, 1, 'travaux', 259, '', '20181012041030_OMEGA_LIGHTG_2.jpg', '', 1, 1, 35, 0, 0, 0, 0, 0),
(4011, 1, 'travaux', 259, '', '20181012041051_OMEGA_LIGHTG_3.jpg', '', 2, 0, 36, 0, 0, 0, 0, 0),
(4012, 1, 'travaux', 259, '', '20181012041016_OMEGA_LIGHTG_4.jpg', '', 2, 0, 39, 0, 0, 0, 0, 0),
(4013, 1, 'travaux', 259, '', '20181012041030_OMEGA_LIGHTG_5.jpg', '', 2, 1, 40, 0, 0, 0, 0, 0),
(4014, 1, 'travaux', 259, '', '20181012041027_OMEGA_LIGHTG_6.jpg', '', 2, 0, 42, 0, 0, 0, 0, 0),
(4015, 1, 'travaux', 259, '', '20181012041046_OMEGA_LIGHTG_7.jpg', '', 2, 1, 45, 0, 0, 0, 0, 0),
(4016, 1, 'travaux', 259, '', '20181012041024_OMEGA_BOOK_TYPO_3.jpg', '', 2, 1, 48, 0, 0, 0, 0, 0),
(4017, 1, 'travaux', 259, '', '20181106101143_Omega_Seamaster_gif_3.gif', '', 2, 0, 10, 0, 0, 0, 0, 0),
(4018, 1, 'travaux', 259, '', '20181012051000_OMEGA_BLACK_1.jpg', '', 1, 1, 15, 0, 0, 0, 0, 0),
(4019, 1, 'travaux', 259, '', '20181012051041_OMEGA_BLACK_2.jpg', '', 3, 1, 18, 0, 0, 0, 0, 0),
(4020, 1, 'travaux', 259, '', '20181012051033_OMEGA_BOOK_BLACK_1.jpg', '', 1, 1, 19, 0, 0, 0, 0, 0),
(4023, 1, 'travaux', 259, '', '20181012061010_OMEGA_HIGH_1.jpg', '', 2, 0, 25, 0, 0, 0, 0, 0),
(4024, 1, 'travaux', 259, '', '20181015021035_OMEGA_BOND.jpg', '', 1, 1, 41, 0, 0, 0, 0, 0),
(4027, 1, 'travaux', 259, '', '20181015021015_OMEGA_TRANS.jpg', '', 2, 0, 44, 0, 0, 0, 0, 0),
(4026, 1, 'travaux', 259, '', '20181015021002_OMEGA_BOOK_INDEX.jpg', '', 2, 0, 49, 0, 0, 0, 0, 0),
(4031, 1, 'travaux', 259, '', '20181023041026_3_Omega_Highrise_RETOUCH.jpg', '', 2, 1, 28, 0, 0, 0, 0, 0),
(4030, 1, 'travaux', 259, '', '20181015031010_OMEGA_HIGHRISE_1.jpg', '', 2, 0, 27, 0, 0, 0, 0, 0),
(4032, 1, 'travaux', 259, '', '20181015041015_OMEGABOOK_SIDE.jpg', '', 2, 0, 5, 0, 0, 0, 0, 0),
(4033, 1, 'travaux', 259, '', '20181022121027_OMEGA_2.jpg', '', 1, 1, 51, 0, 0, 0, 0, 0),
(4034, 1, 'travaux', 259, '', '20181015041020_OMEGABOOK_SIDE.jpg', '<iframe src=\"https://player.vimeo.com/video/295183152?muted=1&background=1&autopause=0&transparent=1&autoplay=1\" width=\"640\" height=\"423\" frameborder=\"0\" allowfullscreen></iframe>', 2, 0, 7, 0, 0, 0, 0, 0),
(4035, 1, 'travaux', 259, '', '20181022121008_OMEGA_1.jpg', '', 2, 1, 50, 0, 0, 0, 0, 0),
(4036, 1, 'travaux', 258, '', '20181017041059_OMEGASTORE.jpg', '', 3, 0, 10, 0, 0, 0, 0, 0),
(4052, 1, 'travaux', 259, '', '20181022121006_OMEGA_4.jpg', '', 2, 0, 13, 0, 0, 0, 0, 0),
(4043, 1, 'travaux', 260, '', '20181017041033_GABARIT_IMAC_diver300m_still_1_web.jpg', '', 1, 1, 7, 0, 0, 0, 0, 0),
(4044, 1, 'travaux', 260, '', '20181017041057_Lacombe_I27_04_Adb98.jpg', '', 3, 0, 5, 0, 0, 0, 0, 0),
(4045, 1, 'travaux', 260, '', '20181017061050_Lacombe_I27_08_Adb98_3.jpg', '', 2, 1, 2, 0, 0, 0, 0, 0),
(4047, 1, 'travaux', 260, '', '20181017041005_Lacombe_I27_03_Adb98_2.jpg', '', 2, 0, 8, 0, 0, 0, 0, 0),
(4064, 1, 'travaux', 244, '', '20181024041042_yorgoandco_gaite_gif3_1.gif', '', 2, 0, 22, 0, 0, 0, 0, 0),
(4049, 1, 'travaux', 260, '', '20181017041051_Lacombe_I27_06_Adb98.jpg', '', 3, 0, 9, 0, 0, 0, 0, 0),
(4050, 1, 'travaux', 260, '', '20181017061054_Lacombe_I27_05_Adb98.jpg', '', 3, 1, 10, 0, 0, 0, 0, 0),
(4053, 1, 'travaux', 259, '', '20181106101107_Seamaster_Book_Gif_4.gif', '', 2, 1, 14, 0, 0, 0, 0, 0),
(4056, 1, 'travaux', 261, '', '20181029011031_JAI_5.jpg', '', 1, 1, 9, 0, 0, 0, 0, 0),
(4057, 1, 'travaux', 261, '', '20181024031012_JAI_7.jpg', '', 2, 0, 7, 0, 0, 0, 0, 0),
(4058, 1, 'travaux', 261, '', '20181024031012_JAI_4.jpg', '', 1, 1, 6, 0, 0, 0, 0, 0),
(4059, 1, 'travaux', 261, '', '20181105031148_JAI.jpg', '', 2, 1, 5, 0, 0, 0, 0, 0),
(4060, 1, 'travaux', 261, '', '20181024031054_JAI_9.jpg', '', 2, 1, 8, 0, 0, 0, 0, 0),
(4061, 1, 'travaux', 261, '', '20181024031051_JAI_3.jpg', '', 2, 1, 2, 0, 0, 0, 0, 0),
(4062, 1, 'travaux', 261, '', '20181029011053_Sans_titre_5.jpg', '', 1, 1, 3, 0, 0, 0, 0, 0),
(4063, 1, 'travaux', 261, '', '20181029011053_yorgoandco_justanidea_2d.gif', '', 2, 0, 1, 0, 0, 0, 0, 0),
(4067, 1, 'travaux', 262, '', '20181026041053_yorgoandco_DanielBernard_1.jpg', '', 2, 1, 6, 0, 0, 0, 0, 0),
(4068, 1, 'travaux', 262, '', '20181026041034_yorgoandco_DanielBernard.jpg', '', 1, 1, 3, 0, 0, 0, 0, 0),
(4069, 1, 'travaux', 262, '', '20181026041005_yorgoandco_DanielBernard_3.jpg', '', 2, 1, 2, 0, 0, 0, 0, 0),
(4070, 1, 'travaux', 262, '', '20181026041022_yorgoandco_DanielBernard_4.jpg', '', 2, 0, 5, 0, 0, 0, 0, 0),
(4071, 1, 'travaux', 262, '', '20181026041047_yorgoandco_DanielBernard_5.jpg', '', 1, 1, 4, 0, 0, 0, 0, 0),
(4072, 1, 'categorie', 10, '', '20181105071120_OMEGA_book_StillLife_2b_RETOUCH.jpg', '', 3, 0, 1, 0, 0, 0, 0, 259),
(4073, 1, 'categorie', 10, '', '20181026051042_yorgoandco_justanidea_2c.gif', '', 3, 0, 2, 0, 0, 0, 0, 261),
(4074, 1, 'categorie', 10, '', '20181026051049_02_12_2016_751GIF.gif', '', 3, 0, 16, 0, 0, 0, 0, 218),
(4075, 1, 'categorie', 6, '', '20181105071152_OMEGA_book_StillLife_2b_RETOUCH.jpg', '', 3, 0, 1, 0, 0, 0, 0, 259),
(4076, 1, 'client', 101, '', '20181105071108_OMEGA_book_StillLife_2b_RETOUCH.jpg', '', 1, 1, 3, 0, 0, 0, 0, 259),
(4077, 1, 'travaux', 237, '', '20181030021025_ADM_2.jpg', '', 2, 0, 5, 0, 0, 0, 0, 0),
(4078, 1, 'travaux', 237, '', '20181029011003_yorgoandco_DanielBernard_5.gif', '', 2, 1, 6, 0, 0, 0, 0, 0),
(4079, 1, 'travaux', 237, '', '20181030021015_ADM_1.jpg', '', 1, 1, 3, 0, 0, 0, 0, 0),
(4080, 1, 'travaux', 258, '', '20181112071153_Sans_titre_9.jpg', '', 2, 1, 12, 0, 0, 0, 0, 0),
(4084, 1, 'travaux', 28, '', '20181102041144_CUF_10.jpg', '', 2, 0, 4, 0, 0, 0, 0, 0),
(4085, 1, 'travaux', 28, '', '20181102041111_CUF_15.jpg', '', 1, 1, 6, 0, 0, 0, 0, 0),
(4083, 1, 'travaux', 28, '', '20181102041103_CUF_2.jpg', '', 2, 1, 5, 0, 0, 0, 0, 0),
(4086, 1, 'travaux', 28, '', '20181102041114_CUF_11.jpg', '', 1, 1, 21, 0, 0, 0, 0, 0),
(4087, 1, 'travaux', 28, '', '20181102041130_CUF_1.jpg', '', 3, 0, 13, 0, 0, 0, 0, 0),
(4088, 1, 'travaux', 28, '', '20181102041137_CUF_12.jpg', '', 1, 1, 11, 0, 0, 0, 0, 0),
(4089, 1, 'travaux', 28, '', '20181102041141_CUF_4.jpg', '', 2, 1, 20, 0, 0, 0, 0, 0),
(4090, 1, 'travaux', 28, '', '20181102041103_CUF_6.jpg', '', 3, 0, 12, 0, 0, 0, 0, 0),
(4091, 1, 'travaux', 28, '', '20181102041105_CUF_5.jpg', '', 1, 1, 22, 0, 0, 0, 0, 0),
(4092, 1, 'travaux', 28, '', '20181102041155_CUF_3.jpg', '', 3, 1, 9, 0, 0, 0, 0, 0),
(4093, 1, 'travaux', 28, '', '20181102041143_CUF_8.jpg', '', 2, 1, 17, 0, 0, 0, 0, 0),
(4094, 1, 'travaux', 28, '', '20181102041152_CUF_9.jpg', '', 2, 0, 16, 0, 0, 0, 0, 0),
(4095, 1, 'travaux', 28, '', '20181102041107_CUF_7.jpg', '', 2, 0, 23, 0, 0, 0, 0, 0),
(4096, 1, 'travaux', 261, '', '20181105031152_JAI_2.jpg', '<iframe src=\"https://player.vimeo.com/video/298999525?muted=1&background=1&transparent=1&autoplay=1&autoloop=1\" width=\"640\" height=\"426\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>', 2, 0, 4, 0, 0, 0, 0, 0),
(4097, 1, 'travaux', 146, '', '20181105031148_LEBALLON_MAG2_1.jpg', '', 1, 1, 1, 0, 0, 0, 0, 0),
(4098, 1, 'travaux', 146, '', '20181105031111_LEBALLON_MAG2_2.jpg', '', 3, 0, 2, 0, 0, 0, 0, 0),
(4099, 1, 'travaux', 146, '', '20181105031134_LEBALLON_MAG2_4.jpg', '', 3, 0, 3, 0, 0, 0, 0, 0),
(4100, 1, 'travaux', 146, '', '20181105031112_LEBALLON_MAG2_3.jpg', '', 1, 1, 5, 0, 0, 0, 0, 0),
(4101, 1, 'travaux', 146, '', '20181105031154_LEBALLON_MAG2_5.jpg', '', 2, 1, 4, 0, 0, 0, 0, 0),
(4103, 1, 'travaux', 258, '', '20181112061111_Sans_titre_1.jpg', '<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/fpx46HvIfgE?loop=1&playlist=GEoUXI8BxRU&frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen></iframe>', 2, 0, 14, 0, 0, 0, 0, 0),
(4105, 1, 'travaux', 258, '', '20181113031154_OMEGA_PRESS_VERT.jpg', '', 2, 1, 6, 0, 0, 0, 0, 0),
(4111, 1, 'travaux', 263, '', '20181114121154_GABARIT_IMAC_5.jpg', '', 2, 0, 1, 0, 0, 0, 0, 0),
(4110, 1, 'travaux', 258, 'muted=1&background=1&autopause=0&transparent=1&autoplay=1\"', '20181121031118_INTRO.jpg', '<iframe src=\"https://player.vimeo.com/video/302451202? muted=1&background=1&autopause=0&transparent=0&autoplay=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>', 2, 1, 15, 0, 0, 0, 0, 0),
(4112, 1, 'travaux', 263, '', '20181114121136_GABARIT_IMAC_6.jpg', '', 2, 0, 4, 0, 0, 0, 0, 0),
(4113, 1, 'travaux', 263, '', '20181114011131_Sans_titre_3.jpg', '<iframe src=\"https://player.vimeo.com/video/300715317?muted=1&background=1&transparent=1&autoplay=1&autoloop=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>', 2, 1, 5, 0, 0, 0, 0, 0),
(4114, 1, 'travaux', 263, '', '20181114011128_GABARIT_IMAC_3.jpg', '', 1, 1, 6, 0, 0, 0, 0, 0),
(4115, 1, 'travaux', 263, '', '20181114011130_Sans_titre_3.jpg', '<iframe src=\"https://player.vimeo.com/video/300734123?muted=1&background=1&transparent=1&autoplay=1&autoloop=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>\n', 1, 1, 3, 0, 0, 0, 0, 0),
(4116, 1, 'travaux', 263, '', '20181114011144_Sans_titre_3.jpg', '<iframe src=\"https://player.vimeo.com/video/300734852?muted=1&background=1&transparent=1&autoplay=1&autoloop=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>', 2, 1, 2, 0, 0, 0, 0, 0),
(4117, 1, 'travaux', 263, '', '20181114011149_GABARIT_IMAC.jpg', '', 2, 0, 7, 0, 0, 0, 0, 0),
(4118, 1, 'travaux', 263, '', '20181114011113_GABARIT_IMAC_2.jpg', '', 2, 1, 8, 0, 0, 0, 0, 0),
(4119, 1, 'client', 13, '<iframe src=\"https://player.vimeo.com/video/300715317?muted=1&background=1&transparent=1&autoplay=1&autoloop=1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>', '20181114011154_GABARIT_IMAC_6.jpg', '', 3, 0, 2, 0, 0, 0, 0, 263),
(4120, 1, 'categorie', 12, '', '20181127051149_OMEGA_Lincoln_Tunnel_8_.jpg', '', 3, 0, 1, 0, 0, 0, 0, 258),
(4121, 1, 'travaux', 264, '', '20181123061115_RICARD_LIVE.gif', '', 2, 1, 3, 0, 0, 0, 0, 0),
(4122, 1, 'travaux', 264, '', '20181123121125_yorgoco_ricardlivemusic_fetedelamusique_STICKERPOLE_V2.gif', '', 2, 1, 7, 0, 0, 0, 0, 0),
(4123, 1, 'travaux', 264, '', '20181123061154_Sans_titre_1.jpg', '', 1, 1, 4, 0, 0, 0, 0, 0),
(4124, 1, 'travaux', 264, '', '20181123031147_RICARDLIVE_11.jpg', '', 2, 0, 12, 0, 0, 0, 0, 0),
(4125, 1, 'travaux', 264, '', '20181123021137_RICARDLIVE_8.jpg', '', 3, 0, 17, 0, 0, 0, 0, 0),
(4126, 1, 'client', 101, '', '20181127051133_OMEGA_Lincoln_Tunnel_8_.jpg', '', 2, 0, 1, 0, 0, 0, 0, 258),
(4127, 1, 'client', 101, '', '20181123021108_B_20181017041018_Lacombe_I27_02_Adb98.jpg', '', 2, 1, 2, 0, 0, 0, 0, 260),
(4128, 1, 'travaux', 264, '', '20181123021132_RICARDLIVE_14.jpg', '', 3, 0, 2, 0, 0, 0, 0, 0),
(4129, 1, 'travaux', 264, '', '20181123021106_RICARDLIVE_13.jpg', '', 3, 0, 6, 0, 0, 0, 0, 0),
(4130, 1, 'travaux', 264, '', '20181123031123_Sans_titre_10.jpg', '', 2, 1, 13, 0, 0, 0, 0, 0),
(4131, 1, 'travaux', 264, '', '20181123031109_RICARDLIVE_16.jpg', '', 1, 1, 8, 0, 0, 0, 0, 0),
(4132, 1, 'travaux', 264, '', '20181123031137_RICARDLIVE_19.jpg', '', 2, 1, 10, 0, 0, 0, 0, 0),
(4144, 1, 'travaux', 258, '', '20181126061113_OMEGA_SOHO_2018.jpg', '', 1, 1, 7, 0, 0, 0, 0, 0),
(4134, 1, 'travaux', 264, '', '20181123031146_RICARDLIVE_6.jpg', '', 1, 1, 14, 0, 0, 0, 0, 0),
(4135, 1, 'travaux', 264, '', '20181123041153_RICARDLIVE_24.jpg', '', 1, 1, 11, 0, 0, 0, 0, 0),
(4136, 1, 'travaux', 264, '', '20181123041155_RICARDLIVE_23.jpg', '', 3, 0, 16, 0, 0, 0, 0, 0),
(4145, 1, 'travaux', 258, '', '20181127051138_OMEGA_Lincoln_Tunnel_8_.jpg', '', 2, 1, 9, 0, 0, 0, 0, 0),
(4138, 1, 'travaux', 264, '', '20181126051127_RICARDLIVEDOG.jpg', '', 2, 1, 18, 0, 0, 0, 0, 0),
(4140, 1, 'travaux', 264, '', '20181123051119_RICARDLIVE_21.jpg', '', 3, 0, 1, 0, 0, 0, 0, 0),
(4141, 1, 'travaux', 264, '', '20181123061149_RICARDLIVE_28.jpg', '', 2, 0, 9, 0, 0, 0, 0, 0),
(4142, 1, 'travaux', 264, '', '20181126051137_RICARDLIVE28.jpg', '', 3, 0, 5, 0, 0, 0, 0, 0),
(4146, 1, 'travaux', 258, '', '20181126061131_OMEGA_SHANGHAI_2018.jpg', '', 2, 0, 8, 0, 0, 0, 0, 0),
(4150, 1, 'home', 1, '', '20181207041220_02_Rocnation_ID.jpg', '', 1, 1, 1, 0, 0, 0, 0, 237);

-- --------------------------------------------------------

--
-- Structure de la table `document_vide`
--

CREATE TABLE `document_vide` (
  `id` tinyint(4) NOT NULL,
  `titre` varchar(255) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `document_vide`
--

INSERT INTO `document_vide` (`id`, `titre`) VALUES
(1, 'Image vide horizontale'),
(2, 'Image vide verticale');

-- --------------------------------------------------------

--
-- Structure de la table `grille`
--

CREATE TABLE `grille` (
  `id` tinyint(4) NOT NULL,
  `titre` varchar(10) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `grille`
--

INSERT INTO `grille` (`id`, `titre`) VALUES
(1, '100'),
(2, '50'),
(3, '25'),
(4, '33');

-- --------------------------------------------------------

--
-- Structure de la table `logo`
--

CREATE TABLE `logo` (
  `id` int(11) NOT NULL,
  `visuel` varchar(255) COLLATE latin1_german1_ci NOT NULL,
  `position` int(11) NOT NULL,
  `online` tinyint(4) NOT NULL
) ENGINE=MyISAM DEFAULT CHARSET=latin1 COLLATE=latin1_german1_ci;

--
-- Déchargement des données de la table `logo`
--

INSERT INTO `logo` (`id`, `visuel`, `position`, `online`) VALUES
(10, '20171116031145_LOGO_1.svg', 2, 1),
(21, '20171116021122_LOGO_4.svg', 4, 1),
(11, '20171116031158_LOGO_3.svg', 3, 1),
(35, '20171116021125_LOGO_10.svg', 14, 1),
(16, '20171116021140_LOGO_7.svg', 5, 1),
(20, '20171116021148_LOGO_2.svg', 1, 1),
(36, '20171116021101_LOGO_6.svg', 13, 1),
(37, '20171116021143_LOGO_13.svg', 15, 1),
(32, '20171116021109_LOGO_11.svg', 10, 1),
(29, '20171116021156_LOGO_9.svg', 9, 1),
(33, '20171116021129_LOGO_8.svg', 11, 1),
(34, '20171116021146_LOGO_5.svg', 12, 1),
(38, '20171116021155_LOGO_12.svg', 16, 1);

-- --------------------------------------------------------

--
-- Structure de la table `newsletter`
--

CREATE TABLE `newsletter` (
  `id` int(11) NOT NULL,
  `id_categorie` tinyint(4) NOT NULL,
  `email` varchar(255) NOT NULL,
  `date_creation` date NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `newsletter`
--

INSERT INTO `newsletter` (`id`, `id_categorie`, `email`, `date_creation`) VALUES
(1, 1, 'salaun@onoci.net', '2016-09-13'),
(2, 1, 'salaun2@onoci.net', '2016-09-13');

-- --------------------------------------------------------

--
-- Structure de la table `parametre`
--

CREATE TABLE `parametre` (
  `id` tinyint(4) NOT NULL,
  `couleur_fond` varchar(6) NOT NULL,
  `couleur_texte` varchar(6) NOT NULL,
  `couleur_menu` varchar(6) NOT NULL,
  `couleur_lien` varchar(6) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `description` text NOT NULL,
  `about_1` text NOT NULL,
  `about_2` text NOT NULL,
  `about_3` text NOT NULL,
  `adresse` text NOT NULL,
  `email` varchar(255) NOT NULL,
  `facebook` varchar(255) NOT NULL,
  `instagram` text NOT NULL,
  `newsletter_1` text NOT NULL,
  `newsletter_2` text NOT NULL,
  `shop_email` varchar(255) NOT NULL,
  `shop_email_commande` text NOT NULL,
  `shop_email_envoi` text NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `parametre`
--

INSERT INTO `parametre` (`id`, `couleur_fond`, `couleur_texte`, `couleur_menu`, `couleur_lien`, `titre`, `description`, `about_1`, `about_2`, `about_3`, `adresse`, `email`, `facebook`, `instagram`, `newsletter_1`, `newsletter_2`, `shop_email`, `shop_email_commande`, `shop_email_envoi`) VALUES
(1, 'ffffff', '', '', '', 'Yorgo&Co', 'Yorgo&Co is a multi-disciplinary design studio based in Paris, led by Yorgo Tloupas, award-winning designer, co-founder of Intersection Magazine and Black Crows skis.', '<p>&nbsp;</p>\r\n\r\n<p><strong style=\"line-height: 1.6em;\">Yorgo&amp;Co</strong><span style=\"line-height: 1.6em;\"> is a multi-disciplinary&nbsp;design studio&nbsp;based in Paris, led by&nbsp;</span><span style=\"line-height: 20.8px;\">Yorgo Tloupas.</span></p>\r\n\r\n<p>Our team of designers and typographers - Sophie Hanoun,&nbsp;Emmanuelle Lubaki, Martin Pasquier,&nbsp;Alexandre Pommier, &nbsp;Alexis Tse and Dany Wang - works together with Emmanuelle Beaudet,&nbsp;studio director&nbsp;and our&nbsp;archivist Valeria Fiorentini.</p>\r\n', '<p><strong>Yorgo Tloupas</strong>, award-winning designer, started his career with the sale of his final art school diploma in 1996&nbsp;: a logo and a range of snowboards for Rossignol, his sponsor at the time.</p>\r\n\r\n<p>Since then, he has been working on branding and logo design&nbsp;and&nbsp;internationally as a renowned art director for a large number of magazines. &nbsp;</p>\r\n\r\n<p>Involved in the launch of Black Crows skis in 2006,&nbsp;&nbsp;he has been driving the brand&rsquo;s identity since then, whilst being active in the company&rsquo;s growth as a shareholder.</p>\r\n\r\n<p>He teaches at Penninghen in Paris and at ECAL in Lausanne&nbsp;and has given speeches and hosted workshops worldwide.</p>\r\n\r\n<p>The Black Crows 2017-2018&nbsp;ski&nbsp;line is part of the permanent collection of the Mus&eacute;e des Arts D&eacute;coratifs in Paris.</p>\r\n', '<p>&nbsp;</p>\r\n\r\n<p><span style=\"line-height: 1.6em;\"><strong>Credits.&nbsp;</strong>Photography by </span><a href=\"http://www.najarvasquez.com\" style=\"line-height: 1.6em;\" target=\"_blank\">Louis David Najar</a><span style=\"line-height: 1.6em;\">, </span><a href=\"http://www.pierremahieu.com/\" style=\"line-height: 1.6em;\" target=\"_blank\">Pierre Mahieu</a><span style=\"line-height: 1.6em;\">, </span><a href=\"http://raphaelpazoumian.com\" style=\"line-height: 1.6em;\" target=\"_blank\">Rapha&euml;l Pazoumian</a><span style=\"line-height: 1.6em;\">, </span><a href=\"http://www.christoffer.co\" style=\"line-height: 1.6em;\" target=\"_blank\">Christoffer Rudquist</a>,<span style=\"line-height: 1.6em;\">&nbsp;</span><a href=\"http://www.johnshort.com/\" style=\"line-height: 1.6em;\" target=\"_blank\">John Short</a>&nbsp;and Emmanuelle Lubaki.&nbsp;<span style=\"line-height: 1.6em;\">Development by </span><a href=\"http://www.onoci.net\" style=\"line-height: 1.6em;\" target=\"_blank\">Christophe Sala&uuml;n</a></p>\r\n', '<p><strong>Yorgo&amp;Co</strong><br />\r\n44 bis rue Lucien Sampaix<br />\r\n75010 Paris, France<br />\r\nt: +33(0)1 40 38 81 85</p>\r\n', 'contact@yorgo.co', 'Yorgo&Co', '<p><a href=\"https://www.instagram.com/yorgoandco/?hl=en\">@yorgotloupas </a><br />\r\n<a href=\"https://www.instagram.com/explore/tags/yorgoandco/\">#yorgoandco</a></p>\r\n', 'Yes, I&rsquo;m a curious, refined, and cultured person, I really want to subscribe to the newsletter.', 'No thanks, I&rsquo;m close-minded.', 'commande@yorgo.co', 'Bonjour [PRENOM] [NOM],\r\n\r\nNous avons bien reçu votre commande et nous vous en remerçions.\r\nUn e-mail vous informera de son envoi.\r\n\r\nRécapitulatif de votre commande :\r\n\r\n[COMMANDE]\r\n\r\nyorgo.co', 'Bonjour [PRENOM] [NOM],\r\n\r\nVotre commande vient d&rsquo;être envoyée.\r\nVous pouvez suivre sa progression à cette adresse :\r\n[TRACAGE]\r\n\r\nyorgo.co');

-- --------------------------------------------------------

--
-- Structure de la table `presse`
--

CREATE TABLE `presse` (
  `id` int(11) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `document` varchar(255) NOT NULL,
  `lien` varchar(255) NOT NULL,
  `position` int(11) NOT NULL,
  `online` tinyint(4) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `presse`
--

INSERT INTO `presse` (`id`, `titre`, `document`, `lien`, `position`, `online`) VALUES
(2, 'Apartamento, Spain, 2008', '20150609110645_2008_apartamento_issue02_spain.pdf', '', 6, 1),
(3, 'Les Cahiers du MNAM, France, 2009', '20150609110631_2009_automne_les_cahiers_du_musee_national_d_art_moderne_france.pdf', '', 5, 1),
(4, '+81 Magazine, Japan, 2009', '20150609110641_2009_plus81_Magazine_japan.pdf', '', 4, 1),
(5, 'Le Club des DA, France, 2010', '20150609110604_2010_clubdesda_france.pdf', '', 3, 1),
(6, '12Mail, France, 2011', '20150609110628_2011_avril_12mail_france.pdf', '', 2, 1),
(7, 'Dapper Dan, UK, 2011', '20150609110623_2011_dapperdan_uk.pdf', '', 1, 1),
(8, 'Technikart, France, 2011', '20150609110656_2011_decembre_technikart_france.pdf', '', 7, 1),
(9, 'Code d&rsquo;Accès, France, 2011', '20150609110633_2011_hiver_code_d_acces_france.pdf', '', 8, 1),
(10, 'Moodcyclopedia, France, 2011', '20150609110620_2011_moodcyclopedia_uk.pdf', '', 9, 1),
(11, 'Zeit Magazine, Germany, 2011', '20150609110615_2011_octobre_zeit_magazin_germany.pdf', '', 10, 1),
(12, 'Une Saison Graphique, France, 2011', '20150609110649_2011_unesaisongraphique_france.pdf', '', 11, 1),
(13, 'Brutus, Japan, 2012', '20150609110652_2012_brutus_japan.pdf', '', 12, 1),
(14, 'Frank, USA, 2012', '20150609110616_2012_frank_usa.pdf', '', 13, 1),
(15, 'Le Colette n°10, France, 2012', '20150609110632_2012_mars_le_colette_n10_france.pdf', '', 14, 1),
(16, 'A propos, France, 2012', '20150609110625_2012_septembre_a_propos_france.pdf', '', 15, 1),
(17, 'Le Club des DA, France, 2013', '20150609110646_2013_clubdesda_france.pdf', '', 16, 1),
(18, 'Steel, France, 2013', '20150609110649_2013_printemps_ete_steel_france.pdf', '', 17, 1),
(19, 'The 10 Influential Creators for Magazine Design, Japan, 2007', '20150617020642_2007_THE_10_INF_CREATORS_12_JPN.pdf', '', 18, 1),
(20, 'CB News, France, 2014', '20150617020628_2014_avr_CB_NEWS_FR.pdf', '', 19, 1),
(21, 'Slanted 25, Germany, 2015', '20150617020607_2015_slanted_germany.pdf', '', 20, 1),
(22, 'Graphisme en France, France, 2015', '20150617020608_2015_graphisme_en_france_france.pdf', '', 21, 1),
(23, 'Étapes, France, 2014', '20150617020621_2014_octobre_etapes_france.pdf', '', 22, 1),
(25, 'Kiblind, France, 2014', '20150617030653_2014_kiblind_france.pdf', '', 24, 1),
(26, 'Ernest, France, 2014', '20150617030612_2014_ernest_france.pdf', '', 25, 1),
(27, 'Sport & Style, France, 2013', '20150617030619_2013_octobre_sport_et_style_france.pdf', '', 26, 1),
(28, 'Logobook, France, 2013', '20150617030602_2013_logobook_france.pdf', '', 27, 1),
(30, 'The Brooks Bugle, UK, 2009', '20150617030645_2009_the_brooks_bugle_uk.pdf', '', 29, 1),
(31, 'Grafik, UK, september 2007', '20150617030609_2007_sept_grafik_uk.pdf', '', 30, 1),
(32, 'Archistorm, France, 2009', '20150617030613_2009_sept_oct_archistorm_france.pdf', '', 31, 1),
(33, 'Luxuriant, Luxembourg, 2009', '20150617030640_2009_luxuriant_luxembourg.pdf', '', 32, 1),
(34, 'Grafik, UK, april 2007', '20150617030644_2007_avril_grafik_uk.pdf', '', 33, 1),
(35, 'Printwork, Japan, 2007', '', '', 34, 1),
(36, 'Freestyler, France, 2007', '20150617030622_2007_jan_freestyler_france.pdf', '', 35, 1),
(37, 'Eye, UK, 2000', '20150617030623_2000_eye_UK.pdf', '', 36, 1),
(38, 'Max, France, 2005', '20150617030619_2005_sept_MAX_FR.pdf', '', 37, 1),
(39, 'festival International de Diseno y Communicatión, Buenos Aires, Argentina, 2000', '20150617030610_2000_sept_FESTOVAL_BUENOS_AIRES_ARG.pdf', '', 38, 1),
(40, 'Fixè, France, 2009', '20150617030604_2009_sept_FIXE_FR.pdf', '', 39, 1),
(41, 'Werk, Japan, 2007', '20150617030623_2007_WERK_JPN.pdf', '', 40, 1),
(42, 'The Good Life, UK, 2013', '20150617030619_2013_oct_the_good_life_UK.pdf', '', 41, 1),
(43, '+81 Magazine, Japan, 2008', '20150617040640_2008_plus_81_JPN.pdf', '', 42, 1),
(44, 'Bulldozer, France, 2000', '20150617040643_2000_Bulldozer_France.pdf', '', 43, 1),
(45, 'Beikoku Ongaku, Japan, 2000', '20150617040620_2000_BEIKOKU_Japan.pdf', '', 44, 1),
(46, '+81 Magazine, Japan, 1999', '20150617040635_1999_PLUS_81_Japan.pdf', '', 45, 1),
(47, 'Sleazenation, UK, 1999', '20150617040615_1999_SLEAZENATION_UK.pdf', '', 46, 1),
(48, 'Shoes Up, France, 2009', '20150617040606_2009_mars_SHOES_UP_FR.pdf', '', 47, 1),
(49, 'Magazine Design, UK, 1999', '20150617040636_1999_MAGAZINE_DESIGN_UK.pdf', '', 48, 1),
(50, 'Sugar, France, january 2006', '20150617040628_2006_jan_SUGAR_FR.pdf', '', 49, 1),
(51, 'Beach Brothers, France,  2006', '20150619100600_2006_mars_BEACH_BROTHERS_FR.pdf', '', 50, 1),
(52, 'Wooly, Japan, 2000', '20150617040624_2000_WOOLY_JPN.pdf', '', 51, 1),
(53, 'Grafik, UK, 2000', '20150617040605_2000_grafik_UK.pdf', '', 52, 1),
(54, 'En-vie, UK, 2000', '20150617040659_2000_EN_VIE_France.pdf', '', 53, 1),
(55, 'To Bima, Greece, 2008', '20150619110630_2008_to_bima_Greece.pdf', '', 54, 1),
(56, 'Io Donna, 2009, Italy', '20150619120628_DON_146_147.pdf', '', 55, 1),
(57, 'Creative Review, UK, august 2005', '20150630040652_2005_august_CREATIVE_REVIEW_UK.pdf', '', 56, 1),
(59, 'Wallpaper, UK, 2015', '20150723010753_2015_aug_WALLPAPER_UK.pdf', '', 58, 1),
(60, 'Air France Madame, France, 2016', '20160201110255_2016_fevrier_madame_air_france_france.pdf', '', 59, 1),
(61, 'Apartamento, Spain, 2016', '20160331120308_2016_APARTAMENTO_issue16_uk.pdf', '', 60, 1),
(62, 'O/Nouvel Obs, France, 2016', '20180125030149_2016_fevrier_O_france.pdf', '', 61, 1),
(63, 'Étapes, France, 2016', '20160331120354_2016_mars_avril_ETAPES_france.pdf', '', 62, 1),
(64, 'Drivethru, Japan, 2016', '20161110031141_DRIVETHRU_Online_Motor_Magazine.pdf', '', 63, 1),
(65, 'BMW magazine, 2015', '20170210040205_E_Aquilibre_et_mouvement_sur_la_route_avec_Yorgo_Tloupas_BMW_Magazine.pdf', '', 64, 1),
(66, 'Pen with New Attitude n° 438, Japan,  2017', '20171004061032_2017_10_PEN_JAPAN.pdf', '', 65, 1),
(68, 'aaaa', '', 'aaaaa', 66, 0);

-- --------------------------------------------------------

--
-- Structure de la table `produit`
--

CREATE TABLE `produit` (
  `id` int(11) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `info` text NOT NULL,
  `description` text NOT NULL,
  `prix` float(10,2) NOT NULL,
  `stock` int(11) NOT NULL,
  `alias` varchar(255) NOT NULL,
  `ordre` tinyint(4) NOT NULL,
  `online` tinyint(4) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

-- --------------------------------------------------------

--
-- Structure de la table `site_language`
--

CREATE TABLE `site_language` (
  `id` tinyint(4) NOT NULL,
  `titre` varchar(5) NOT NULL,
  `online` tinyint(4) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `site_language`
--

INSERT INTO `site_language` (`id`, `titre`, `online`) VALUES
(1, 'fr', 1),
(2, 'en', 1);

-- --------------------------------------------------------

--
-- Structure de la table `traduction`
--

CREATE TABLE `traduction` (
  `id` int(11) NOT NULL,
  `titre_1` text NOT NULL,
  `titre_2` text NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `traduction`
--

INSERT INTO `traduction` (`id`, `titre_1`, `titre_2`) VALUES
(1, 'au', 'to'),
(2, 'OEUVRES', 'OEUVRES'),
(3, 'EXPOSITIONS', 'EXHIBITIONS'),
(4, 'TEXTE', 'TEXT'),
(5, 'PRESSE', 'PRESS'),
(6, 'PDF', 'PDF'),
(7, 'BIOGRAPHIE', 'BIOGRAPHY'),
(8, 'CONTACT', 'CONTACT'),
(9, 'Biographie en pdf', 'Biographie en pdf'),
(10, 'Tous les articles en pdf', ''),
(11, 'Est représentée par la', 'Est repr�sent�e par la');

-- --------------------------------------------------------

--
-- Structure de la table `travaux`
--

CREATE TABLE `travaux` (
  `id` int(11) NOT NULL,
  `id_client` int(11) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `description` text NOT NULL,
  `annee` int(11) NOT NULL,
  `online` tinyint(4) NOT NULL,
  `alias` varchar(255) NOT NULL,
  `onlyclient` tinyint(4) NOT NULL,
  `alsoclient` tinyint(4) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux`
--

INSERT INTO `travaux` (`id`, `id_client`, `titre`, `description`, `annee`, `online`, `alias`, `onlyclient`, `alsoclient`) VALUES
(2, 2, 'illusion installation', '<p>Absolut Vodka, to celebrate the launch of their Illusion bottle, asked us to create a window installation at colette, Paris. We created a mechanical structure that endlessly looped, playing with the two-sided construction of the bottle, and with a now-you-see-now-you-don&#39;t custom logo.</p>\r\n', 2011, 1, 'illusion-installation-2', 0, 1),
(3, 2, 'the Yorgo mobile bar ', '<p>We designed a mobile bar structure to be used at art &amp; luxury events. The display is made of four layers of perforated metal which only allow the logo to be readable from straight ahead. Drunkeness has a strong potential to hinder one&rsquo;s ability to read the letters.</p>\r\n', 2011, 1, 'the-yorgo-mobile-bar-3', 0, 1),
(4, 2, 'limited edition t-shirt', '<p>For the staff t-shirt of Absolut Vodka events, we carefully dropped hundreds of vodka droplets on a water-resistant logo, and made sure that none of them touched another before we shot the result. Call us for more technical details.</p>\r\n', 2011, 1, 'limited-edition-t-shirt-4', 0, 1),
(5, 2, 'club display case', '<p>Following our design of a full-scale mobile bar unit, we created a smaller version for clubs, with a back-lit panel and the same optical play, only allowing the logo to be read from straight ahead.</p>\r\n', 2011, 1, 'club-display-case-5', 0, 1),
(6, 3, 'visual identity', '<p>For the launch of this Japanese chain of concept stores, we designed a simple and geometric identity that has become alive both in the stores, designed by Wonderwall, and on the clothes, designed by Ramdane Touhami.</p>\r\n', 2000, 1, 'visual-identity-6', 0, 0),
(7, 4, 'greeting card', '<p>Making the most of ArjoWiggins&#39; paper-making knowledge and ressources, we created a world map of ocean currents, only visible when backlit, with iridescent ink to link the design even closer to banknote printing technology.</p>\r\n', 2004, 1, 'greeting-card-7', 0, 0),
(8, 5, 'visual identity', '<p>When the contemporary art production company APC+AIA decided to become Arter, they needed a new identity. We kept the A, kept the + sign, and created a symbol that expressed the teamwork mathematical logic,&nbsp;and pyramidal structure necessary in that competitive field.</p>\r\n', 0, 1, 'visual-identity-8', 0, 0),
(9, 6, 'sleeve design', '<p>Using the most basic of plastic CD sleeves, we created a multi-layer reading system that played with the insertion of the CD amidst the typpography.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 1999, 1, 'sleeve-design-9', 0, 0),
(10, 7, 'logo design', '<p>For our 2010 French Championship winning team, we designed a symbol made of small polo balls, with a wheel axle nut as the all-seeing eye, and 3 sides, one for each player.</p>\r\n', 0, 1, 'logo-design-10', 0, 0),
(12, 10, 'Bjork - alarm call', '<p>Bjork&#39;s Alarm Call single needed a minimal yet unique type treatment, and we created an alphabet with technological roots but a few curvaceous accidents.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 1997, 1, 'bjork-alarm-call-12', 0, 1),
(13, 10, 'Femi Kuti', '<p>For Fela Kuti&#39;s equally talented son Femi, the aim was to have a design as far as possible from the usual AfroBeat visual language.</p>\r\n', 0, 1, 'femi-kuti-13', 0, 1),
(14, 10, '2000-1 ', '<p>For this annual package of 3 CDs highlighting the best of the label&#39;s year, Yorgo Tloupas photographed early dawn cityscapes in medium format, then we combined the shots in the most minimal design possible.</p>\r\n', 2000, 1, '2000-1-14', 1, 1),
(15, 11, 'Boy Ge Mendes', '<p>For Cap-Verdian musician Boy Ge Mendes, we returned to the drawing board and hand-painted all the album and singles&#39; typography.</p>\r\n', 1998, 1, 'boy-ge-mendes-15', 0, 0),
(16, 10, 'greeting card', '<p>A new year card in the form of a poster, with an enigmatic set of lines, which, once unfolded, reveal the year to come.</p>\r\n', 1999, 1, 'greeting-card-16', 0, 1),
(17, 12, 'limited edition tees', '<p>A limited edition T-shirt commissioned by Andr&eacute;, on sale exclusively at the Palais de Tokyo, spelling discreetly our favorite french word, BOF.</p>\r\n', 0, 1, 'limited-edition-tees-17', 0, 0),
(28, 13, 'music festivals', '<p>Over the years, Black Crows&rsquo; annual music festival has changed names and formats, but kept a direct link with the brand&rsquo;s visual DNA.</p>\r\n', 0, 1, 'music-festivals-28', 0, 1),
(33, 14, 'Cartier Sans-serif', '<p>Based on an archive picture of a 1905 Cartier delivery truck in New York, the Cartier Sans Serif typeface is both a homage to the history of the brand and a modern take on Cartier&rsquo;s typographic heritage.</p>\r\n', 0, 1, 'cartier-sans-serif-33', 0, 0),
(34, 15, 'visual Identity', '<p>The Lemaire Sans typeface was designed to accompany the existing cloverleaf symbol. The identity we designed has been applied to garnments and stationery, with hand-painted variants on the flagship store in Paris.</p>\r\n', 2012, 1, 'visual-identity-34', 0, 0),
(35, 16, 'Citizens! ', '<p>When Kitsun&eacute; approached us to help them launch a new British band, we met with the members of Citizens! in London, and worked together to create an identity based on a simple typographic logo, and a repeating pattern made of rotating Ns and Zs. That pattern has since been built in many different structures and printed on a variety of products.</p>\r\n', 0, 1, 'citizens--35', 0, 0),
(36, 17, 'restaurant identity', '<p>For the re-opening of Ciel De Paris, the 56th floor restaurant on top of Tour Montparnasse, with a new architecture by No&eacute; Duchaufour Lawrance, we created a logo and designed an exclusive typeface. The Ciel De Stencil is a Didot serif font that can be cut-out in any material thanks to its dotted hairlines.</p>\r\n', 2012, 1, 'restaurant-identity-36', 0, 0),
(38, 19, 'art drive-thru ', '<p>Colette invited us to create the identity for their pop-up shop at Art Basel Miami, in collaboration with the Alchemist store, based in the iconic Herzog and De Meuron car park. We only kept the two blue dots from colette&#39;s logo, and the heptagon from Alchemist&#39;s, and designed a festive, Americana-inspired identity, applied on and off-site.</p>\r\n', 2013, 1, 'art-drive-thru-38', 0, 1),
(39, 20, 'visual identity', '<p>When the french comitee of art galeries asked us to redesign their identity, we decided to completely abandon the previous logo, which was too colorful and complex to live alongside minimal art galeries&#39; logos. We created a morse-like symbol made of the repeated CPGA letters, a running stripe printed on grey paper. This sober and minimal identity was also applied to a new responsive design website, stickers to be displayed on galeries&#39; windows, and adverts in art magazines.</p>\r\n', 0, 1, 'visual-identity-39', 0, 0),
(40, 21, 'logo and magazine design', '<p>When, in 1998, Frank Perrin and Armelle Leturq launched Crash magazine, they asked us to design a logo and to set a visual identity for their new ground-breaking cultural publication. Over the next two years we were given complete creative freedom and we explored the many untouched realms of art direction at this crucial moment in art, fashion, design and music.</p>\r\n', 1998, 1, 'logo-and-magazine-design-40', 0, 0),
(46, 13, 'promotional displays', '<p>Black Crows&#39; products call for unique in-store displays, and we&#39;ve built automated and static installations, for one-off events as well as re-useable tools.</p>\r\n', 0, 1, 'promotional-displays-46', 0, 1),
(47, 24, 'Champion video', '<p>For the launch of their new fragrance, Champion, Davidoff asked us to find a theme that could be applied to the communication around this sport-oriented product. We analized the market and identified a realitvely unknown discipline, Tricking, a mix of martial arts, hip-hop, and gymnastics. We directed two videos, shot press pictures, and set the rules for a series of Tricking events worldwide.</p>\r\n', 0, 1, 'champion-video-47', 1, 0),
(48, 25, 'exhibition identity', '<p>For the opening of the Emporio Armani store in Saint Germain Des Pr&eacute;s in Paris, we were commissioned to create the invitations and catalog of the Rencontres exhibition. Annabelle d&#39;Huart showed for the first time her private pictures of life in New York City in the 1970s amongst the contemporary artists who defined that era. We decided to pay homage to the essence of black and white photography, by directly referencing the Ilford photo paper and its plastic folders.</p>\r\n', 2000, 1, 'exhibition-identity-48', 0, 0),
(50, 26, 'art direction & identity', '<p>When the clothing label Et Vous launched its second line EV, they asked us to create a more modern and sporty logo. To promote their first collection we produced two group shots, photographed by Markus Jans, and laid out in large folded posters.</p>\r\n', 0, 1, 'art-direction-identity-50', 0, 0),
(51, 27, 'limited edition sleeve', '<p>To promote weekend trips in the electronic music capital of Europe, Eurostar asked us to produce a complete package including a guide, CDs, and train tickets. The London bus-shaped folder contained a glow-in-the-dark sleeve, which itself contained the guide and CD.</p>\r\n', 0, 1, 'limited-edition-sleeve-51', 0, 0),
(54, 29, 'visual identity', '<p>The period before the opening of the new Art Foundation of the Galeries Lafayette needed an identity and a coherent language. We created a modular and shifting logo, a sans-serif typeface with Jean Fran&ccedil;ois Porchez, and a signage system based on the remains of the existing building.</p>\r\n', 2013, 1, 'visual-identity-54', 0, 1),
(57, 29, 'Bic pen', '<p>This ongoing collaboration with the artist Sa&acirc;dane Afif explores in multiple possibilites the iconing 4-color bic pen.&nbsp;</p>\r\n', 2013, 1, 'bic-pen-57', 0, 1),
(65, 31, 'Say Watt? exhibition', '<p>Before we started taking care of the visual commincation for La Ga&iuml;t&eacute; Lyrique, we were asked to do the poster for a one-off exhibition, and took visual inspiration in classic Sound System typography and posters.</p>\r\n', 2013, 0, 'say-watt-exhibition-65', 0, 1),
(72, 33, 'redesign and art direction', '<p>For the first redesign of its french Edition, GQ asked us to re-think what the magazine could be, and how it could create its own identity amongst all the other GQs. We designed a set of 3 typefaces, finalised by Anton Koovit and Yassin Baggar of Fatype, we created a wide set of section logos, and we set up a fully useable grid and structure to be used by the in-house team, led by Paul Chemetoff.</p>\r\n', 0, 1, 'redesign-and-art-direction-72', 0, 0),
(73, 34, 'VS packaging', '<p>For the christmas package of the Hennessy VS range, we redesigned and streamlined the boxes, creating a system that, once stacked together, turns into a giant brown and gold pattern, by simply turning one pack and leaving the next one straight.</p>\r\n', 0, 1, 'vs-packaging-73', 1, 0),
(74, 34, 'XO Mathusalem', '<p>To promote the new Mathusalem box designed by Arik Levy, we created a short film which highlights the clever opening system and highly luxurious construction of this limited edition. We also designed the logo and shot the promotional images with Philippe Lacombe.</p>\r\n', 0, 1, 'xo-mathusalem-74', 1, 0),
(75, 35, 'Hello line poster', '<p>When our friends from H5 organised a conceptual exhibition at La Gait&eacute; Lyrique, they asked a number of designers to imagine what a poster from their fictional company Hello could have looked like at different periods of the XXth century. We designed a transatlantic sea line poster, in the style of the 1920s mythical references that adorn every vintage-themed bar&#39;s walls.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 2012, 1, 'hello-line-poster-75', 0, 0),
(76, 36, 'Honda CR-Z mirror edition', '<p>For a limited edition body paint of the Honda CR-Z, we created a mirrored booklet, using the legendary American safety warning phrase.</p>\r\n', 0, 1, 'honda-cr-z-mirror-edition-76', 0, 1),
(77, 36, 'Honda CR-Z Intersection', '<p>For our first limited edition car, we teamed up with Honda to create a unique CR-Z. The exclusive beige was created with Bosh paints, and we teamed up with Eley Kishimoto to create a pattern for&nbsp;the car cover, the interior, the hostess&rsquo; outfits, the USB cassette and the invitations. We also designed and produced two set of wheels, which, when spinning, reveal an optical trick.</p>\r\n', 2011, 1, 'honda-cr-z-intersection-77', 0, 1),
(78, 36, 'Car Parc 1', '<p>When BMW asked us to launch the 1 Series in the UK, we gathered a group of creatives and asked each to produce one piece, for a car park exhibition in London. The shoe designer built stilletos from pistons, the jeweller built a candelaria from logos, each artist found a way to translate what the car meant to them. And of course the invitation was a pop-up ticket machine.</p>\r\n', 2004, 1, 'car-parc-1-78', 0, 1),
(79, 36, 'concept concours Milan', '<p>For the Milan Salone of 2005, with Dan Ross we teamed up with Maserati and organized an event showcasing 4 concept cars in a classic Italian venue. We partnered with fabric-maker Alcantara to design an invitation with the profile of each car cut-out of a different colored sheet of Alcantara.</p>\r\n', 2005, 1, 'concept-concours-milan-79', 0, 1),
(80, 36, 'business cards', '<p>When we launched Intersection, one of the first tools we had to promote the yet-to-exist magazine was a car or truck-shaped business card. 15 years later they still prove as popular, for kids and adults alike.</p>\r\n', 0, 1, 'business-cards-80', 1, 1),
(81, 36, 'Saab Intersection event', '<p>For our event in the Frank Gehry IAC building in New York city, we designed invitations that were a subtle reminder of the windows of that iconic West Side Highway building. Together with Dan Ross we produced a fashion shoot within the building, and hosted a party during the NY Auto Show.</p>\r\n', 2008, 1, 'saab-intersection-event-81', 0, 1),
(83, 79, '(in)Civic brand magazine', '<p>For the launch of the 8th generation Honda Civic in France, we created a brand magazine, found its name, produced the cover shoot and a fully exclusive content. (in)Civic was printed at 250.000 copies, and distributed both with Intersection magazine, L&#39;&eacute;quipe, and in dealerships nationwide.</p>\r\n', 2012, 1, '-in-civic-brand-magazine-83', 0, 0),
(84, 36, 'media kit ', '<p>For the 2001 launch of Intersection magazine with Dan Ross and Rankin, we created two objects with strong references to the automotive world. A media kit in the leather-looking plastic, reminiscent of drivers&#39; manuals, and a subscription card printed at the same facility that produces the parking tickets in the UK, in the same exact shape.</p>\r\n', 0, 1, 'media-kit-84', 0, 1),
(86, 36, 'magazine design & art direction', '<p>In 2001, frustrated by the lack of a car magazine that would reflect the large presence of vehicles in art, music, cinema, architecture and design, Yorgo Tloupas teamed up with Dan Ross and Rankin of Dazed&amp;Confused, and launched what is still today the only magazine treating cars through the cultural angle.</p>\r\n', 2001, 1, 'magazine-design-art-direction-86', 0, 1),
(89, 36, 'bags', '<p>Over the years we have designed many bags to carry our heavy magazines, using the visual codes of cars and car racing.</p>\r\n', 0, 1, 'bags-89', 1, 1),
(90, 36, 'car covers', '<p>We teamed up with Alfa Romeo to create a series of events worldwide, showcasing the Alfa Brera clad in Car Covers designed by leading fashion designers in each country. With Dan Ross we commissioned and produced car covers made by Maison Martin Margiela for Paris, Adam Kimmel for NYC, Bless for Berlin, Richard James for London, Ksubi for Sydney, and Visvim for Tokyo.</p>\r\n', 2008, 1, 'car-covers-90', 0, 1),
(91, 13, 'limited edition cars', '<p>Over the years, we&#39;ve applied the Black Crows identity on a variety of cars, playing with the chevron pattern&nbsp;as tire tread, and with windshields tinted as ski goggles.</p>\r\n', 2014, 1, 'limited-edition-cars-91', 0, 1),
(92, 37, 'visual identity', '<p>When Olivier Amsellem asked us to design the logo for his new concept store in Marseille, he let us play with the misleading name he had chosen: Jogging. Alas no running shoes are to be found inside, but we went for a sporty and light-hearted feel, with a J logo that could almost start a jog.</p>\r\n', 2015, 1, 'visual-identity-92', 0, 0),
(93, 38, 'F/W 2002 campaign', '<p>For Kenzo&#39;s F/W 2002 campaign, we shot with Luis Sanchis and decided to play with the natural light of the studio as much as we could, with a system of reflecting mirrors. Styling by Hector Castro.</p>\r\n', 2002, 1, 'f-w-2002-campaign-93', 0, 0),
(103, 39, 'visual identity', '<p>When parisian gallery owner Kamel Mennour opened&nbsp;his new venue, he asked us to design a completely new&nbsp;identity. We created a small icon made of a minimal K and M, leaving a white space in the counter-shape, and we designed a full set of communication tools, from invitations to catalogs to signage.</p>\r\n', 0, 1, 'visual-identity-103', 0, 1),
(115, 41, 'S/S 2009 invitation', '<p>For the spring/summer 2009 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create an invitation&nbsp;with an almost mechanical Op-Design effect. The rest of the communication tools followed the same dazzling graphic direction.</p>\r\n', 2009, 1, 's-s-2009-invitation-115', 0, 1),
(116, 41, 'F/W 2010-11 invitation', '<p>For the Fall-Winter 2010-11&nbsp;Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create folding and cut-out invitations, with a colour palette matching the clothes moodboard. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2010, 1, 'f-w-2010-11-invitation-116', 1, 1),
(118, 41, 'S/S 2010 invitation', '<p>For the Spring-Summer 2010 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which swimming pools as a principal reference, and we decided to create inviations made of transparent blue plastic, projecting summery shadows on the surfaces below. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2010, 1, 's-s-2010-invitation-118', 0, 1),
(119, 41, 'S/S 2011 invitation', '<p>For the Spring-Summer 2011 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create invitations and lookbooks in reference to Mondrian and De Stijl, with a folding system that progressively revealed the red tint.</p>\r\n', 2011, 1, 's-s-2011-invitation-119', 0, 1),
(120, 41, 'F/W 2009-10 invitation', '<p>For the Fall-Winter 2009-10 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create inviations made of thick black felt.</p>\r\n', 2011, 1, 'f-w-2009-10-invitation-120', 0, 1),
(121, 41, 'S/S 2008 invitation', '<p>For the Spring/Summer 2008 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which co&iuml;ncided with the brand&#39;s 75th anniversary, and we decided to create minimal and retro embossed, sealed with a special wax stamp. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2008, 1, 's-s-2008-invitation-121', 0, 1),
(122, 41, 'F/W 2007-08 invitation', '<p>For the Fall-Winter 2007-08 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which had a wintery fireplace atmosphere to it, and we decided to create invitations made of thick wood and cut-out card, with burned engraved lettering on the wood. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2007, 1, 'f-w-2007-08-invitation-122', 0, 1),
(123, 41, 'S/S 2007 invitation', '<p>For the Spring/Summer 2007 show, head designer Christophe Lemaire briefed us on the mood of the upcoming collection, which had nautical culture as a principal reference, and we designed an invitation&nbsp;made of thick transparent engraved plastic, reminiscent of navigation tools. Paired with maritime maps and symbols, the season&#39;s identity floated along.</p>\r\n', 2007, 1, 's-s-2007-invitation-123', 0, 1),
(124, 41, 'Campanas invitation', '<p>For the collaboration between maverick Brazilian product designers The Campanas Brothers and Lacoste, we were asked to find an ecological way to produce the invitations for the launch. We therefore creted a single large rubber stamp, which got applied on recycled cardboard, over and over again.</p>\r\n', 2009, 1, 'campanas-invitation-124', 0, 1),
(127, 41, 'L!VE logo design', '<p>We designed the Lacoste L!VE logo for what has today become their main secondary line. A comprehensive visual identity guidelines book was produced to allow that logo to live and expand worldwide.</p>\r\n', 0, 1, 'l-ve-logo-design-127', 0, 1),
(129, 41, 'L1212 invitation', '<p>For the launch of the L.12.12 project we created a small laquered metal invitation, with a magnetic rubber crocodile.</p>\r\n\r\n<p> </p>\r\n', 2012, 1, 'l1212-invitation-129', 0, 1),
(132, 41, 'Li XIao Feng limited edition', '<p>For their yearly polo collaboration, Lacoste chose the Chinese artist Li Xiao Feng, who applied his broken vase technique to the print of a polo. We created a unique logo and identity, and found ways to package the exclusive polo that matched the desires and inspirations of the artist.</p>\r\n', 2010, 1, 'li-xiao-feng-limited-edition-132', 0, 1),
(134, 41, 'print patterns', '<p>Over the years we designed a few t-shirt prints for Lacoste, based on the crocodile for some, and with a repetitive pattern for some, based on the shape of a tennis court.</p>\r\n', 0, 1, 'print-patterns-134', 0, 1),
(135, 41, 'Citroën/Lacoste concept car', '<p>We worked with the designer Christophe Pillet and the Citro&euml;n design team, and helped them produce the first Cactus concept car, a precusrsor to what is today the best-looking french production car. We also designed the invitations for the launch, made out of white seatbelt material. The car was then shot for Intersection magazine by Gregoire Alexandre.</p>\r\n', 2010, 1, 'citro-n-lacoste-concept-car-135', 0, 1),
(136, 41, 'Lab L!VE products', '<p>For this collaboration with the product designer Christophe Pillet, we applied the L!VE visual codes to a series of sporting objects, and coordinated in detail the manufacturing of the skateboard and snowboard as we had experience and contacts with these two industries.</p>\r\n', 2011, 1, 'lab-l-ve-products-136', 0, 1),
(137, 41, 'F/W 2008-09 invitation', '<p>For the Fall-Winter 2008-09 show, head designer Christophe Lemaire briefed us on the mood of the upcoming collection, with vintage skiing as one of the references, and we decided to create inviations and communication tools based on posters from that era. Yorgo Tloupas drew the illustrations, and we got a custom woolen pouch made at one of the Lacoste factories.</p>\r\n', 2008, 1, 'f-w-2008-09-invitation-137', 1, 1),
(138, 41, 'Assouline history book', '<p>For Lacoste&#39;s book on the history of the brand by Assouline, we were asked to find a solution for the cover. Our concept was simple: to re-create the multi-colored piles of Lacoste polos found in stores, with 5 different colors for the cover of the same book. On these monochromatic textured surfaces we applied an embroided crocodile in a recessed zone.</p>\r\n', 0, 1, 'assouline-history-book-138', 0, 1),
(144, 41, 'Lacoste Lab products', '<p>In collaboration with the designer Christophe Pillet, we set the visual language for this series of sporting objects for Lacoste. We developed with JP Stark a unique way of embossing the logo beneath the glossy surface of the surfboard, we collaborated with Black Crows to produce a subtle surface material for the skis, and we shot and laid out all the finalized products in a set of posters and catalogs.</p>\r\n', 0, 1, 'lacoste-lab-products-144', 0, 1),
(145, 43, 'visual identity', '<p>For the 2014 football world cup, a group of Parisian friends decided that we needed a hip and friendly venue to watch the games, and together we created Le Ballon. A bar, but also a Football Cup with its league, this project soon outlived the short weeks of the world cup and continues to grow.</p>\r\n', 2014, 1, 'visual-identity-145', 0, 0),
(146, 43, 'Le Ballon magazine', '<p>For the Le Ballon Bar, we decided to produce a menu in the shape of a newspaper, which also served as a guide for the 2014 Football World Cup.</p>\r\n', 2014, 1, 'le-ballon-magazine-146', 0, 0),
(149, 44, 'Louis Vuitton magazine design', '<p>For the launch of Louis Vuitton&rsquo;s first magazine, we were asked to art direct and define the visual identity of this luxury bi-annual. After extensive research in the brand&rsquo;s archives, we created with Production Type two families of typefaces inspired by material from the early XXth century. The magazine was designed with its 11 versions (in 9 different languages) in mind.</p>\r\n', 2014, 1, 'louis-vuitton-magazine-design-149', 0, 0),
(150, 45, 'Chanel mobile art', '<p>When Chanel decided to install the Zaha Hadid Mobile Art structure at the Institut du Monde Arabe in Paris, we were asked to find a solution to promote the event and exhibition. We designed the posters and communication elements, from the exhibition signage to the giant billboard on the building itself.</p>\r\n', 2011, 1, 'chanel-mobile-art-150', 1, 0),
(151, 46, 'Paris Pour Escale art book', '<p>For the Paris Pour Escale exhibition at the Mus&eacute;e d&#39;Art Moderne de la Ville de Paris, we decided that the wide variety of artists having made Paris their homebase called for a symbolic rendering of the shades of the sky of the capital, rendered in different gradients throughought the catalog.</p>\r\n', 2000, 1, 'paris-pour-escale-art-book-151', 0, 0),
(152, 47, 'Wallpaper* Handmade cognac flask', '<div class=\"_5pbx userContent\" data-ft=\"{\">\r\n<p>This flask we designed for the wallpaper* Handmade exhibition at The 2015 salone di Milano combines a few of Yorgo Tloupas&rsquo; interests : cycling, design, and drinking cognac. The top two-thirds contain water for the bike ride, and the bottom third contains Martell cognac, for the celebration. &quot;Apr&egrave;s l&rsquo;effort le r&eacute;confort&quot;, as we say in french.</p>\r\n</div>\r\n', 2015, 1, 'wallpaper-handmade-cognac-flask-152', 0, 1),
(153, 48, 'sketch albums', '<p>For our friend Mourad Mazouz and his multi-use London venue, Sketch, we created a CD and DVD pack with illustrations of his head by Yorgo Tloupas.</p>\r\n', 2005, 1, 'sketch-albums-153', 0, 0),
(156, 51, 'magazine redesign', '<p>In 2013 Magazine stopped being a free publication, and for the new formula we changed almost everything, pioneering a new cover system, with a removable sticker containing the logo and cover lines, hiding a crucial bit of the cover image. Today Magazine is still the leading publication on the industry.</p>\r\n', 2013, 1, 'magazine-redesign-156', 0, 1),
(157, 52, 'visual identity', '<p>When the designer No&eacute; Duchaufour Lawrance asked us to change his logo, we found in his work a curvaceous yet almost mathematical DNA. The N logo we designed for him is entirely made of straight lines, but with a subtle movement it becomes almost organic in its form.</p>\r\n', 2011, 1, 'visual-identity-157', 0, 0),
(158, 53, 'logo and visual identity', '<p>When Diesel&rsquo;s Renzo Rosso bought New York Industrie, he made clear to us that he wasn&rsquo;t overly fond of the name of that clothing label. To remedy to that unusal constraint, we decided to create a new logo that would be made of a repetition of the name, with a subtle gradient in the weight of the font.</p>\r\n', 0, 1, 'logo-and-visual-identity-158', 0, 0),
(159, 54, '20000st EP design', '<p>The extreme Op-design direction of this EP cover pushes the limits of readability, but is nonetheless a clear response to the artist&#39;s tastes and whishes. Not to be read in a dark nightclub.</p>\r\n', 0, 1, '20000st-ep-design-159', 0, 0),
(160, 55, 'logo design', '<p>Alexandre Thumerelle opened his art bookstore and magazine treasure trove in Paris at a time when few of these kind of venues could be found in the capital. We created an abstract symbol that has since become, when seen on a bag, a sign of avant-garde printed content.</p>\r\n', 0, 1, 'logo-design-160', 0, 0),
(161, 56, 'logo design', '<p>India d&#39;Urso&#39;s new bag brand needed a simple logo, that could live in extremely small sizes and on large surfaces equally. We decided to draw a few simple letters and to frame them in an almost nautical way.</p>\r\n', 0, 1, 'logo-design-161', 0, 0),
(162, 57, 'art festival identity', '<p>For the Printemps de Cahors, a contemporary art festival set in this ancient french city, Christine Macel, the curator, gave us the theme and title of the edition: Sensitive. Based on this we lightly deformed our line pattern with a discreet bump, as if a thumb had pushed through. All the communication was printed on fluorescent orange paper, suddenly giving a kick of color to the streets.</p>\r\n', 2000, 1, 'art-festival-identity-162', 0, 0),
(163, 58, 'Hideo Kobayashi E.P.', '<p>Hideo Kobayashi&#39;s RAW E.P. took form in a typographic-only treatment, and we played with levels of depth to highlight the hierarchy of information.</p>\r\n', 2000, 1, 'hideo-kobayashi-ep-163', 1, 0),
(164, 59, 'logo and type design', '<p>For the launch of his eponymous clothing brand, Ramdane Touhami asked us to design a discreet yet original logo, and we simply decided to create a unique typeface, in two weights, with strong A&#39;s, as the letter was to appear twice in the brand.</p>\r\n', 0, 1, 'logo-and-type-design-164', 0, 0),
(165, 60, 'logo & snowboards design', '<p>In 1996, Yorgo Tloupas was finishing his studies at ESAG Paris, and was at the same time competing in snowboard events, sponsored by Rossignol. When he told the marketing director, Jean-Carl Carpano, that he was planning for his diploma, to invent a snowboard brand called Orange (years before the mobile company took form), he was told instead to propose a new identity for Rossignol Snowboards. Diploma in hand, he took the project to the alps and Rossignol bought it.</p>\r\n', 1997, 1, 'logo-snowboards-design-165', 0, 0),
(169, 62, 'visual identity', '<p>When the team behind Parisian food truck Le R&eacute;fectoire started to expand into catering and permanent restaurants, they needed a new identity to support their growth. We drew a thin, one-block script logo that&rsquo;s ideal for neon signs. We developed a pop visual identity system using triangular flakes, accompanied by a contemporary typographical language&hellip; and enjoyed the best burgers in town.</p>\r\n', 2014, 1, 'visual-identity-169', 0, 0),
(170, 63, 'nail bar logo & communication', '<p>When Shu Uemura launched their Nail Bar in Paris, we were asked to create a logo that could work with the main brand, and to accompany it we designed a whole range of printed materials that evocated the layers of nail varnish.</p>\r\n', 2000, 1, 'nail-bar-logo-communication-170', 0, 0),
(171, 64, 'cd collection', '<p>The Sound Of Season is a collection of CDs extracting the best soundtracks from Paris Fashion Week&#39;s catwalk shows, with skits of soundbites from the live action. We designed a geometric shape that represented as simply as possible the catwalk and its entrance, seen from different angles on the front, side, back and disc. Each season the colors were based on the main tints used by the fashion industry.</p>\r\n', 2012, 1, 'cd-collection-171', 0, 0),
(172, 65, 'Next to you album art direction', '<p>For Stephane Malca&rsquo;s electronic music album Next To You, we were given a wide creative freedom since he did not want his face to appear on the artwork. We bought an LED sign display and took it around Paris, photographing it in various locations, its omnipresence echoing the title of the album.</p>\r\n', 1998, 1, 'next-to-you-album-art-direction-172', 1, 0),
(174, 66, 'logo design', '<p>When the legendary Parisian skateshop Street Machine asked us to redesign its logo, as lifelong skateboarders we did not hesitate a second. We fit a S and a M in the hexagonal shape of france, in a form that allowed the logo to be cut-out and extruded easily.</p>\r\n', 0, 1, 'logo-design-174', 0, 0),
(175, 36, 'Scirocco studios', '<p>For the launch of the new Scirocco, together with Dan Ross we suggested to VW to create a cross-country series of events and shows, where multiple artists and designers would create exclusives pieces. We customized cars, set up exhibitions, designed booklets and produced magazine supplements.</p>\r\n', 2008, 1, 'scirocco-studios-175', 0, 1),
(176, 68, 'album and singles', '<p>For the launch of The Upper Room, a Brighton-based band, we created a series of data visualisations of life in the UK, comparing on maps different and sometimes controversial statistics.</p>\r\n', 2006, 1, 'album-and-singles-176', 0, 0),
(177, 69, 'limited edition t-shirts', '<p>We were invited to take part in an invitational series featuring Parisian artists and designers, and created a set of t-shirts with an optical twist.</p>\r\n', 0, 1, 'limited-edition-t-shirts-177', 0, 0),
(178, 70, 'Veilhan Versailles identity & signage', '<p>When Xavier Veilhan was invited, a year after Jeff Koons, to invest the Chateau De Versilles for a large-scale exhibition, he asked us to design all the identity and signage for the event. Knowing that the vast majority of Versailles visitors would not know about the artist or about contemporary art, we decided to have highly visual signage and a unique inline typeface. We also designed a guide and map, to help the audience navigate the huge exhibition area.</p>\r\n', 2009, 1, 'veilhan-versailles-identity-signage-178', 0, 0),
(179, 71, 'Main Dans La Main credits', '<p>For Valerie Donzelli&#39;s 3rd feature film, we designed the opening and closing credits, with a specially designed typography and a dancing theme running through them.</p>\r\n', 2012, 1, 'main-dans-la-main-credits-179', 0, 0),
(180, 72, 'logo design', '<p>For Pascal Monfort&rsquo;s new band, we designed a simple logo with the V and A meant to be easily reproduced with hand language.</p>\r\n', 0, 1, 'logo-design-180', 1, 0),
(181, 73, 'magazine launch and art direction', '<p>To launch Vanity Fair in France, Cond&eacute; Nast asked Yorgo Tloupas to art direct and coordinate the edition. Working in secrecy for 18 months, we developed a family of custom typefaces with Production Type, and set the codes that now define this successful magazine. We also designed a discreet logo, the VFF lozange, branding all the side products of Vanity Fair France.</p>\r\n', 2013, 1, 'magazine-launch-and-art-direction-181', 0, 1),
(184, 75, 'magazine design and photography', '<p>At the height of the French Touch electronic music scene, the What&#39;s Up bar in Paris was a landmark venue, and we designed all the flyers for the events, plus the magazine with its monochromatic sleeve covers. Most of the photography in the mag was also shot by Yorgo Tloupas.</p>\r\n', 1998, 1, 'magazine-design-and-photography-184', 0, 0),
(185, 76, 'Paris launch performance', '<p>For the opening of the W hotel in Paris, Yorgo Tloupas was asked to do an installation on site. He decided to take over a corner, cover it with a special pattern made of Ys, and create a suit with the same pattern to disappear in the pictures with the guests.</p>\r\n', 0, 1, 'paris-launch-performance-185', 0, 0),
(186, 77, 'F/W 2001 invitation ', '<p>When Hedi Slimane first took the helm of Yves Saint Laurent, he asked us to design his show invitation. We created a simple-looking yet complex object. Twenty-five sheets of paper were printed in glossy black, including on their spines, then inserted in a embossed and varnished sleeve. The show soundtrack CD was produced by our office-sharing friend Alex Gopher, printed in two layers of gold, and inserted in a rectangular embossed folder.</p>\r\n', 2001, 1, 'f-w-2001-invitation-186', 0, 0),
(187, 77, 'variations ss/2000 lookbook', '<p>BROCHURE</p>\r\n', 2000, 0, 'variations-ss-2000-lookbook-187', 0, 0),
(191, 19, 'Little White Lies exhibition', '<p>Colette and Little White Lies magazine invited us to re-design an iconic movie poster. We went for one of the most iconic of all, Jaws, and with our own blood recreated the silhouette of the shark in hundreds of dots.</p>\r\n', 2012, 1, 'little-white-lies-exhibition-191', 0, 1),
(193, 78, 'party invitation', '<p>For Jean-Charles de Castelbajac&#39;s rue Madame store opening, we teamed up with Ramdane Touhami and organized a street party. The flyer was hence made of cut-out plastic ribbons, printed with JCDC&#39;s signature cross, and was an invitation to actually cross the line. The ribbon was also used to cordon off the area on the night of the event.</p>\r\n', 1999, 1, 'party-invitation-193', 0, 0),
(194, 39, 'Sigalit Landau artist edition', '<p>When the Israeli artist Sigalit Landau produced a series of 3 films with the Kamel Mennour gallery, we were asked to find a form that could contain these films, and could be produced in 5 copies. We produced circles of wood tied together by magnets, with the DVDs housed between felt sheets, all presented within a custom box with a booklet.</p>\r\n', 0, 1, 'sigalit-landau-artist-edition-194', 0, 1),
(195, 73, 'side products', '<p>During the long run-up to the launch of Vanity Fair France, on top of designing and art directing dummies, we produced a wide range of exclusive objects, sent to VIPs and contributors. We applied our custom VFF logo and our exclusive Vanit&eacute; typeface to all, sourcing collaborating brands and overseeing the&nbsp;coherence between all the objects.&nbsp;</p>\r\n', 2014, 1, 'side-products-195', 0, 1),
(196, 31, 'identity adaptation', '<p>We took care of the global visual communication of La Ga&iuml;t&eacute; Lyrique, an arts and music venue in Paris. We adapted the existing logo and typeface, and apllied a strict design code to all the communication tools.</p>\r\n', 2013, 1, 'identity-adaptation-196', 0, 1),
(198, 82, 'visual identity', '<p>For the identity of this media agency, linked to Le Ballon Football Club, we had to find a link to their dazzle patterns, and a sufficiently mysterious logo to retain their mysteriousness. An impossible perspective in the N is rendered even more puzzling by a moving grid.</p>\r\n', 2014, 1, 'visual-identity-198', 0, 0),
(199, 19, '18th birthday', '<p>For colette&#39;s 18th birthday, we created a logo based on their two blue dots. Applied on a window and in-store display, it has also taken shape on a limited edition Smart car. Skateboarders will be quick to spot a nod to an iconic brand of the 1990s.</p>\r\n', 2015, 1, '18th-birthday-199', 0, 1),
(201, 88, 'Next magazine redesign', '<p>When the legendary french newspaper Lib&eacute;ration asked us to help them redefine their media portfolio, we not only commissioned a large family of typefaces from Production Type, now used in the daily and the website, but we also fully redesigned the monthly Next supplement.</p>\r\n', 2015, 1, 'next-magazine-redesign-201', 0, 0),
(202, 80, 'logo design', '<p>For Utopia Cuir, a leather workshop in Paris, we designed a simple U, based on interwoven threads.</p>\r\n', 2014, 1, 'logo-design-202', 0, 0),
(204, 29, 'greeting card 2016', '<p>This personalized box includes various figurines set in a yellow box reminiscent of the elevator of the upcoming OMA building. Online, these figurines can explore the future floors of the art foundation.</p>\r\n', 2016, 1, 'greeting-card-2016-204', 0, 1),
(205, 90, 'Evoque sculpture', '<p>For the launch of the Range Rover Evoque in Paris, 4 creators were asked to work around a steel wireframe. Andr&eacute;, JCDC, and Jeremie Rozan were each assigned a central venue, and Yorgo was lucky enough to be located in front of Beaubourg. His electro-luminescent installation was re-created a few months later for Art Basel Miami Beach, in another landmark building,&nbsp;1111 Lincoln road.&nbsp;</p>\r\n', 0, 1, 'evoque-sculpture-205', 0, 0),
(207, 91, 'french inspiration magazine design', '<p>For the internation edition of Madame Figaro, we selected some of&nbsp;the existing tools of the legendary parisian magazine, from the typefaces to the visuals, and re-created a more streamlined and more minimal version, in a bigger format.</p>\r\n', 2015, 1, 'french-inspiration-magazine-design-207', 0, 0),
(208, 92, 'DVNO music video', '<p>Co-directed by&nbsp;Yorgo Tloupas&nbsp;and his friend So-Me, this video is an endless nod to the TV idents of the 80s and their classic logos.</p>\r\n', 2008, 1, 'dvno-music-video-208', 0, 0),
(209, 47, 'visual identity', '<p>When redesigning the identity of Martell, we explored&nbsp;the luxury cognac house&rsquo;s archives, bringing back details from 300 years of history. We drew a new swift, revived a&nbsp;timeless shield, created exclusive typefaces, and set the <span style=\"line-height: 20.8px;\">global corporate identity&nbsp;</span>brand guidelines.</p>\r\n', 2015, 1, 'visual-identity-209', 0, 1),
(210, 13, 'hardgoods', '<p>Ever since we created the Black Crows logo, based on a bird-like shape, we used that chevron and exclusively that chevron to design an ever-growing range of products: skis, poles, and bindings.</p>\r\n', 0, 1, 'hardgoods-210', 0, 1),
(211, 13, 'softgoods', '<p>The launch of the softgoods collection was an opportunity to apply the chevron-based identity to clothing, g<span class=\"s1\">iving a clear vision&nbsp;of what Black&nbsp;Crows clothes could look like&nbsp;to our stylists and&nbsp;production managers.</span></p>\r\n', 0, 1, 'softgoods-211', 0, 1),
(212, 13, 'print', '<p>The Black Crows identity has kept a clear direction from day one, with printed material a logical follow-up of the skis and clothes, using exclusively a custom modified helvetica bold, and of course a few chevrons along the line.</p>\r\n', 0, 1, 'print-212', 0, 1),
(213, 13, 'advertising', '<p>From day one, the Black Crows ad campaigns have avoided the classic shot of a skier in powder against a blue sky, exploring studio setups, animated gifs, and a mysterious gang of masked characters.</p>\r\n', 0, 1, 'advertising-213', 0, 1),
(214, 93, 'magazine & logo redesign', '<p>Psychologies, one of the best selling magazines in France, with editions worldwide, asked us for a subtle&nbsp;redesign, but we could not help but proposing a new logo altogether. The new visual system now lives monthly, and is adapted in all the worldwide editions.</p>\r\n', 2015, 1, 'magazine-logo-redesign-214', 0, 0),
(215, 9, 'logo design', '<p>To represent the association of the three founders of Disciplines, we interlaced 3 capital Ds to create a simple sign that can become a 3-dimentional tool when needed.</p>\r\n', 0, 1, 'logo-design-215', 0, 0),
(216, 95, 'visual identity', '<p>When the auction house Artcurial asked us to redesign their logo, we decided to keep their slanted A, but to translate that modern visual gimmick into a more classic language. We designed a custom typeface i<span style=\"line-height: 20.8px;\">n collaboration with Commercial Type,&nbsp;</span>we created an icon reminiscent of the rise of an auction, and we set the guidelines for a global brand identity.</p>\r\n', 0, 1, 'visual-identity-216', 0, 0),
(217, 96, 'Instants online & print magazine', '<p>Asked by Relais &amp; Ch&acirc;teaux to create their first online magazine, we created a flexible platform to express the wealth on offer in the world of the company. And&nbsp;we couldn&#39;t resist suggesting a printed version as well.&nbsp;</p>\r\n', 2016, 1, 'instants-online-print-magazine-217', 0, 0),
(218, 29, 'greeting card 2015', '<p><span style=\"line-height: 20.8px;\">This lenticular card is a reminder that the new foundation building is still in construction, expressed by a three-dimensional&nbsp;loading bar.</span></p>\r\n', 2015, 1, 'greeting-card-2015-218', 0, 1),
(219, 39, 'typography', '<p>10 years after we designed the logo and the typeface for Kamel Mennour, he asked us to redesign the font, to coincide with the opeing of two new galeries. This exclusive sans-serif contrasted family now works alongside the KM symbol, from signage to posters.</p>\r\n', 2016, 1, 'typography-219', 0, 1),
(220, 97, 'visual identity', '<p>When it came to designing our visual identity, we couldn&#39;t help but play with optical wizardry again, this time inventing and patenting an embossing technique that, combined with tightly spaced printed lines, reveals hidden designs.</p>\r\n', 2016, 1, 'visual-identity-220', 0, 1),
(221, 98, 'FW 1617', '<p>For its first ad campaign in 10 years, Loro Piana asked us to convey the level of excellence that makes them unique. Shot by Boo George, styled by Beat Bolliger, these images set a new tone for the brand. We created the Loro Piana Journal to expand this rare story.</p>\r\n', 2016, 1, 'fw-1617-221', 0, 1),
(222, 29, 'Anticipations book', '<p>The Anticipations book brings together all the work of The Lafayette Anticipation project, which we oversaw for the Art foundation of Galeries Lafayette. The artist Rapha&euml;l Hefti was invited to disrupt the printing process, resuting in 3000 unique covers.</p>\r\n', 2016, 1, 'anticipations-book-222', 0, 1),
(223, 29, 'faisons de l&rsquo;inconnu un allié', '<p>The invitation and signage for Faisons De L&#39;inconnu Un Alli&eacute; play with the codes of redacted documents, to hide and reveal informations through various plays around the Lafayette Sans typeface, which we developed with Jean-Fran&ccedil;ois Porchez.&nbsp;</p>\r\n', 2016, 1, 'faisons-de-l-inconnu-un-alli--223', 0, 1),
(224, 47, 'beauty shots', '<p>After re-shaping the global identity of Martell, we redefined the brand&#39;s photographic tone, shooting all the bottles with the same photographer, Pol Baril, and bringing back a more natural environment.</p>\r\n', 2016, 1, 'beauty-shots-224', 0, 1),
(225, 51, 'magazine design & art direction', '<p>In 1999, with Angelo Cirimele and Alexandre Thumerelle, we launched Magazine, a magazine about magazines. We set a strict cover structure and interior grid, which stayed the same each issue, but with a complete change of typeface. After art directing the first two years, we decided to let a different designer oversee each issue, with the rule of keeping the grid but changing the font.</p>\r\n', 1999, 1, 'magazine-design-art-direction-225', 0, 1),
(226, 19, 'Colette ski club', '', 2015, 1, 'colette-ski-club-226', 0, 1),
(227, 47, 'Martell tricentenaire', '<p>To celebrate its tricentenary, Martell asked us to create a temporary logo, which we designed with exactly 300 dots. The birthday bash took place in a discreet castle rented for the occasion: Versailles. We couldn&#39;t be happier when our logo got beamed on Louis The XIVth&#39;s home.</p>\r\n', 2015, 1, 'martell-tricentenaire-227', 0, 1),
(228, 19, '20 ans', '<p>To celebrate colette&#39;s 20th anniversary, we designed a logo made of 20 dots, cut-out in the invite and left in the envelope. The in-store design was reminiscent of The Beach , a multi-ball installation set up to host this unique birthday.</p>\r\n', 2017, 1, '20-ans-228', 0, 1),
(229, 99, 'visual identity', '<p>Nested within the Artcurial auction house&#39;s h&ocirc;tel particulier, Caff&egrave; Artcurial&#39;s identity was inspired by traditional Turinese signage, built with&nbsp;a custom-made typeface,&nbsp;and a variety of ways to write the restaurant&#39;s name. Curved, vertical, horizontal, le logo functions in widely different shapes and forms.</p>\r\n', 2016, 1, 'visual-identity-229', 0, 0),
(230, 97, 'publication issue one', '<p>To celebrate the launch of our website, we couldn&#39;t resist the urge to print something. Publication is our first publication, with a plastic mesh cover, a layout strictly identical to the website, and a paper as glossy as a screen. Oh and it&#39;s for sale, contact us if you want one.</p>\r\n', 2017, 1, 'publication-issue-one-230', 0, 1),
(231, 98, 'Loro Piana journal', '<p>When art directing Loro Piana&#39;s first campaign in decades, we suggested the creation of a brand magazine, and have been overseeing the contents of this luxurious publication since. With hand-cut paper, Loro Piana thread binding, and finely crafted&nbsp;content, The Loro Piana Journal is distributed to the best clients twice a year.</p>\r\n', 2016, 1, 'loro-piana-journal-231', 0, 1),
(232, 100, 'visual identity', '<p>Based in Chamonix, Legend CHX is a store dedicated to mountain sports that don&#39;t require lifts : ski touring, mountain bikes, and split snowboards. We redesigned their identity with a simple symbol showing the long ride up and the short ride dow, with a slogan to match.</p>\r\n', 2017, 1, 'visual-identity-232', 0, 0),
(233, 98, 'SS 17', '<p>For the second instalment of our Loro Piana campaigns, we took the same team - models, photographer, stylist - and extended the journey of wool, from high altitude to mediteranean shores.</p>\r\n', 2017, 1, 'ss-17-233', 0, 1),
(235, 101, 'Seamaster Aqua Terra man 2017', '<p>When Omega asked us to art direct the new Seamaster Aqua Terra campaign with Eddie Redmayne, we scripted a role for him, and for a day he became a solo sailor navigating the Balearic seas.&nbsp;Photographed and filmed by John Balsom, styled by Dan May, with a&nbsp;score composed by Daniel Pemberton.</p>\r\n', 2017, 1, 'seamaster-aqua-terra-man-2017-235', 0, 1),
(236, 102, 'bikepolo tournament Pitti Uomo 92', '', 2017, 1, 'bikepolo-tournament-pitti-uomo-92-236', 0, 0);
INSERT INTO `travaux` (`id`, `id_client`, `titre`, `description`, `annee`, `online`, `alias`, `onlyclient`, `alsoclient`) VALUES
(237, 103, 'visual identity', '<p>When we redesigned the logo for ADM, our agent of 20 years, we decided to spell out the full moniker in a pyramidal structure, evocative of the relationship between agent and talent - depending on who you ask... Each letter was custom-designed, with a variety of letter widths to manage the overal shape as best as possible.</p>\r\n', 2017, 1, 'visual-identity-237', 0, 0),
(238, 98, 'FW 1718', '<p>For the third instalment of our Loro Piana campaigns, we took the same team - models, photographer, stylist - and extended the journey of wool, climbing back to Alpine summits.</p>\r\n', 2017, 1, 'fw-1718-238', 0, 1),
(239, 104, 'FIAC 2017', '<p>To celebrate its presence during the&nbsp;Fiac art Fair both inside the Grand Palais, and in the Tuileries Garden, Patrick Seguin asked us to create an invitation with a nod to Jean Prouv&eacute;&#39;s iconic design. Embossed, cut and modular, it can also be used as a stand-alone decorative element.</p>\r\n', 2017, 1, 'fiac-2017-239', 0, 0),
(240, 101, 'Seamaster Aqua Terra woman 2017', '<p>When Omega asked us to art direct the Seamaster Aqua Terra campaign with Alessandra Ambrosio, we gave her the role of a seafaring explorer, swimming and sailing in the Balearic seas.&nbsp;Photographed and filmed by John Balsom, styled by Dan May, with a&nbsp;score composed by Daniel Pemberton.</p>\r\n', 2017, 1, 'seamaster-aqua-terra-woman-2017-240', 0, 1),
(241, 105, 'social media art direction', '<p>Doing all the Galeries Lafayette department store Instagram content means creating art direction guidelines, filming and editing interviews, covering Fashion Weeks, producing and shooting digital campaigns, and setting an editorial and content strategy.</p>\r\n', 2017, 1, 'social-media-art-direction-241', 0, 0),
(242, 13, 'videos', '', 0, 1, 'videos-242', 0, 1),
(244, 31, 'visual identity', '<p>After applying the existing Ga&icirc;t&eacute; Lyrique identity for 3 years, we were asked by the Parisian arts center to rethink their branding. Keeping the roundness, we created&nbsp;a multi-thickness&nbsp;&quot;g in G&quot; symbol, and&nbsp;our typographer Martin Pasquier designed a full font family.</p>\r\n', 2016, 1, 'visual-identity-244', 0, 1),
(245, 106, 'l&rsquo;Ecrin', '<p>This discreet Michelin-starred restaurant hidden in H&ocirc;tel de Crillon has a distinct identity, with a symbol based on a historical detail of the building, and a name written in our exclusive Crillon Sans Serif typeface.</p>\r\n', 2017, 1, 'l-ecrin-245', 0, 1),
(246, 106, 'les Ambassadeurs', '<p>The unique identity of this historical bar at the entrance of H&ocirc;tel de Crillon is inspired by the numerous treaties signed on its grounds by countless ambassadors and heads of state. Seven different signatures alternate above a name written in our exclusive Crillon Sans Serif typography.</p>\r\n', 2017, 1, 'les-ambassadeurs-246', 0, 1),
(247, 106, 'Jardin d&rsquo;Hiver', '<p>The lounge at the entrance of H&ocirc;tel de Crillon has its own identity, with a custom variant of our exclusive Crillon Serif typography</p>\r\n', 2017, 1, 'jardin-d-hiver-247', 0, 1),
(248, 106, 'Brasserie d&rsquo;Aumont', '<p>The main restaurant in H&ocirc;tel de Crillon has a distinct identity based on a symbol inspired by a historical crest of the d&rsquo;Aumont family. Its name is written in our two exclusive Crillon typefaces, as well as in a custom variant of the Crillon Serif.</p>\r\n', 2017, 1, 'brasserie-d-aumont-248', 0, 1),
(249, 106, 'le Boudoir', '<p>The smallest lounge in H&ocirc;tel de Crillon has its own identity, with its name written in a custom variant of our exclusive Crillon Serif typeface.</p>\r\n', 2017, 1, 'le-boudoir-249', 0, 1),
(250, 106, 'spa', '<p>The H&ocirc;tel de Crillon spa now enjoys a specific signage, with cut-out metal letters designed in our exclusive and unique typefaces, Crillon Sans Serif and Crillon Serif.</p>\r\n', 2017, 1, 'spa-250', 0, 1),
(251, 106, 'signage', '<p>We entirely designed the Crillon&rsquo;s identity, from the general signage to the logos of the various venues. We built everything around our two exclusive typefaces based on the hotel&rsquo;s archives. Custom variants of the Crillon Serif are used in the different suites and venues.</p>\r\n', 2017, 1, 'signage-251', 0, 1),
(252, 106, 'courtyards', '<p>The two courtyards of H&ocirc;tel de Crillon now each boast their own identity, with their names written in custom variants of our exclusive Crillon Serif typeface.</p>\r\n', 2017, 1, 'courtyards-252', 0, 1),
(253, 98, 'SS 18', '<p>Our fifth season of art direction for Loro Piana saw the return of the iconic Crista Cober as the face of the brand, with a new&nbsp;photographic direction by Lachlan Bailey, styling by Beat Bolliger, and video by Masha Vasyukova. The new issue of The Loro Piana Journal also included a meticulous photographic essay by Alfredo Piola.</p>\r\n', 2018, 1, 'ss-18-253', 0, 1),
(254, 107, 'visual identity', '', 2017, 0, 'visual-identity-254', 0, 0),
(256, 108, 'visual identity', '<p>Redesigning a legendary french brand&nbsp;was a delicate task. We revived their historical typefaces, and Yorgo drew a R made of sun rays. A new logo to drink (responsibly) this summer.</p>\r\n', 2017, 1, 'visual-identity-256', 0, 0),
(258, 101, 'Daniel Craig Seamaster Diver 300M', '<p>For the launch of the new Omega Seamaster Diver 300M, we art directed a global campaign starring Daniel Craig, shot by Solve Sundsbo and styled by Gareth Scourfield, on a set we built deep inside an olympic-size pool.</p>\r\n', 2018, 1, 'daniel-craig-seamaster-diver-300m-258', 0, 1),
(259, 101, 'From Seamaster to Seamaster', '<p>To celebrate the 70th anniversary of the Seamaster watch, we collaborated with Omega to create a unique and collectable volume. Under our art direction, Philippe Lacombe shot 70 historical watch pieces, on sets designed by Romain Lenancker, from full black to bright white. The book edges are printed to match the gradient of the 360 pages. We also developed a custom typeface family: Omega script.</p>\r\n', 2018, 1, 'from-seamaster-to-seamaster-259', 0, 1),
(260, 101, 'Omega Seamaster Diver 300M still life', '<p>Following our art direction of the From Seamaster To Seamaster book, Omega asked us to expand its visual language to a still life campaign. We took the same team, photographer Philippe Lacombe and set designer Romain Lenancker, and created a new set of abstrat compositions reminiscent of the watch&#39;s design fundamentals.</p>\r\n', 2018, 1, 'omega-seamaster-diver-300m-still-life-260', 0, 1),
(261, 109, 'visual identity', '<p>When Colette closed its doors after 20 years of constant creative renewal, we couln&#39;t help but feel sad for our friends&nbsp; and regular collaborators. But we were honoured when Sarah, the founder,&nbsp; asked&nbsp;us to design the logo for her new venture, Just An Idea. Putting brands in contact with talent, this new structure needed an identity as varied and flexible as its services: a logo with 9 different ways to write the brand, in the same font as Colette, of course.</p>\r\n', 2018, 1, 'visual-identity-261', 0, 0),
(262, 110, 'visual identity', '', 2018, 1, 'visual-identity-262', 0, 0),
(263, 13, 'website', '', 2018, 1, 'website-263', 0, 1),
(264, 108, 'Société Ricard live music', '', 2017, 0, 'soci-t-ricard-live-music-264', 0, 0);

-- --------------------------------------------------------

--
-- Structure de la table `travaux_also`
--

CREATE TABLE `travaux_also` (
  `id_travaux` int(11) NOT NULL,
  `id_also` int(11) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux_also`
--

INSERT INTO `travaux_also` (`id_travaux`, `id_also`) VALUES
(73, 74),
(74, 73),
(145, 146),
(145, 198),
(146, 145),
(146, 198),
(198, 145);

-- --------------------------------------------------------

--
-- Structure de la table `travaux_also_client`
--

CREATE TABLE `travaux_also_client` (
  `id_travaux` int(11) NOT NULL,
  `id_also` int(11) NOT NULL
) ENGINE=MyISAM DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux_also_client`
--

INSERT INTO `travaux_also_client` (`id_travaux`, `id_also`) VALUES
(226, 13);

-- --------------------------------------------------------

--
-- Structure de la table `travaux_categorie`
--

CREATE TABLE `travaux_categorie` (
  `id_travaux` int(11) NOT NULL,
  `id_categorie` tinyint(11) NOT NULL,
  `ordre` int(11) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux_categorie`
--

INSERT INTO `travaux_categorie` (`id_travaux`, `id_categorie`, `ordre`) VALUES
(3, 2, 0),
(4, 0, 0),
(5, 2, 0),
(7, 0, 0),
(9, 0, 0),
(10, 0, 0),
(13, 0, 0),
(14, 0, 0),
(15, 0, 0),
(16, 0, 0),
(17, 0, 0),
(28, 0, 0),
(33, 4, 0),
(34, 0, 0),
(35, 0, 0),
(36, 4, 0),
(38, 0, 0),
(39, 0, 0),
(40, 6, 0),
(46, 0, 0),
(47, 0, 0),
(48, 0, 0),
(50, 0, 0),
(51, 0, 0),
(54, 0, 0),
(54, 4, 0),
(57, 0, 0),
(65, 0, 0),
(72, 6, 0),
(73, 0, 0),
(74, 0, 0),
(75, 0, 0),
(76, 0, 0),
(77, 0, 0),
(78, 0, 0),
(79, 0, 0),
(80, 0, 0),
(81, 0, 0),
(84, 0, 0),
(89, 0, 0),
(91, 0, 0),
(92, 0, 0),
(93, 0, 0),
(103, 0, 0),
(115, 0, 0),
(116, 0, 0),
(118, 0, 0),
(119, 0, 0),
(120, 0, 0),
(121, 0, 0),
(122, 0, 0),
(123, 0, 0),
(124, 0, 0),
(127, 0, 0),
(129, 0, 0),
(132, 0, 0),
(134, 0, 0),
(135, 0, 0),
(136, 2, 0),
(137, 0, 0),
(138, 0, 0),
(144, 2, 0),
(145, 0, 0),
(146, 6, 0),
(149, 6, 0),
(150, 0, 0),
(151, 0, 0),
(153, 0, 0),
(156, 6, 0),
(157, 0, 0),
(158, 0, 0),
(159, 0, 0),
(160, 0, 0),
(161, 0, 0),
(162, 0, 0),
(163, 0, 0),
(164, 0, 0),
(164, 4, 0),
(165, 0, 0),
(169, 0, 0),
(170, 0, 0),
(171, 0, 0),
(172, 0, 0),
(174, 0, 0),
(175, 0, 0),
(176, 0, 0),
(177, 0, 0),
(178, 0, 0),
(179, 0, 0),
(179, 0, 0),
(180, 0, 0),
(181, 6, 0),
(184, 6, 0),
(185, 0, 0),
(186, 0, 0),
(187, 0, 0),
(34, 4, 0),
(193, 0, 0),
(86, 6, 0),
(152, 2, 0),
(194, 0, 0),
(36, 0, 0),
(198, 0, 0),
(152, 0, 0),
(202, 0, 0),
(196, 0, 0),
(205, 2, 1),
(207, 0, 1),
(83, 0, 1),
(208, 0, 1),
(191, 0, 1),
(209, 4, 1),
(103, 0, 1),
(2, 2, 1),
(6, 0, 1),
(210, 0, 1),
(6, 9, 1),
(201, 0, 1),
(4, 10, 1),
(6, 10, 1),
(210, 2, 1),
(211, 2, 1),
(46, 9, 1),
(91, 9, 1),
(210, 9, 1),
(212, 10, 1),
(28, 10, 1),
(213, 9, 1),
(10, 9, 1),
(9, 10, 1),
(8, 9, 1),
(14, 10, 1),
(16, 10, 1),
(12, 10, 1),
(13, 10, 1),
(17, 10, 1),
(15, 10, 1),
(34, 9, 1),
(36, 10, 1),
(35, 10, 1),
(199, 9, 1),
(38, 9, 1),
(38, 10, 1),
(191, 10, 1),
(39, 9, 1),
(39, 10, 1),
(48, 10, 1),
(50, 10, 1),
(51, 10, 1),
(75, 10, 1),
(73, 9, 1),
(74, 9, 1),
(83, 6, 1),
(79, 10, 1),
(77, 2, 1),
(76, 10, 1),
(81, 10, 1),
(90, 2, 1),
(84, 10, 1),
(175, 2, 1),
(80, 10, 1),
(89, 2, 1),
(92, 10, 1),
(208, 10, 1),
(103, 10, 1),
(194, 2, 1),
(93, 10, 1),
(129, 10, 1),
(136, 10, 1),
(119, 10, 1),
(120, 10, 1),
(116, 10, 1),
(118, 10, 1),
(132, 10, 1),
(124, 10, 1),
(115, 10, 1),
(121, 10, 1),
(137, 10, 1),
(122, 10, 1),
(123, 10, 1),
(138, 10, 1),
(135, 10, 1),
(134, 10, 1),
(127, 9, 1),
(144, 10, 1),
(145, 9, 1),
(145, 10, 1),
(169, 9, 1),
(149, 4, 1),
(207, 6, 1),
(151, 10, 1),
(150, 10, 1),
(153, 10, 1),
(158, 9, 1),
(158, 10, 1),
(157, 9, 1),
(157, 10, 1),
(198, 9, 1),
(160, 9, 1),
(161, 9, 1),
(163, 10, 1),
(162, 10, 1),
(164, 9, 1),
(164, 10, 1),
(165, 9, 1),
(170, 10, 1),
(171, 10, 1),
(172, 10, 1),
(174, 9, 1),
(176, 10, 1),
(177, 10, 1),
(202, 9, 1),
(179, 4, 1),
(180, 10, 1),
(180, 4, 1),
(195, 9, 1),
(185, 2, 1),
(159, 10, 1),
(178, 10, 1),
(186, 10, 1),
(214, 6, 1),
(72, 4, 1),
(209, 9, 1),
(92, 9, 1),
(54, 9, 1),
(103, 9, 1),
(50, 9, 1),
(7, 10, 1),
(78, 10, 1),
(215, 9, 1),
(216, 9, 1),
(216, 4, 1),
(201, 6, 1),
(217, 6, 1),
(54, 10, 1),
(204, 10, 1),
(57, 10, 1),
(169, 10, 1),
(219, 4, 1),
(201, 4, 1),
(221, 12, 1),
(222, 10, 1),
(223, 10, 1),
(220, 10, 1),
(224, 12, 1),
(225, 6, 1),
(227, 9, 1),
(228, 9, 1),
(229, 9, 1),
(230, 6, 1),
(231, 6, 1),
(232, 9, 1),
(233, 12, 1),
(235, 12, 1),
(236, 9, 1),
(237, 9, 1),
(239, 10, 1),
(238, 12, 1),
(241, 12, 1),
(241, 10, 1),
(242, 9, 1),
(240, 12, 1),
(244, 9, 1),
(196, 10, 1),
(245, 10, 1),
(246, 10, 1),
(247, 10, 1),
(249, 10, 1),
(250, 10, 1),
(252, 10, 1),
(253, 12, 1),
(254, 9, 1),
(248, 10, 1),
(251, 10, 1),
(251, 4, 1),
(256, 9, 1),
(258, 12, 1),
(259, 6, 1),
(259, 4, 1),
(259, 10, 1),
(260, 12, 1),
(261, 9, 1),
(261, 10, 1),
(262, 9, 1),
(218, 10, 1),
(263, 10, 1);

-- --------------------------------------------------------

--
-- Structure de la table `travaux_sauve`
--

CREATE TABLE `travaux_sauve` (
  `id` int(11) NOT NULL,
  `id_client` int(11) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `description` text NOT NULL,
  `annee` int(11) NOT NULL,
  `online` tinyint(4) NOT NULL,
  `alias` varchar(255) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux_sauve`
--

INSERT INTO `travaux_sauve` (`id`, `id_client`, `titre`, `description`, `annee`, `online`, `alias`) VALUES
(1, 1, '404\nRESTAURANT FAMILIAL', 'LOGO DESIGN\nAND\nLOGO APPLICATIONS\nt-shirts', 2011, 0, '404-restaurant-familial-1'),
(2, 2, 'ABSOLUT ILLUSION EDITION - COLETTE WINDOW', '<p><span style=\"line-height: 20.7999992370605px;\">COLETTE PARIS -&nbsp;</span>INVITATION AND&nbsp;WINDOW DISPLAY&nbsp;</p>\r\n', 2011, 1, 'absolut-illusion-edition-colette-window-2'),
(3, 2, 'ABSOLUT BAR ', '<p>MOBILE BAR DESIGN</p>\r\n', 2011, 1, 'absolut-bar-3'),
(4, 2, 'ABSOLUT T-SHIRT', '<p>T-SHIRT</p>\r\n', 2011, 1, 'absolut-t-shirt-4'),
(5, 2, 'BOTTLE DISPLAYER', '<p>BOTTLE DISPLAYER DESIGN</p>\r\n', 2011, 1, 'bottle-displayer-5'),
(6, 3, 'AND-A BOUTIQUE JAPAN', '<p>LOGO DESIGN AND LOGO APPLICATIONS</p>\r\n', 0, 1, 'and-a-boutique-japan-6'),
(7, 4, 'ARJOWIGGINS', '<p>INVITATION</p>\r\n', 2004, 1, 'arjowiggins-7'),
(8, 5, 'ARTER', '<p>TYPEFACE DESIGN BUSSINESS CARD LETTERHEAD</p>\r\n', 0, 1, 'arter-8'),
(9, 6, '2FUTURE4U', '<p>CD ARTWORK</p>\r\n\r\n<p>Photography : Louis David Najar</p>\r\n', 1999, 1, '2future4u-9'),
(10, 7, 'APOLOGIE BIKE POLO TEAM', '<p>LOGO DESIGN AND LOGO APPLICATIONS</p>\r\n', 0, 1, 'apologie-bike-polo-team-10'),
(11, 8, 'ANDY WAHLOO BAR', 'LOGO DESIGN', 0, 0, 'andy-wahloo-bar-11'),
(12, 9, 'BJORK - ALARM CALL', '<p>TYPEFACE DESIGN CD ARTWORK</p>\r\n\r\n<p>Photography : Louis David Najar</p>\r\n', 1997, 1, 'bjork-alarm-call-12'),
(13, 10, 'FEMII KUTI', '<p>CDS ARTWORK 1 CD + CDS</p>\r\n', 0, 1, 'femii-kuti-13'),
(14, 10, 'BARCLAY 2000-1 ', '<p>CD ARTWORK + PHOTOS</p>\r\n', 2000, 0, 'barclay-2000-1-14'),
(15, 11, 'LAGOA CUMBA IETU', '<p>CD ARTWORK</p>\r\n', 1998, 1, 'lagoa-cumba-ietu-15'),
(16, 10, '1999', 'POSTER', 1999, 0, '1999-16'),
(17, 12, 'BLACKBLOK / ANDRÉ / PALAIS DE TOKYO', '<p>T-SHIRTS One-off T-shirt on sale exclusively at Black Block, in the Palais de Tokyo</p>\r\n', 0, 1, 'blackblok-andr-palais-de-tokyo-17'),
(18, 13, 'BLACK CROWS', '<p>LOGO DESIGN AND LOGO APPLICATIONS</p>\r\n', 2007, 0, 'black-crows-18'),
(19, 13, 'Season 2007-2008', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN &quot;ALBINO CROWS&quot;</p>\r\n\r\n<p>PH. Gregoire Alexandre</p>\r\n', 2007, 1, 'season-2007-2008-19'),
(20, 13, 'BLACK CROWS2008-2009', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2008, 1, 'black-crows2008-2009-20'),
(21, 13, 'Season 2009-2010', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2009, 1, 'season-2009-2010-21'),
(22, 13, 'BLACK CROWS2010-2011', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2010, 1, 'black-crows2010-2011-22'),
(23, 13, 'Season 2011-2012', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2011, 1, 'season-2011-2012-23'),
(24, 13, 'Season 2012-2013', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2012, 1, 'season-2012-2013-24'),
(25, 13, 'Season 2013-2014', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE + POSTER</p>\r\n', 2013, 1, 'season-2013-2014-25'),
(26, 13, 'Season 2014-2015', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE + POSTER</p>\r\n', 2014, 1, 'season-2014-2015-26'),
(27, 13, 'BLACK CROWS\nSTICKERS', 'STICKERS', 0, 0, 'black-crows-stickers-27'),
(28, 13, 'BLACK WEEKEND', 'FLYERS', 2008, 0, 'black-weekend-28'),
(29, 13, 'BLACK CROWS\nLAUNCH PARTY', 'FLYER ', 2006, 0, 'black-crows-launch-party-29'),
(30, 13, 'BLACK CROWS\nFRANKLIN AND MARSHAL\nCOLETTE\nEVENT', 'TBC', 2013, 0, 'black-crows-franklin-and-marshal-colette-event-30'),
(31, 13, 'BLACK CROWS\nCROW', 'PLASTIC CROW SHAPED OPEN/CLOSED STORE\nSIGNAGE', 0, 0, 'black-crows-crow-31'),
(32, 13, 'Season 2015-2016', '<p>LAUNCH DESIGN &amp; ART DIRECTION CAMPAIGN CATALOGUE</p>\r\n', 2015, 0, 'season-2015-2016-32'),
(33, 14, 'CARTIER DE LUNE - EAU DE TOILETTE', '<p>TYPEFACE DESIGN</p>\r\n', 0, 1, 'cartier-de-lune-eau-de-toilette-33'),
(34, 15, 'CHRISTOPHE LEMAIRE', '<p>TYPEFACE DESIGN &amp; APPLICATIONS</p>\r\n', 2012, 1, 'christophe-lemaire-34'),
(35, 16, 'CITIZENS!', '<p>TYPEFACE DESIGN CD ARTWORK VIDEO</p>\r\n', 0, 1, 'citizens--35'),
(36, 17, 'CIEL DE PARIS RESTURANT', 'TYPEFACE DESIGN', 2012, 0, 'ciel-de-paris-resturant-36'),
(37, 18, 'LE GRAND SOIR MINISTERE DE LA CULTURE 53e BIENNALE DE VENISE', '<p>PRESS KIT, INVITATIONS DVD*</p>\r\n', 2009, 1, 'le-grand-soir-ministere-de-la-culture-53e-biennale-de-venise-37'),
(38, 19, 'ARTDRIVE-THRU @ ALCHIMIST ARTBASEL MIAMI BEACH ', '<p>LOGO DESIGN,&nbsp;BRAND MERCHANDISE, SIGNAGE</p>\r\n', 2013, 1, 'artdrive-thru-alchimist-artbasel-miami-beach-38'),
(39, 20, 'COMITÉ PROFESSIONNELLE DES GALLERIES D&rsquo;ART', '<p>TYPEFACE BUSSINESS CARD LETTERHEAD</p>\r\n', 0, 1, 'comit-professionnelle-des-galleries-d-rsquo-art-39'),
(40, 21, 'CRASH MAGAZINE', 'LAUNCH DESIGN & ART DIRECTION', 0, 0, 'crash-magazine-40'),
(41, 21, 'CRASH CLUB EVENTS', 'FLYERS\nWRISTBANDS', 1998, 0, 'crash-club-events-41'),
(42, 21, 'CRASH MAGAZINE', 'TYPEFACE\nBUSSINESS CARD\nLETTERHEAD', 1998, 0, 'crash-magazine-42'),
(43, 22, 'CONNEX CONSULTING\n2008', 'GREETING CARD', 2008, 0, 'connex-consulting-2008-43'),
(44, 19, 'LE COLETTE N°10MARS 2012', '<p>COLETTE MAGAZINE</p>\r\n', 2012, 0, 'le-colette-n-10mars-2012-44'),
(45, 23, 'CARTIER CHARITABLE\nFOUNDATION', 'TYPEFACE DESIGN', 0, 0, 'cartier-charitable-foundation-45'),
(46, 19, 'FUSALP', '<p>PATCH SHOP WINDOW</p>\r\n', 2014, 1, 'fusalp-46'),
(47, 24, 'DAVIDOFF CHAMPION\nFRAGRANCE', 'VIDEO ART DIRECTION', 0, 0, 'davidoff-champion-fragrance-47'),
(48, 25, 'ANNABELLE D&rsquo;HUART RENCONTRES USA 1977- 1979 PHOTOGRAPHIES', '<p>EXHIBITION CATALOG AND INVITATION</p>\r\n', 2000, 1, 'annabelle-d-rsquo-huart-rencontres-usa-1977-1979-photographies-48'),
(49, 25, 'FRENCH TOUCH PARTY', 'INVITATION', 1999, 0, 'french-touch-party-49'),
(50, 26, 'EV BY ET VOUS', '<p>BRAND DESIGN LOGO, BUSSINESS CARD CLOTHING LABELS, STICKERS, POSTER, BAG</p>\r\n', 0, 1, 'ev-by-et-vous-50'),
(51, 27, 'OVERNIGHT BY EUROSTAR PARIS LONDON PACKAGE', '<p>TRAVEL PACKAGE (TRAVEL PASSES, CD, PRINTED GUIDE, MEAL VOUCHER) POSTCARD</p>\r\n', 0, 1, 'overnight-by-eurostar-paris-london-package-51'),
(52, 28, 'INVASION\nOF GRENOBLE', 'MAP OF THE INVASION OF GRENOBLE', 1999, 0, 'invasion-of-grenoble-52'),
(53, 29, 'IN LOCO INFORMATION PANELS', '<p>SIGNAGE DESIGN</p>\r\n', 2013, 0, 'in-loco-information-panels-53'),
(54, 29, 'Logo Design', '', 2013, 1, 'logo-design-54'),
(55, 29, 'JULY 14TH PETRIT HALILAJ EXHIBITION', '<p>EXHIBITION RELATED PRINTED MATERIAL &amp; GALA DINNER INVITATION+ENVELOPE</p>\r\n', 2013, 1, 'july-14th-petrit-halilaj-exhibition-55'),
(56, 29, 'DUBUFFET TYPOGRAPHE PIERRE LEGUILLON EXHIBITION', '<p>EXHIBITION RELATED PRINTED MATERIAL</p>\r\n', 2013, 0, 'dubuffet-typographe-pierre-leguillon-exhibition-56'),
(57, 29, 'NOIR C&rsquo;EST NOIR SAÂDANE AFIF', '', 2013, 1, 'noir-c-est-noir-sa-dane-afif-57'),
(58, 29, 'VENIR VOIR VENIR', '<p>INVITATION (TRANSPARENT PLASTIC FILM) &amp; PRINTED SHOPPER</p>\r\n', 2014, 1, 'venir-voir-venir-58'),
(59, 30, 'A FIXE-GEAR VELO MAGAZINE', 'FINAL STUDENT&rsquo;S PROJECT\nMAGAZINE', 2006, 0, 'a-fixe-gear-velo-magazine-59'),
(60, 29, 'GREETING CARD2015', '<p>GREETING CARD</p>\r\n', 2014, 0, 'greeting-card2015-60'),
(61, 29, 'SIGNAGE - EDITATTHON MARCH 2015', '<p>SIGNAGE DESIGN</p>\r\n\r\n<p>&nbsp;</p>\r\n', 2015, 1, 'signage-editatthon-march-2015-61'),
(62, 31, 'THE HAPPY SHOW', ' EXHIBITION RELATED MERCHANDISE: MUG, SHOPPER, PENCIL, STICKER, PIN, FLYER POSTER', 2013, 0, 'the-happy-show-62'),
(63, 31, 'SAY WATT ?', 'EXHIBITION RELATED MERCHANDISE:  SHOPPER,  STICKER, FLYER', 2013, 0, 'say-watt--63'),
(64, 31, 'SHARP SHARP\nJOHANNESBURG', 'FLYER CONCERTS\nFLYER EXHIBITION', 2013, 0, 'sharp-sharp-johannesburg-64'),
(65, 31, 'CONCERTS', '', 2013, 1, 'concerts-65'),
(66, 31, 'LES ENFANTS À LA GAÎTÉ LYRIQUE - CAPITAINE FUTUR', '', 2013, 1, 'les-enfants-la-ga-t-lyrique-capitaine-futur-66'),
(67, 31, 'F.A.M.E.', 'FLYER, \nFESTIVAL CALENDAR \nBROCHURE', 2014, 0, 'fame-67'),
(68, 31, 'MOTION FACTORY', 'EXHIBITION RELATED MERCHANDISE: \nSHOPPER,  STICKER, FLYER,\nINVITATION', 2014, 0, 'motion-factory-68'),
(69, 31, 'PROGRAMME DE LAGAÎTÉ LYRIQUE', '<p>PROGRAMS</p>\r\n', 2013, 1, 'programme-de-laga-t-lyrique-69'),
(70, 31, 'TANGER TANGER', 'FESTIVAL FLYER,\nDAY BY DAY SINGLE EVENTS PROGRAMS', 2014, 0, 'tanger-tanger-70'),
(71, 32, 'GRIPOIX\nELISA NALIN\n JEWELLERY\nCOLLECTION', 'INVITATION + ENVELOPE', 2014, 0, 'gripoix-elisa-nalin-jewellery-collection-71'),
(72, 33, 'GQ', '<p>ART DIRECTION</p>\r\n', 0, 1, 'gq-72'),
(73, 34, 'HENNESSY VERY SPECIAL COGNAC', '', 0, 1, 'hennessy-very-special-cognac-73'),
(74, 34, 'X.O. HENNESSY MATUSALEM', '<p>VIDEO AND PHOTOS ART DIRECTION</p>\r\n', 0, 1, 'xo-hennessy-matusalem-74'),
(75, 35, 'HELLO H5\nEXPO', 'POSTER', 0, 0, 'hello-h5-expo-75'),
(76, 36, 'HONDA CR-Z OBJECTS IN THE MIRROR ARE CLOSER THAN THEY APPEAR', '<p>INVITATION</p>\r\n', 0, 1, 'honda-cr-z-objects-in-the-mirror-are-closer-than-they-appear-76'),
(77, 36, 'HONDA CR-ZELEY KISHIMOTO', '<p>&nbsp;</p>\r\n\r\n<p>INVITATION USB KEY + OBJECT</p>\r\n', 2011, 1, 'honda-cr-zeley-kishimoto-77'),
(78, 36, 'CAR PARC 1', '<p>POP-UP INVITATION</p>\r\n', 0, 1, 'car-parc-1-78'),
(79, 36, 'ALCANTARA CONCEPT CONCOURS MILAN', '<p>INVITATION CUT-OUT ALCANTARA</p>\r\n', 2005, 1, 'alcantara-concept-concours-milan-79'),
(80, 36, 'BUSINESS CARD', '<p>CAR SHAPED CUT-OUT COMPANY BUSINESS CARD</p>\r\n', 0, 1, 'business-card-80'),
(81, 36, 'SAAB', '<p>INVITATION TRANSPARENT FILM</p>\r\n', 2008, 1, 'saab-81'),
(82, 36, 'MORGAN MOTORS\nAERO 8 LAUNCH', 'INVITATION', 0, 0, 'morgan-motors-aero-8-launch-82'),
(83, 36, 'In Civic Honda', '<p>Honda magazine</p>\r\n', 2012, 1, 'in-civic-honda-83'),
(84, 36, 'INTERSECTION MAGAZINE LAUNCH', '', 0, 1, 'intersection-magazine-launch-84'),
(85, 36, 'INTERSECTION BOOK\nPRESENTATION', 'CAR SHAPED CUT-OUT\nFLYER', 2001, 0, 'intersection-book-presentation-85'),
(86, 36, 'Intersection Magazine', '', 2008, 1, 'intersection-magazine-86'),
(87, 36, 'NISSAN JUKE\n MINISTRY OF SOUND\nDISCO DRIVE-IN EVENT', 'POSTER SIZED INVITATION\n(MIRROR AND MATTE SIDES)', 2012, 0, 'nissan-juke-ministry-of-sound-disco-drive-in-event-87'),
(88, 36, 'MAGAZINE supplements', '', 0, 0, 'magazine-supplements-88'),
(89, 36, 'INTERSECTION LOGO & TYPEFACE DESIGN APPLICATIONS', '<p>LOGO &amp; TYPEFACE DESIGN APPLICATIONS</p>\r\n', 0, 1, 'intersection-logo-typeface-design-applications-89'),
(90, 36, 'CAR COVERS', '<p>Maison Martin Margiela and Bless</p>\r\n', 2008, 1, 'car-covers-90'),
(91, 36, 'INFINITI Q50 PRESS', '<p>PATCH AND STICKERS</p>\r\n\r\n<p>Photos&nbsp;: Louis David Najar</p>\r\n', 2014, 1, 'infiniti-q50-press-91'),
(92, 37, 'JOGGING', 'LOGO DESIGN\nAND\n APPLICATIONS', 0, 0, 'jogging-92'),
(93, 38, 'KENZO FW/2002', '<p>CAMPAIN &amp; CATALOGS</p>\r\n\r\n<p>PHOTOGRAPHY BY LUIS SANCHIS</p>\r\n', 2002, 1, 'kenzo-fw-2002-93'),
(94, 39, 'Exhibition flyers', '<p>FLYERS</p>\r\n', 2007, 1, 'exhibition-flyers-94'),
(95, 39, 'GREETINGS CARDS', 'POSTER SIZED\nGREETING CARD', 2008, 0, 'greetings-cards-95'),
(96, 39, 'GREETINGS CARDS', 'POSTER SIZED\nGREETING CARD', 2008, 0, 'greetings-cards-96'),
(97, 39, 'DANIEL BUREN & ALBERTO GIACOMETTI \nOEUVRES CONTEMPORAINES\nEXHIBITION', 'EHXIBITION CATALOG\n&\nFLYER', 2010, 0, 'daniel-buren-alberto-giacometti-oeuvres-contemporaines-exhibition-97'),
(98, 39, 'ALBERTO GARCIA-ALIX\nDAIDO MORIYAMA\nFAR FROM HOME\nEXHIBITION', 'EHXIBITION CATALOG\n&\nFLYER', 2008, 0, 'alberto-garcia-alix-daido-moriyama-far-from-home-exhibition-98'),
(99, 39, 'MARIE BOVO\nSITIO\nEXHIBITION', 'EXHIBITION CATALOG', 2011, 0, 'marie-bovo-sitio-exhibition-99'),
(100, 39, 'OBJECTIF PICASSO\nEXHIBITION', 'EXHIBITION CATALOG\n&\nINVITATION + ENVELOPE', 2011, 0, 'objectif-picasso-exhibition-100'),
(101, 39, 'HUANG YONG PING\nMYTHS\nEXHIBITION', 'EXHIBITION CATALOG', 2009, 0, 'huang-yong-ping-myths-exhibition-101'),
(102, 39, 'TADASHI KAWAMATA\nTREE HUTS', 'PRINTED MEDIA\nBOOK', 2010, 0, 'tadashi-kawamata-tree-huts-102'),
(103, 39, 'CATALOGS', '<p>Catalogs</p>\r\n', 0, 1, 'catalogs-103'),
(104, 39, 'SAVE THE DATE\nNEW OPENING\nINAUGURATION', 'INVITATION', 2007, 0, 'save-the-date-new-opening-inauguration-104'),
(105, 39, 'Logo Design', '<p>LOGO &amp; TYPEFACE DESIGN + APPLICATIONS (STATIONERY AND OTHER)</p>\r\n', 0, 1, 'logo-design-105'),
(106, 39, 'ANNIE LEIBOVITZ\nEXHIBITION', 'FLYER', 2001, 0, 'annie-leibovitz-exhibition-106'),
(107, 39, 'PIERRE LA POLICE\nDOUDOUNE BLANCHE CONTRE DOUDOUNE ROUGE', 'FLYER', 2008, 0, 'pierre-la-police-doudoune-blanche-contre-doudoune-rouge-107'),
(108, 39, 'CLAUDE LÉVÊQUE\nLE GRAND SOIR\nPAVILLON FRANÇAIS\nVENISE 2009', 'GALA DINNER\nINVITATION\n+\nCARD', 2009, 0, 'claude-l-v-que-le-grand-soir-pavillon-fran-ais-venise-2009-108'),
(109, 39, 'SAVE THE DATE\nDANIEL BUREN\nCARTE BLANCHE\nAT MUSÉE PICASSO', 'CARD', 2008, 0, 'save-the-date-daniel-buren-carte-blanche-at-mus-e-picasso-109'),
(110, 39, 'MIRI SEGAL\nET\nLATIFA ECHAKHCH\n(VISITE PRIVÉE)', 'INVITATION CARD', 2009, 0, 'miri-segal-et-latifa-echakhch-visite-priv-e--110'),
(111, 39, 'CHILDREN ARE BORN UTOPIANS\n(DÉBAT)', 'INVITATION CARD', 0, 0, 'children-are-born-utopians-d-bat--111'),
(112, 39, 'GREETING CARD', '<p>POSTER SIZED GREETING CARD</p>\r\n', 2011, 1, 'greeting-card-112'),
(113, 39, 'ANISH KAPOOR', 'GALA DINNER\nINVITATION', 2010, 0, 'anish-kapoor-113'),
(114, 40, 'KS97', 'T-SHIRT', 0, 0, 'ks97-114'),
(115, 41, 'SS/2009 ', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE Cut-out paper</p>\r\n', 2009, 1, 'ss-2009-115'),
(116, 41, 'FW/2010-11 ', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE&nbsp;</p>\r\n\r\n<p>Photography by Louis David Najar</p>\r\n', 2010, 1, 'fw-2010-11-116'),
(117, 41, 'FW/2011-12', 'PRESS KIT\nFASHION SHOW INVITATION ENVELOPE', 2011, 0, 'fw-2011-12-117'),
(118, 41, 'SS/2010', '<p>PRESS KIT FASHION SHOW INVITATION</p>\r\n', 2010, 1, 'ss-2010-118'),
(119, 41, 'SS/2011', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE</p>\r\n\r\n<p>Photography by Louis David Najar</p>\r\n', 2011, 1, 'ss-2011-119'),
(120, 41, 'FW/2009-10', '<p>PRESS KIT FASHION SHOW FELT INVITATION</p>\r\n\r\n<p>Photography by Louis David Najar</p>\r\n', 2011, 1, 'fw-2009-10-120'),
(121, 41, 'SS/2008', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE Embossed paper and wax seal</p>\r\n\r\n<p>Photography by Louis David Najar</p>\r\n', 2008, 1, 'ss-2008-121'),
(122, 41, 'FW/2007-2008', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE wooden</p>\r\n', 2007, 1, 'fw-2007-2008-122'),
(123, 41, 'SS/2007', '<p>PRESS KIT FASHION SHOW INVITATION Silk foulard and transparent plastic</p>\r\n', 2007, 1, 'ss-2007-123'),
(124, 41, 'CAMPANAS + LACOSTE', '<p>RUBBERSTAMP CARDBOARD and&nbsp;ENVELOPE</p>\r\n', 2009, 1, 'campanas-lacoste-124'),
(125, 41, 'L!VEFW/2009-2010 ', '<p>PRESS KIT FASHION SHOW INVITATION ENVELOPE</p>\r\n', 2009, 0, 'l-vefw-2009-2010-125'),
(126, 41, 'L!VESS/2009', '<p>LOOKBOOK</p>\r\n', 2010, 0, 'l-vess-2009-126'),
(127, 41, 'L!VE', '<p>LOGO DESIGN&nbsp;</p>\r\n', 0, 1, 'l-ve-127'),
(128, 41, 'L. 12.12 FRAGRANCE', '<p>LOGO DESIGN</p>\r\n', 0, 0, 'l-1212-fragrance-128'),
(129, 41, 'LACOSTE PROJECT 12.12 CENTRE POMPIDOU PARIS', '<p>INVITATION : POWDER COATED STEEL PLATE AND MAGNETIC CROCODILE</p>\r\n\r\n<p>Photography by&nbsp;Louis David Najar</p>\r\n', 2012, 1, 'lacoste-project-1212-centre-pompidou-paris-129'),
(130, 41, 'EAU DE LACOSTE L. 12. 12', '<p>BROCHURE</p>\r\n', 0, 0, 'eau-de-lacoste-l-12-12-130'),
(131, 41, 'LI XIA0FENG', 'LOGO DESIGN\nCLOTHING LABELS\n(T-SHIRT)', 2010, 0, 'li-xia0feng-131'),
(132, 41, 'LI XIA0 FENG @ MUSEÉÉ DES ARTS ET MÉTIERS PARIS', '<p>INVITATION + ENVELOPE</p>\r\n', 2010, 1, 'li-xia0-feng-muse-des-arts-et-m-tiers-paris-132'),
(133, 41, 'CHRISTOPHE LEMAIRE', 'BUSINESS CARD', 0, 0, 'christophe-lemaire-133'),
(134, 41, 'T-SHIRTS Variations on the crocodile', '<p>T-SHIRTS PRINTS Variations on the crocodile</p>\r\n', 0, 1, 't-shirts-variations-on-the-crocodile-134'),
(135, 41, 'CITROEN + LACOSTE CONCEPT CAR EVENT', '<p>INVITATION seatbelt</p>\r\n\r\n<p>Photography by Louis David Najar</p>\r\n', 0, 1, 'citroen-lacoste-concept-car-event-135'),
(136, 41, 'LACOSTE LAB L!VE', '', 2011, 1, 'lacoste-lab-l-ve-136'),
(137, 41, 'FW2008/09', '<p>PRESS KIT FASHION SHOW INVITATION woolen pouch printed card and envelope</p>\r\n', 2008, 1, 'fw2008-09-137'),
(138, 41, 'ASSOLULINE LACOSTE BOOK', '<p>BOOKS Cover material similar to a polo with embroided crocodile</p>\r\n', 0, 1, 'assoluline-lacoste-book-138'),
(139, 41, 'VISIONAIRE POLO', 'VISIONAIRE POLO\nPACKAGING\n vinyl record sleeve', 0, 0, 'visionaire-polo-139'),
(140, 41, 'POLO T-SHIRT', '<p>Tennis camp - PATTERN DESIGN</p>\r\n', 0, 1, 'polo-t-shirt-140'),
(141, 41, 'LACOSTE STUDIO', '<p>LOGO DESIGN</p>\r\n', 0, 0, 'lacoste-studio-141'),
(142, 42, 'LOOK BOUTIQUE', '<p>LOGO DESIGN APPLICATIONS &amp; OPENING INVITATION</p>\r\n', 0, 1, 'look-boutique-142'),
(143, 41, 'LACOSTE LAB L!VE', 'WINDOW DISPLAY\nLOCATION : COLETTE PARIS', 0, 0, 'lacoste-lab-l-ve-143'),
(144, 41, 'LACOSTE LAB', '<p class=\"p1\"><span class=\"s1\">PRODUCTS BROCHURES CATALOGUE POSTERS&nbsp;</span></p>\r\n\r\n<p class=\"p1\"><span class=\"s1\">Product design by&nbsp;Christophe Pillet</span></p>\r\n', 0, 1, 'lacoste-lab-144'),
(145, 43, 'LE BALLON FC', '<p>LOGO DESIGN AND APPLICATIONS</p>\r\n\r\n<p>&nbsp;</p>\r\n', 2014, 1, 'le-ballon-fc-145'),
(146, 43, 'Le Ballon Magazine', '<p>&nbsp;</p>\r\n\r\n<p><span style=\"line-height: 20.7999992370605px;\">2014</span></p>\r\n\r\n<p><span style=\"line-height: 20.7999992370605px;\">For the Le Ballon Bar, we decided to produce a menu in the shape of a newspaper, which also served as a guide for the 2014 Football World Cup.</span></p>\r\n', 2014, 1, 'le-ballon-magazine-146'),
(147, 43, 'Le Ballon Bar', '', 2014, 0, 'le-ballon-bar-147'),
(148, 43, 'LE BALOON\nCOLETTE', 'T-SHIRT', 2014, 0, 'le-baloon-colette-148'),
(149, 44, 'LOUIS VUITTON LE BOOK', '<p>LAUNCH DESIGN &amp; ART DIRECTION (11 COUNTRIES)</p>\r\n', 2014, 1, 'louis-vuitton-le-book-149'),
(150, 45, 'MOBILE ART 2011', '<p>Institut du Monde Arabe Paris,&nbsp;ZAHA HADID EXHIBITION 2011</p>\r\n', 2011, 1, 'mobile-art-2011-150'),
(151, 46, 'PARIS POUR ESCALE', '<p>EXHIBITION CATALOG</p>\r\n', 2000, 1, 'paris-pour-escale-151'),
(152, 47, 'Martell cognac', '', 2015, 1, 'martell-cognac-152'),
(153, 48, 'SKETCH 02.DAY FILM', '<p>ART COVER and&nbsp;ILLUSTRATIONS</p>\r\n', 2005, 1, 'sketch-02day-film-153'),
(154, 49, 'MISSIVE COLLECTION 01', 'CD\nCOVER PHOTO', 2003, 0, 'missive-collection-01-154'),
(155, 50, 'AFRICAN SOUL', 'CD + CDS', 1997, 0, 'african-soul-155'),
(156, 51, 'MAGAZINE', 'LAUNCH DESIGN & ART DIRECTION', 0, 0, 'magazine-156'),
(157, 52, 'Logo and typeface design', '<p>LOGO &amp; TYPEFACE DESIGN APPLICATIONS (BUSSINESS CARD LETTERHEAD, ETC.)</p>\r\n', 0, 1, 'logo-and-typeface-design-157'),
(158, 53, 'NEWYORKINDUSTRIE ', '<p>LOGO &amp; TYPEFACE DESIGN APPLICATIONS</p>\r\n', 0, 1, 'newyorkindustrie-158'),
(159, 54, 'WANDERUNGEN', '<p>EP COVER DESIGN</p>\r\n', 0, 1, 'wanderungen-159'),
(160, 55, 'Logo design', '<p>LOGO DESIGN AND APPLICATIONS&nbsp;</p>\r\n', 0, 1, 'logo-design-160'),
(161, 56, 'Logo design', '<p>LOGO DESIGN AND APPLICATIONS</p>\r\n', 0, 1, 'logo-design-161'),
(162, 57, 'VISUAL ART FESTIVAL10TH EDITION SENSITIVE', '<p>PRINTED MATERIAL and&nbsp;SIGNAGE</p>\r\n', 2000, 1, 'visual-art-festival10th-edition-sensitive-162'),
(163, 58, 'RAW EP', '', 2000, 1, 'raw-ep-163'),
(164, 59, 'Logo and typeface design', '<p>LOGO;TYPEFACE DESIGN</p>\r\n', 0, 1, 'logo-and-typeface-design-164'),
(165, 60, 'Logo design', '', 1997, 1, 'logo-design-165'),
(166, 60, 'ROSSIGNOL SNOWBOARDS\n1997/1998', 'CATALOG', 1997, 0, 'rossignol-snowboards-1997-1998-166'),
(167, 60, 'T-SHIRTS', 'T-SHIRTS', 1997, 0, 't-shirts-167'),
(168, 61, 'REFUEL\nMEDIA MANUAL 2001\n(PROTOTYPE OF INTERSECTION MAG)', 'MAGAZINE\nCREATIVE DIRECTION\nBROCHURE', 2001, 0, 'refuel-media-manual-2001-prototype-of-intersection-mag--168'),
(169, 62, 'REFECTOIRE RESTAURANT', 'LOGO DESIGN\nAND\n APPLICATIONS', 2014, 0, 'refectoire-restaurant-169'),
(170, 63, 'SHU UEMURA NAILS', '<p>PRESS KIT INVITATION ENVELOPE Cut-out multiple sheets of glossy paper, plastic envelope</p>\r\n', 2000, 1, 'shu-uemura-nails-170'),
(171, 64, 'Sound of the season cds', '<p>CD&nbsp;COVERS DESIGN&nbsp;</p>\r\n', 2012, 1, 'sound-of-the-season-cds-171'),
(172, 65, 'NEXT TO YOU', '<p>CD + VYNIL ART COVERS</p>\r\n', 1998, 1, 'next-to-you-172'),
(173, 65, 'PURSUIT OF HAPPINESS', 'CD ART COVER', 1998, 0, 'pursuit-of-happiness-173'),
(174, 66, 'Logo design', '<p>LOGO DESIGN AND APPLICATIONS</p>\r\n', 0, 1, 'logo-design-174'),
(175, 67, 'SCIROCCO STUDIOS', '<p>ART-EVENT IDEATION BROCHURE T-SHIRT</p>\r\n', 0, 1, 'scirocco-studios-175'),
(176, 68, 'BLACK AND WHITE ALL OVER THIS TOWN OTHER PEOPLE&rsquo;S PROBLEMS', '<p>3 ALBUMS CD + CDS + 12&quot; ART COVERS</p>\r\n', 2006, 1, 'black-and-white-all-over-this-town-other-people-rsquo-s-problems-176'),
(177, 69, 'Uniqlo', '<p>TSHIRTS PRINTS</p>\r\n', 0, 1, 'uniqlo-177'),
(178, 70, 'VERSAILLES EXHIBITION', '<p>SIGNAGE, EXHIBITION RELATED PRINTED MATERIAL</p>\r\n', 2009, 1, 'versailles-exhibition-178'),
(179, 71, 'MAIN DANS LA MAIN', 'FILM CREDITS DESIGN', 2012, 0, 'main-dans-la-main-179'),
(180, 72, 'Logo design', '<p>LOGO DESIGN AND APPLICATIONS (T-SHIRT &amp; VINYL)</p>\r\n', 0, 1, 'logo-design-180'),
(181, 73, 'VANITY FAIR FRANCE', '<p>LAUNCH DESIGN &amp; ART DIRECTION</p>\r\n', 2013, 1, 'vanity-fair-france-181'),
(182, 74, 'VARIOUS PROJECTS', 'FLYERS ', 0, 0, 'various-projects-182'),
(183, 75, 'WHAT&rsquo;S UP BAR EVENTS', 'FLYERS ', 0, 0, 'what-rsquo-s-up-bar-events-183'),
(184, 75, 'WHAT&rsquo;S UP MAGAZINE', '<p>LAUNCH DESIGN &amp; ART DIRECTION AND PHOTOGRAPHY</p>\r\n', 1998, 1, 'what-s-up-magazine-184'),
(185, 76, 'W HOTEL PARIS', '', 0, 1, 'w-hotel-paris-185'),
(186, 77, 'BLACK TIE RIVE GAUCHE HOMME FW/2001', '<p>PRESS KIT FASHION SHOW INVITATION CD</p>\r\n', 2001, 1, 'black-tie-rive-gauche-homme-fw-2001-186'),
(187, 77, 'VARIATIONS\nFEMME \nSS/2000', 'BROCHURE', 2000, 0, 'variations-femme-ss-2000-187'),
(188, 0, '', '', 0, 1, '-188'),
(189, 0, '', '', 0, 1, '-189'),
(190, 0, '', '', 0, 1, '-190'),
(191, 19, 'Little White Lies Poster exhibition', '', 2012, 1, 'little-white-lies-poster-exhibition-191'),
(192, 16, 'Here we are video', '<p>Video</p>\r\n', 0, 0, 'here-we-are-video-192'),
(193, 78, 'Invitation', '', 1999, 1, 'invitation-193');

-- --------------------------------------------------------

--
-- Structure de la table `travaux_sauve_texte`
--

CREATE TABLE `travaux_sauve_texte` (
  `id` int(11) NOT NULL,
  `id_client` int(11) NOT NULL,
  `titre` varchar(255) NOT NULL,
  `description` text NOT NULL,
  `annee` int(11) NOT NULL,
  `online` tinyint(4) NOT NULL,
  `alias` varchar(255) NOT NULL,
  `onlyclient` tinyint(4) NOT NULL,
  `alsoclient` tinyint(4) NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8;

--
-- Déchargement des données de la table `travaux_sauve_texte`
--

INSERT INTO `travaux_sauve_texte` (`id`, `id_client`, `titre`, `description`, `annee`, `online`, `alias`, `onlyclient`, `alsoclient`) VALUES
(2, 2, 'illusion installation', '<p>Absolut Vodka, to celebrate the launch of their Illusion bottle, asked us to create a window installation at colette, Paris. We created a mechanical structure that endlessly looped, playing with the two-sided construction of the bottle, and with a now-you-see-now-you-don&#39;t custom logo.</p>\r\n', 2011, 1, 'illusion-installation-2', 0, 1),
(3, 2, 'the Yorgo mobile bar ', '<p>We designed a mobile bar structure meant to be used by Absolut Vodka at luxury events. The display is made of four layers of perforated metal which only allow the logo to be readable from straight ahead. Drunkeness has a strong potential to hinder one&rsquo;s ability to read the letters.</p>\r\n', 2011, 1, 'the-yorgo-mobile-bar-3', 0, 1),
(4, 2, 'limited edition t-shirt', '<p>For the staff t-shirt of Absolut Vodka events, we carefully dropped hundreds of vodka droplets on a water-resistant logo, and made sure that none of them touched another before we shot the result. Call us for more technical details.</p>\r\n', 2011, 1, 'limited-edition-t-shirt-4', 0, 1),
(5, 2, 'club display case', '<p>Following our design of a full-scale mobile bar unit, we created a smaller version for clubs, with a back-lit panel and the same optical play, only allowing the logo to be read from straight ahead.</p>\r\n', 2011, 1, 'club-display-case-5', 0, 1),
(6, 3, 'visual identity', '<p>For the launch of this Japanese chain of concept stores, we designed a simple and geometric identity that has become alive both in the stores, designed by Wonderwall, and on the clothes, designed by Ramdane Touhami.</p>\r\n', 0, 1, 'visual-identity-6', 0, 0),
(7, 4, 'greeting card', '<p>Making the most of ArjoWiggins&#39; paper-making knowledge and ressources, we created a world map of ocean currents, only visible when backlit, with iridescent ink to link the design even closer to banknote printing technology.</p>\r\n', 2004, 1, 'greeting-card-7', 0, 0),
(8, 5, 'visual identity', '<p>When the contemporary art production company APC+AIA decided to become Arter, they needed a new identity. We kept the A, kept the + sign, and created a symbol that expressed the teamwork, mathematical logic, and pyramidal structure necessary in that competitive field.</p>\r\n', 0, 1, 'visual-identity-8', 0, 0),
(9, 6, 'sleeve design', '<p>Using the most basic of plastic CD sleeves, we created a multi-layer reading system that played with the insertion of the CD amidst the typpography.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 1999, 1, 'sleeve-design-9', 0, 0),
(10, 7, 'logo design', '<p>For our 2010 French Championship winning team, we designed a symbol made of small polo balls, with a wheel axle nut as the all-seeing eye, and 3 sides, one for each player.</p>\r\n', 0, 1, 'logo-design-10', 0, 0),
(12, 10, 'Bjork - alarm call', '<p>Bjork&#39;s Alarm Call single needed a minimal yet unique type treatment, and we created an alphabet with technological roots but a few curvaceous accidents.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 1997, 1, 'bjork-alarm-call-12', 0, 1),
(13, 10, 'Femi Kuti', '<p>For Fela Kuti&#39;s equally talented son Femi, the aim was to have a design as far as possible from the usual AfroBeat visual language.</p>\r\n', 0, 1, 'femi-kuti-13', 0, 1),
(14, 10, '2000-1 ', '<p>For this annual package of 3 CDs highlighting the best of the label&#39;s year, Yorgo Tloupas photographed early dawn cityscapes in medium format, then we combined the shots in the most minimal design possible.</p>\r\n', 2000, 1, '2000-1-14', 1, 1),
(15, 11, 'Boy Ge Mendes', '<p>For Cap-Verdian musician Boy Ge Mendes, we returned to the drawing board and hand-painted all the album and singles&#39; typography.</p>\r\n', 1998, 1, 'boy-ge-mendes-15', 0, 0),
(16, 10, 'greeting card', '<p>A new year card in the form of a poster, with an enigmatic set of lines, which, once unfolded, reveal the year to come.</p>\r\n', 1999, 1, 'greeting-card-16', 0, 1),
(17, 12, 'limited edition tees', '<p>A limited edition T-shirt commissioned by Andr&eacute;, on sale exclusively at the Palais de Tokyo, spelling discreetly our favorite french word, BOF.</p>\r\n', 0, 1, 'limited-edition-tees-17', 0, 0),
(28, 13, 'music festivals', '<p>Over the years, Black Crows&rsquo; annual music festival has changed names and formats, but kept a direct link with the brand&rsquo;s visual DNA.</p>\r\n', 0, 1, 'music-festivals-28', 0, 1),
(33, 14, 'Cartier Sans-serif', '<p>Based on an archive picture of a 1905 Cartier delivery truck in New York, the Cartier Sans Serif typeface is both a homage to the history of the brand and a modern take on Cartier&rsquo;s typographic heritage.</p>\r\n', 0, 1, 'cartier-sans-serif-33', 0, 0),
(34, 15, 'visual Identity', '<p>The Lemaire Sans typeface was designed to accompany the existing cloverleaf symbol. The identity we designed has been applied to garnments and stationery, with hand-painted variants on the flagship store in Paris.</p>\r\n', 2012, 1, 'visual-identity-34', 0, 0),
(35, 16, 'Citizens! art direction', '<p>When Kitsun&eacute; approached us to help them launch a new British band, we met with the members of Citizens! in London, and worked together to create an identity based on a simple typographic logo, and a repeating pattern made of rotating Ns and Zs. That pattern has since been built in many different structures and printed on a variety of products.</p>\r\n', 0, 1, 'citizens-art-direction-35', 0, 0),
(36, 17, 'restaurant identity', '<p>For the re-opening of Ciel De Paris, the 56th floor restaurant on top of Tour Montparnasse, with a new architecture by No&eacute; Duchaufour Lawrance, we created a logo and designed an exclusive typeface. The Ciel De Stencil is a Didot serif font that can be cut-out in any material thanks to its dotted hairlines.</p>\r\n', 2012, 1, 'restaurant-identity-36', 0, 0),
(38, 19, 'art drive-thru ', '<p>Colette invited us to create the identity for their pop-up shop at Art Basel Miami, in collaboration with the Alchemist store, based in the iconic Herzog and De Meuron car park. We only kept the two blue dots from colette&#39;s logo, and the heptagon from Alchemist&#39;s, and designed a festive, Americana-inspired identity, applied on and off-site.</p>\r\n', 2013, 1, 'art-drive-thru-38', 0, 1),
(39, 20, 'visual identity', '<p>When the french comitee of art galeries asked us to redesign their identity, we decided to completely abandon the previous logo, which was too colorful and complex to live alongside minimal art galeries&#39; logos. We created a morse-like symbol made of the repeated CPGA letters, a running stripe printed on grey paper. This sober and minimal identity was also applied to a new responsive design website, stickers to be displayed on galeries&#39; windows, and adverts in art magazines.</p>\r\n', 0, 1, 'visual-identity-39', 0, 0),
(40, 21, 'logo and magazine design', '<p>When, in 1998, Frank Perrin and Armelle Leturq launched Crash magazine, they asked us to design a logo and to set a visual identity for their new ground-breaking cultural publication. Over the next two years we were given complete creative freedom and we explored the many untouched realms of art direction at this crucial moment in art, fashion, design and music.</p>\r\n', 1998, 1, 'logo-and-magazine-design-40', 0, 0),
(46, 13, 'promotional displays', '<p>Black Crows&#39; products call for unique in-store displays, and we&#39;ve built automated and static installations, for one-off events as well as re-useable tools.</p>\r\n', 0, 1, 'promotional-displays-46', 0, 1),
(47, 24, 'Champion video', '<p>For the launch of their new fragrance, Champion, Davidoff asked us to find a theme that could be applied to the communication around this sport-oriented product. We analized the market and identified a realitvely unknown discipline, Tricking, a mix of martial arts, hip-hop, and gymnastics. We directed two videos, shot press pictures, and set the rules for a series of Tricking events worldwide.</p>\r\n', 0, 1, 'champion-video-47', 1, 0),
(48, 25, 'exhibition identity', '<p>For the opening of the Emporio Armani store in Saint Germain Des Pr&eacute;s in Paris, we were commissioned to create the invitations and catalog of the Rencontres exhibition. Annabelle d&#39;Huart showed for the first time her private pictures of life in New York City in the 1970s amongst the contemporary artists who defined that era. We decided to pay homage to the essence of black and white photography, by directly referencing the Ilford photo paper and its plastic folders.</p>\r\n', 2000, 1, 'exhibition-identity-48', 0, 0),
(50, 26, 'art direction & identity', '<p>When the clothing label Et Vous launched its second line EV, they asked us to create a more modern and sporty logo. To promote their first collection we produced two group shots, photographed by Markus Jans, and laid out in large folded posters.</p>\r\n', 0, 1, 'art-direction-identity-50', 0, 0),
(51, 27, 'limited edition sleeve', '<p>To promote weekend trips in the electronic music capital of Europe, Eurostar asked us to produce a complete package including a guide, CDs, and train tickets. The London bus-shaped folder contained a glow-in-the-dark sleeve, which itself contained the guide and CD.</p>\r\n', 0, 1, 'limited-edition-sleeve-51', 0, 0),
(54, 29, 'visual identity', '<p>The period before the opening of the new Art Foundation of the Galeries Lafayette needed an identity and a coherent language. We created a modular and shifting logo, a sans-serif typeface with Jean Fran&ccedil;ois Porchez, and a signage system based on the remains of the existing building.</p>\r\n', 2013, 1, 'visual-identity-54', 0, 1),
(57, 29, 'Bic pen', '<p>This ongoing collaboration with the artist Sa&acirc;dane Afif explores the multiple possibilites of the iconing 4-color bic pen.&nbsp;</p>\r\n', 2013, 1, 'bic-pen-57', 0, 1),
(65, 31, 'Say Watt? exhibition', '<p>Before we started taking care of the visual commincation for La Ga&iuml;t&eacute; Lyrique, we were asked to do the poster for a one-off exhibition, and took visual inspiration in classic Sound System typography and posters.</p>\r\n', 2013, 1, 'say-watt-exhibition-65', 0, 0),
(72, 33, 'redesign and art direction', '<p>For the first redesign of its french Edition, GQ asked us to re-think what the magazine could be, and how it could create its own identity amongst all the other GQs. We designed a set of 3 typefaces, finalised by Anton Koovit and Yassin Baggar of Fatype, we created a wide set of section logos, and we set up a fully useable grid and structure to be used by the in-house team, led by Paul Chemetoff.</p>\r\n', 0, 1, 'redesign-and-art-direction-72', 0, 0),
(73, 34, 'VS packaging', '<p>For the christmas package of the Hennessy VS range, we redesigned and streamlined the boxes, creating a system that, once stacked together, turns into a giant brown and gold pattern, by simply turning one pack and leaving the next one straight.</p>\r\n', 0, 1, 'vs-packaging-73', 1, 0),
(74, 34, 'XO Mathusalem', '<p>To promote the new Mathusalem box designed by Arik Levy, we created a short film which highlights the clever opening system and highly luxurious construction of this limited edition. We also designed the logo and shot the promotional images with Philippe Lacombe.</p>\r\n', 0, 1, 'xo-mathusalem-74', 1, 0),
(75, 35, 'Hello line poster', '<p>When our friends from H5 organised a conceptual exhibition at La Gait&eacute; Lyrique, they asked a number of designers to imagine what a poster from their fictional company Hello could have looked like at different periods of the XXth century. We designed a transatlantic sea line poster, in the style of the 1920s mythical references that adorn every vintage-themed bar&#39;s walls.</p>\r\n\r\n<p>&nbsp;</p>\r\n', 0, 1, 'hello-line-poster-75', 0, 0),
(76, 36, 'Honda CR-Z mirror edition', '<p>For a limited edition body paint of the Honda CR-Z, we created a mirrored booklet, using the legendary American safety warning phrase.</p>\r\n', 0, 1, 'honda-cr-z-mirror-edition-76', 0, 1),
(77, 36, 'Honda CR-Z Intersection', '<p>For our first proper limited edition car, we teamed up with Honda to create a unique CR-Z. We developped the exclusive beige with Bosh paints, we teamed up with Eley Kishimoto to create a pattern based on the Honda Eco logo, that could live on the car cover, the interior, the hostess&rsquo; outfits, the USB cassette and the invitations. We also designed and produced two set of aluminum wheels that looked like steel rims, and had an optical effect when set in motion.</p>\r\n', 2011, 1, 'honda-cr-z-intersection-77', 0, 1),
(78, 36, 'Car Parc 1', '<p>When BMW asked us to find a way to launch the 1 Series in the UK, with Dan Ross we decided to gather a wide array of creatives and ask them to produce one piece each to be exhibited in a 24hrs a day show in a car park in London. A shoe designer built stilletos from pistons, a jeweller built a candelaria from steering wheel logos, cinematographers, musicians, artists, each found a way to translate what the car meant to them. The invitation was a pop-up car park ticket machine.</p>\r\n', 2004, 1, 'car-parc-1-78', 0, 1),
(79, 36, 'concept concours Milan', '<p>For the Milan Salone of 2005, with Dan Ross we teamed up with Maserati and organized an event showcasing 4 concept cars in a classic Italian venue. We partnered with fabric-maker Alcantara to design an invitation with the profile of each car cut-out of a different colored sheet of Alcantara.</p>\r\n', 2005, 1, 'concept-concours-milan-79', 0, 1),
(80, 36, 'business cards', '<p>When we launched Intersection, one of the first tools we had to promote the yet-to-exist magazine was a car or truck-shaped business card. 15 years later they still prove as popular, for kids and adults alike.</p>\r\n', 0, 1, 'business-cards-80', 1, 1),
(81, 36, 'Saab Intersection event', '<p>For our event in the Frank Gehry IAC building in New York city, we designed invitations that were a subtle reminder of the windows of that iconic West Side Highway building. Together with Dan Ross we produced a fashion shoot within the building, and hosted a party during the NY Auto Show.</p>\r\n', 2008, 1, 'saab-intersection-event-81', 0, 1),
(83, 79, '(in)Civic brand magazine', '<p>For the launch of the 8th generation Honda Civic in France, we created a brand magazine, found its name, produced the cover shoot and a fully exclusive content. (in)Civic was printed at 250.000 copies, and distributed both with Intersection magazine, L&#39;&eacute;quipe, and in dealerships nationwide.</p>\r\n', 2012, 1, '-in-civic-brand-magazine-83', 0, 0),
(84, 36, 'media kit ', '<p>For the 2001 launch of Intersection magazine with Dan Ross and Rankin, we created two objects with strong references to the automotive world. A media kit in the leather-looking plastic, reminiscent of drivers&#39; manuals, and a subscription card printed at the same facility that produces the parking tickets in the UK, in the same exact shape.</p>\r\n', 0, 1, 'media-kit-84', 0, 1),
(86, 36, 'magazine design & art direction', '<p>In 2001, frustrated by the lack of a car magazine that would reflect the large presence of vehicles in art, music, cinema, architecture and design, Yorgo Tloupas teamed up with Dan Ross and Rankin of Dazed&amp;Confused, and launched what is still today the only magazine treating cars through the cultural angle.</p>\r\n', 2001, 1, 'magazine-design-art-direction-86', 0, 1),
(89, 36, 'bags', '<p>Over the years we have designed many bags to carry our heavy magazines, using the visual codes of cars and car racing.</p>\r\n', 0, 1, 'bags-89', 1, 1),
(90, 36, 'car covers', '<p>We teamed up with Alfa Romeo to create a series of events worldwide, showcasing the Alfa Brera clad in Car Covers designed by leading fashion designers in each country. With Dan Ross we commissioned and produced car covers made by Maison Martin Margiela for Paris, Adam Kimmel for NYC, Bless for Berlin, Richard James for London, Ksubi for Sydney, and Visvim for Tokyo.</p>\r\n', 2008, 1, 'car-covers-90', 0, 1),
(91, 13, 'limited edition cars', '<p>Over the years, we&#39;ve applied the Black Crows identity on a variety of cars, playing with the chevron pattern&nbsp;as tire tread, and with windshields tinted as ski goggles.</p>\r\n', 2014, 1, 'limited-edition-cars-91', 0, 1),
(92, 37, 'visual identity', '<p>When Olivier Amsellem aked us to design the logo for his new concept store in Marseille, he let us play with the misleading name he had chosen: Jogging. Alas no running shoes are to be found inside, but we went for a sporty and light-hearted feel, with a J logo that could almost start a jog.</p>\r\n', 2015, 1, 'visual-identity-92', 0, 0),
(93, 38, 'F/W 2002 campaign', '<p>For Kenzo&#39;s F/W 2002 campaign, we shot with Luis Sanchis and decided to play with the natural light of the studio as much as we could, with a system of reflecting mirrors. Styling by Hector Castro.</p>\r\n', 2002, 1, 'f-w-2002-campaign-93', 0, 0),
(103, 39, 'visual identity', '<p>When parisian gallery owner Kamel Mennour opened&nbsp;his new venue, he asked us to design a completely new&nbsp;identity. We created a small icon made of a minimal K and M, leaving a white space in the counter-shape, and we designed a full set of communication tools, from invitations to catalogs to signage.</p>\r\n', 0, 1, 'visual-identity-103', 0, 1),
(115, 41, 'S/S 2009 invitation', '<p>For the Spring/summer 2009 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create inviations with an almost mechanical Op-Design effect. The rest of the communication tools followed the same dazzling graphic direction.</p>\r\n', 2009, 1, 's-s-2009-invitation-115', 0, 1),
(116, 41, 'F/W 2010-11 invitation', '<p>For the Fall-Winter 2010-11&nbsp;Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create folding and cut-out invitations, with a colour palette matching the clothes moodboard. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2010, 1, 'f-w-2010-11-invitation-116', 1, 1),
(118, 41, 'S/S 2010 invitation', '<p>For the Fall-Winter 2011-12 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which swimming pools as a principal reference, and we decided to create inviations made of transparent blue plastic, projecting summery shadows on the surfaces below. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2010, 1, 's-s-2010-invitation-118', 0, 1),
(119, 41, 'S/S 2011 invitation', '<p>For the Spring-Summer 2011 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create invitations and lookbooks in reference to Mondrian and De Stijl, with a folding system that progressively revealed the red tint.</p>\r\n', 2011, 1, 's-s-2011-invitation-119', 0, 1),
(120, 41, 'F/W 2009-10 invitation', '<p>For the Fall-Winter 2009-10 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, and we decided to create inviations made of thick black felt.</p>\r\n', 2011, 1, 'f-w-2009-10-invitation-120', 0, 1),
(121, 41, 'S/S 2008 invitation', '<p>For the Spring/Summer 2008 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which co&iuml;ncided with the brand&#39;s 75th anniversary, and we decided to create minimal and retro embossed, sealed with a special wax stamp. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2008, 1, 's-s-2008-invitation-121', 0, 1),
(122, 41, 'F/W 2007-08 invitation', '<p>For the Fall-Winter 2007-08 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which had a wintery fireplace atmosphere to it, and we decided to create invitations made of thick wood and cut-out card, with burned engraved lettering on the wood. The rest of the communication tools followed the same graphic direction.</p>\r\n', 2007, 1, 'f-w-2007-08-invitation-122', 0, 1),
(123, 41, 'S/S 2007 invitation', '<p>For the Spring/Summer 2007 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which had nautical culture as a principal reference, and we decided to create an invitations made of thick transparent engraved plastic, reminiscent of navigation tools. The rest of the communication tools followed the same graphic direction, with the use of maritime maps and symbols.</p>\r\n', 2007, 1, 's-s-2007-invitation-123', 0, 1),
(124, 41, 'Campanas invitation', '<p>For the collaboration between maverick Brazilian product designers The Campanas Brothers and Lacoste, we were asked to find an ecological way to produce the invitations for the launch. We therefore creted a single large rubber stamp, which got applied on recycled cardboard, over and over again.</p>\r\n', 2009, 1, 'campanas-invitation-124', 0, 1),
(127, 41, 'L!VE logo design', '<p>We designed the Lacoste L!VE logo for what has today become their main secondary line. A comprehensive visual identity guidelines book was produced to allow that logo to live and expand worldwide.</p>\r\n', 0, 1, 'l-ve-logo-design-127', 0, 1),
(129, 41, 'L1212 invitation', '<p>For the launch of the L.12.12 project we created a small laquered metal invitation, with a magnetic rubber crocodile.</p>\r\n\r\n<p> </p>\r\n', 2012, 1, 'l1212-invitation-129', 0, 1),
(132, 41, 'Li XIao Feng limited edition', '<p>For their yearly polo collaboration, Lacoste chose the Chinese artist Li Xiao Feng, who applied his broken vase technique to the print of a polo. We created a unique logo and identity, and found ways to package the exclusive polo that matched the desires and inspirations of the artist.</p>\r\n', 2010, 1, 'li-xiao-feng-limited-edition-132', 0, 1),
(134, 41, 'print patterns', '<p>Over the years we designed a few t-shirt prints for Lacoste, based on the crocodile for some, and with a repetitive pattern for some, based on the shape of a tennis court.</p>\r\n', 0, 1, 'print-patterns-134', 0, 1),
(135, 41, 'Citroën/Lacoste concept car', '<p>In great secrecy, we worked for a long period of time with the designer Christophe Pillet and the Citro&euml;n design team, and helped them produce the first Cactus concept car, a precusrsor to what is today the best-looking french production car. Once finished, we designed the invitations for the launch, made out of white seatbelt material that we sourced and got screenprinted. The car was the shot for Intersection magazine by Gregoire Alexandre.</p>\r\n', 0, 1, 'citro-n-lacoste-concept-car-135', 0, 1),
(136, 41, 'Lab L!VE products', '<p>For this collaboration with the product designer Christophe Pillet, we applied the L!VE visual codes to a series of sporting objects, and coordinated in detail the manufacturing of the skateboard and snowboard as we had experience and contacts with these two industries.</p>\r\n', 2011, 1, 'lab-l-ve-products-136', 0, 1),
(137, 41, 'F/W 2008-09 invitation', '<p>For the Fall-Winter 2008-09 Lacoste fashion show, the head designer Christophe Lemaire briefed us on the feel and mood of the upcoming collection, which had early XXth century skiing as one of the references, and we decided to create inviations and communication tools based on the posters from that era. Yorgo Tloupas drew the illustrations, and we got a custom woolen pouch made at one of the Lacoste factories.</p>\r\n', 2008, 1, 'f-w-2008-09-invitation-137', 1, 1),
(138, 41, 'Assouline history book', '<p>For Lacoste&#39;s book on the history of the brand by Assouline, we were asked to find a solution for the cover. Our concept was simple: to re-create the multi-colored piles of Lacoste polos found in stores, with 5 different colors for the cover of the same book. On these monochromatic textured surfaces we applied an embroided crocodile in a recessed zone.</p>\r\n', 0, 1, 'assouline-history-book-138', 0, 1),
(142, 42, 'store opening design', '<p>For the opening of the Parisian Look store, rue St Honor&eacute;, we re-interpreted the iconic Mondrian Look logo in a monochromatic way on invitations, bags, and clothing labels.</p>\r\n', 0, 0, 'store-opening-design-142', 0, 0),
(144, 41, 'Lacoste Lab products', '<p>In collaboration with the designer Christophe Pillet, we set the visual language for this series of sporting objects for Lacoste. We developed with JP Stark a unique way of embossing the logo beneath the glossy surface of the surfboard, we collaborated with Black Crows to produce a subtle surface material for the skis, and we shot and laid out all the finalized products in a set of posters and catalogs.</p>\r\n', 0, 1, 'lacoste-lab-products-144', 0, 1),
(145, 43, 'visual identity', '<p>For the 2014 football world cup, a group of Parisian friends decided that we needed a hip and friendly venue to watch the games, and together we created Le Ballon. A bar, but also a Football Cup with its league, this project soon outlived the short weeks of the world cup and continues to grow.</p>\r\n', 2014, 1, 'visual-identity-145', 0, 0),
(146, 43, 'Le Ballon magazine', '<p>For the Le Ballon Bar, we decided to produce a menu in the shape of a newspaper, which also served as a guide for the 2014 Football World Cup.</p>\r\n', 2014, 1, 'le-ballon-magazine-146', 0, 0),
(149, 44, 'Louis Vuitton magazine design', '<p>For the launch of Louis Vuitton&rsquo;s first magazine, we were asked to art direct and define the visual identity of this luxury bi-annual. After extensive research in the brand&rsquo;s archives, we created with Production Type two families of typefaces inspired by material from the early XXth century. The magazine was designed with its 11 versions (in 9 different languages) in mind.</p>\r\n', 2014, 1, 'louis-vuitton-magazine-design-149', 0, 0),
(150, 45, 'Chanel mobile art', '<p>When Chanel decided to install the Zaha Hadid Mobile Art structure at the Institut du Monde Arabe in Paris, we were asked to find a solution to promote the event and exhibition. We designed the posters and communication elements, from the exhibition signage to the giant billboard on the building itself.</p>\r\n', 2011, 1, 'chanel-mobile-art-150', 1, 0),
(151, 46, 'Paris Pour Escale art book', '<p>For the Paris Pour Escale exhibition at the Mus&eacute;e d&#39;Art Moderne de la Ville de Paris, we decided that the wide variety of artists having made Paris their homebase called for a symbolic rendering of the shades of the sky of the capital, rendered in different gradients throughought the catalog.</p>\r\n', 2000, 1, 'paris-pour-escale-art-book-151', 0, 0),
(152, 47, 'Wallpaper* Handmade cognac flask', '<div class=\"_5pbx userContent\" data-ft=\"{\">\r\n<p>This flask we designed for the wallpaper* Handmade exhibition at The 2015 salone di Milano combines a few of Yorgo Tloupas&rsquo; interests : cycling, design, and drinking cognac. The top two-thirds contain water for the bike ride, and the bottom third contains Martell cognac, for the celebration. &quot;Apr&egrave;s l&rsquo;effort le r&eacute;confort&quot;, as we say in french.</p>\r\n</div>\r\n', 2015, 1, 'wallpaper-handmade-cognac-flask-152', 0, 1),
(153, 48, 'sketch albums', '<p>For our friend Mourad Mazouz and his multi-use London venue, Sketch, we created a CD and DVD pack with illustrations of his head by Yorgo Tloupas.</p>\r\n', 2005, 1, 'sketch-albums-153', 0, 0),
(156, 51, 'magazine design & art direction', '<p>In 1999, together with Angelo Cirimele and Alexandre Thumerelle, we launched a free quarterly magazine, called Magazine, which had as a main subject magazines. We set a strict cover structure and interior grid, which stayed the same each issue, but with a complete change of typeface. After art directing the first two years, with Angelo we decided to let a different designer oversee each issue, with the rule of keeping the grid but changing the font.</p>\r\n\r\n<p>In 2013 Magazine stopped being a free publication, and for the new formula we changed almost everything, and pionneered a new cover system, with a removable sticker containing the logo and cover lines, and hiding a crucial bit of the cover image. Today Magazine is still the leading publication on the industry, and is art directed by our former designer Charlie Janiaut.</p>\r\n', 0, 1, 'magazine-design-art-direction-156', 0, 0),
(157, 52, 'visual identity', '<p>When the designer No&eacute; Duchaufour Lawrance asked us to change his logo, we found in his work a curvaceous yet almost mathematical DNA. The N logo we designed for him is entirely made of straight lines, but with a subtle movement it becomes almost organic in its form.</p>\r\n', 0, 1, 'visual-identity-157', 0, 0),
(158, 53, 'logo and visual identity', '<p>When Diesel&rsquo;s Renzo Rosso bought New York Industrie, he made clear to us that he wasn&rsquo;t overly fond of the name of that clothing label. To remedy to that unusal constraint, we decided to create a new logo that would be made of a repetition of the name, with a subtle gradient in the weight of the font.</p>\r\n', 0, 1, 'logo-and-visual-identity-158', 0, 0),
(159, 54, '20000st EP design', '<p>The extreme Op-design direction of this EP cover pushes the limits of readability, but is nonetheless a clear response to the artist&#39;s tastes and whishes. Not to be read in a dark nightclub.</p>\r\n', 0, 1, '20000st-ep-design-159', 0, 0),
(160, 55, 'logo design', '<p>Alexandre Thumerelle opened his art bookstore and magazine treasure trove in Paris at a time when few of these kind of venues could be found in the capital. We created an abstract symbol that has since become, when seen on a bag, a sign of avant-garde printed content.</p>\r\n', 0, 1, 'logo-design-160', 0, 0),
(161, 56, 'logo design', '<p>India d&#39;Urso&#39;s new bag brand needed a simple logo, that could live in extremely small sizes and on large surfaces equally. We decided to draw a few simple letters and to frame them in an almost nautical way.</p>\r\n', 0, 1, 'logo-design-161', 0, 0),
(162, 57, 'art festival identity', '<p>For the Printemps de Cahors, a contemporary art festival set in this ancient french city, Christine Macel, the curator, gave us the theme and title of the edition: Sensitive. Based on this we lightly deformed our line pattern with a discreet bump, as if a thumb had pushed through. All the communication was printed on fluorescent orange paper, suddenly giving a kick of color to the streets.</p>\r\n', 2000, 1, 'art-festival-identity-162', 0, 0),
(163, 58, 'Hideo Kobayashi E.P.', '<p>Hideo Kobayashi&#39;s RAW E.P. took form in a typographic-only treatment, and we played with levels of depth to highlight the hierarchy of information.</p>\r\n', 2000, 1, 'hideo-kobayashi-ep-163', 1, 0),
(164, 59, 'logo and type design', '<p>For the launch of his eponymous clothing brand, Ramdane Touhami asked us to design a discreet yet original logo, and we simply decided to create a unique typeface, in two weights, with strong A&#39;s, as the letter was to appear twice in the brand.</p>\r\n', 0, 1, 'logo-and-type-design-164', 0, 0),
(165, 60, 'logo & snowboards design', '<p>In 1996, Yorgo Tloupas was finishing his studies at ESAG Paris, and was at the same time competing in snowboard events, sponsored by Rossignol. When he told the marketing director, Jean-Carl Carpano, that he was planning for his diploma, to invent a snowboard brand called Orange (years before the mobile company took form), he was told instead to propose a new identity for Rossignol Snowboards. Diploma in hand, he took the project to the alps and Rossignol bought it.</p>\r\n', 1997, 1, 'logo-snowboards-design-165', 0, 0),
(169, 62, 'visual identity', '<p>When the Parisian food truck Le Refectoire started to expand into catering and actual restaurants, they needed a new identity to accompany them in their growth. We drew a thin script logo, made in one block, to be easily cut-out for signs and neons. We developed a pop visual identity system with triangular flakes and a modern typography language, and today the brand is growing with these tools at hand.</p>\r\n', 2014, 1, 'visual-identity-169', 0, 0),
(170, 63, 'nail bar logo & communication', '<p>When Shu Uemura launched their Nail Bar in Paris, we were asked to create a logo that could work with the main brand, and to accompany it we designed a whole range of printed materials that evocated the layers of nail varnish.</p>\r\n', 2000, 1, 'nail-bar-logo-communication-170', 0, 0),
(171, 64, 'cd collection', '<p>The Sound Of Season is a collection of CDs extracting the best soundtracks from Paris Fashion Week&#39;s catwalk shows, with skits of soundbites from the live action. We designed a geometric shape that represented as simply as possible the catwalk and its entrance, seen from different angles on the front, side, back and disc. Each season the colors were based on the main tints used by the fashion industry.</p>\r\n', 2012, 1, 'cd-collection-171', 0, 0),
(172, 65, 'Next to you album art direction', '<p>For Stephane Malca&rsquo;s electronic music album Next To You, we were given a wide creative freedom since he did not want his face to appear on the artwork. We bought an LED sign display and took it around Paris, photographing it in various locations, its omnipresence echoing the title of the album.</p>\r\n', 1998, 1, 'next-to-you-album-art-direction-172', 1, 0),
(174, 66, 'logo design', '<p>When the legendary Parisian skateshop Street Machine asked us to redesign its logo, as lifelong skateboarders we did not hesitate a second. We fit a S and a M in the hexagonal shape of france, in a form that allowed the logo to be cut-out and extruded easily.</p>\r\n', 0, 1, 'logo-design-174', 0, 0),
(175, 36, 'Scirocco studios', '<p>For the launch of the new Scirocco, together with Dan Ross we suggested to VW to create a cross-country series of events and shows, where multiple artists and designers would create exclusives pieces. We customized cars, set up exhibitions, designed booklets and produced magazine supplements.</p>\r\n', 0, 1, 'scirocco-studios-175', 0, 1),
(176, 68, 'album and singles', '<p>For the launch of The Upper Room, a Brighton-based band, we created a series of data visualisations of life in the UK, comparing on maps different and sometimes controversial statistics.</p>\r\n', 2006, 1, 'album-and-singles-176', 0, 0),
(177, 69, 'limited edition t-shirts', '<p>We were invited to take part in an invitational series featuring Parisian artists and designers, and created a set of t-shirts with an optical twist.</p>\r\n', 0, 1, 'limited-edition-t-shirts-177', 0, 0),
(178, 70, 'Veilhan Versailles identity & signage', '<p>When Xavier Veilhan was invited, a year after Jeff Koons, to invest the Chateau De Versilles for a large-scale exhibition, he asked us to design all the identity and signage for the event. Knowing that the vast majority of Versailles visitors would not know about the artist or about contemporary art, we decided to have highly visual signage and a unique inline typeface. We also designed a guide and map, to help the audience navigate the huge exhibition area.</p>\r\n', 2009, 1, 'veilhan-versailles-identity-signage-178', 0, 0),
(179, 71, 'Main Dans La Main credits', '<p>For Valerie Donzelli&#39;s 3rd feature film, we designed the opening and closing credits, with a specially designed typography and a dancing theme running through them.</p>\r\n', 2012, 1, 'main-dans-la-main-credits-179', 0, 0),
(180, 72, 'logo design', '<p>For Pascal Monfort&rsquo;s new band, we designed a simple logo with the V and A meant to be easily reproduced with hand language.</p>\r\n', 0, 1, 'logo-design-180', 1, 0),
(181, 73, 'magazine launch and art direction', '<p>When Cond&eacute; Nast France decided to launch Vanity Fair in its French edition, they asked Yorgo Tloupas to art direct and coordinate the launch. We worked in secrecy for 18 months, producing 4 dummy issues, creating and developing a family of custom typefaces with Production Type, and setting all the codes that now define this successful edition. We also designed a discreet stamp/logo, the VFF lozange, that helps identify all the side products we still produce.</p>\r\n', 2013, 1, 'magazine-launch-and-art-direction-181', 0, 0),
(184, 75, 'magazine design and photography', '<p>At the height of the French Touch electronic music scene, the What&#39;s Up bar in Paris was a landmark venue, and we designed all the flyers for the events, plus the magazine with its monochromatic sleeve covers. Most of the photography in the mag was also shot by Yorgo Tloupas.</p>\r\n', 1998, 1, 'magazine-design-and-photography-184', 0, 0),
(185, 76, 'Paris launch performance', '<p>For the opening of the W hotel in Paris, Yorgo Tloupas was asked to do an installation on site. He decided to take over a corner, cover it with a special pattern made of Ys, and create a suit with the same pattern to disappear in the pictures with the guests.</p>\r\n', 0, 1, 'paris-launch-performance-185', 0, 0),
(186, 77, 'F/W 2001 invitation ', '<p>When Hedi Slimane first took the helm of Yves Saint Laurent, he asked us to design his show invitation. We created a simple-looking yet complex object. Twenty-five sheets of paper were printed in glossy black, including on their spines, then inserted in a embossed and varnished sleeve. The show soundtrack CD was produced by our office-sharing friend Alex Gopher, printed in two layers of gold, and inserted in a rectangular embossed folder.</p>\r\n', 2001, 1, 'f-w-2001-invitation-186', 0, 0),
(187, 77, 'variations ss/2000 lookbook', '<p>BROCHURE</p>\r\n', 2000, 0, 'variations-ss-2000-lookbook-187', 0, 0),
(191, 19, 'Little White Lies exhibition', '<p>Colette and Little White Lies magazine invited us to re-design an iconic movie poster. We went for one of the most iconic of all, Jaws, and with our own blood recreated the silhouette of the shark in hundreds of dots.</p>\r\n', 2012, 1, 'little-white-lies-exhibition-191', 0, 1),
(193, 78, 'party invitation', '<p>For Jean-Charles de Castelbajac&#39;s rue Madame store opening, we teamed up with Ramdane Touhami and organized a street party. The flyer was hence made of cut-out plastic ribbons, printed with JCDC&#39;s signature cross, and was an invitation to actually cross the line. The ribbon was also used to cordon off the area on the night of the event.</p>\r\n', 1999, 1, 'party-invitation-193', 0, 0),
(194, 39, 'Sigalit Landau artist edition', '<p>When the Israeli artist Sigalit Landau produced a series of 3 films with the Kamel Mennour gallery, we were asked to find a form that could contain these films, and could be produced in 5 copies. We produced circles of wood tied together by magnets, with the DVDs housed between felt sheets, all presented within a custom box with a booklet.</p>\r\n', 0, 1, 'sigalit-landau-artist-edition-194', 0, 1),
(195, 73, 'side products', '<p>During the long run-up to the launch of Vanity Fair France, on top of designing and art directing dummies, we produced a wide range of exclusive objects, sent to VIPs and contributors. We applied our custom VFF logo and our exclusive Vanit&eacute; typeface to all, sourcing collaborating brands and overseeing the coherence between all the objects.</p>\r\n', 2014, 1, 'side-products-195', 0, 0),
(196, 31, 'visual communication', '<p>We took care of the global visual communication of La Ga&iuml;t&eacute; Lyrique, an arts and music venue in Paris. We adapted the existing logo and typeface, and apllied a strict design code to all the communication tools.</p>\r\n', 2013, 1, 'visual-communication-196', 0, 0),
(198, 82, 'visual identity', '<p>For the identity of this media agency, linked to Le Ballon Football Club, we had to find a link to their dazzle patterns, and a sufficiently mysterious logo to retain their mysteriousness. An impossible perspective in the N is rendered even more puzzling by a moving grid.</p>\r\n', 2014, 1, 'visual-identity-198', 0, 0),
(199, 19, '18th birthday', '<p>For colette&#39;s 18th birthday, we created a logo based on their two blue dots. Applied on a window and in-store display, it has also taken shape on a limited edition Smart car. Skateboarders will be quick to spot a nod to an iconic brand of the 1990s.</p>\r\n', 2015, 1, '18th-birthday-199', 0, 1),
(201, 88, 'Next magazine redesign', '<p>When the legendary french newspaper Lib&eacute;ration asked us to help them redefine their media portfolio, we not only commissioned a large family of typefaces from Production Type, now used in the daily and the website, but we also fully redesigned the monthly Next supplement.</p>\r\n', 2015, 1, 'next-magazine-redesign-201', 0, 0),
(202, 80, 'logo design', '<p>For Utopia Cuir, a leather workshop in Paris, we designed a simple U, based on interwoven threads.</p>\r\n', 2014, 1, 'logo-design-202', 0, 0),
(204, 29, 'greeting card 2016', '<p>This personalized box includes various figurines set in a yellow box reminiscent of the elevator of the upcoming OMA building. Online, these figurines can explore the future floors of the art foundation.</p>\r\n', 2016, 1, 'greeting-card-2016-204', 0, 1),
(205, 90, 'Evoque sculpture', '', 0, 1, 'evoque-sculpture-205', 0, 0),
(207, 91, 'french inspiration magazine design', '<p>Fo the internation edition of Madame Figaro, we selected some of&nbsp;the existing tools of the legendary parisian magazine, from the typefaces to the visuals, and re-created a more streamlined and more minimal version, in a bigger format.</p>\r\n', 2015, 1, 'french-inspiration-magazine-design-207', 0, 0),
(208, 92, 'DVNO music video', '<p>Co-directed by&nbsp;Yorgo Tloupas&nbsp;and his friend So-Me, this video is an endless nod to the TV idents of the 80s and their classic logos.</p>\r\n', 2008, 1, 'dvno-music-video-208', 0, 0),
(209, 47, 'visual identity', '<p>When redesigning the identity of Martell, we explored&nbsp;the luxury cognac house&rsquo;s archives, bringing back details from 300 years of history. We drew a new swift, revived a&nbsp;timeless shield, created exclusive typefaces, and set the <span style=\"line-height: 20.8px;\">global corporate identity&nbsp;</span>brand guidelines.</p>\r\n', 2015, 1, 'visual-identity-209', 0, 1),
(210, 13, 'hardgoods', '<p>Ever since we created the Black Crows logo, based on a bird-like shape, we used that chevron and exclusively that chevron to design an ever-growing range of products: skis, poles, and bindings.</p>\r\n', 2007, 1, 'hardgoods-210', 0, 1),
(211, 13, 'softgoods', '<p>The launch of the softgoods collection was an opportunity to apply the chevron-based identity to clothing, g<span class=\"s1\">iving a clear vision&nbsp;of what Black&nbsp;Crows clothes could look like&nbsp;to our stylists and&nbsp;production managers.</span></p>\r\n', 0, 1, 'softgoods-211', 0, 1),
(212, 13, 'print', '<p>The Black Crows identity has kept a clear direction from day one, with printed material a logical follow-up of the skis and clothes, using exclusively a custom modified helvetica bold, and of course a few chevrons along the line.</p>\r\n', 0, 1, 'print-212', 0, 1),
(213, 13, 'advertising', '<p>From day one, the Black Crows ad campaigns have avoided the classic shot of a skier in powder against a blue sky, exploring studio setups, animated gifs, and a mysterious gang of masked characters.</p>\r\n', 0, 1, 'advertising-213', 0, 1),
(214, 93, 'magazine & logo redesign', '<p>Psychologies, one of the best selling magazines in France, with editions worldwide, asked us for a subtle&nbsp;redesign, but we could not help but proposing a new logo altogether. The new visual system now lives monthly, and is adapted in all the worldwide editions.</p>\r\n', 2015, 1, 'magazine-logo-redesign-214', 0, 0),
(215, 9, 'logo design', '<p>To represent the association of the three founders of Disciplines, we interlaced 3 capital Ds to create a simple sign that can become a 3-dimentional tool when needed.</p>\r\n', 0, 1, 'logo-design-215', 0, 0),
(216, 95, 'visual identity', '<p>When the auction house Artcurial asked us to redesign their logo, we decided to keep their slanted A, but to translate that modern visual gimmick into a more classic language. We designed a custom typeface i<span style=\"line-height: 20.8px;\">n collaboration with Production Type,&nbsp;</span>we created an icon reminiscent of the rise of an auction, and we set the guidelines for a global brand identity.</p>\r\n', 0, 1, 'visual-identity-216', 0, 0),
(217, 96, 'Instants online & print magazine', '<p>Asked by Relais &amp; Ch&acirc;teaux to create their first online magazine, we created a flexible platform to express the wealth on offer in the world of the company. And&nbsp;we couldn&#39;t resist suggesting a printed version as well.&nbsp;</p>\r\n', 2016, 1, 'instants-online-print-magazine-217', 0, 0),
(218, 29, 'greeting card 2015', '<p><span style=\"line-height: 20.8px;\">This lenticular card is a reminder that the new foundation building is still in construction, expressed by a three-dimensional loading bar.</span></p>\r\n', 2015, 1, 'greeting-card-2015-218', 0, 1),
(219, 39, 'new typography', '', 2016, 1, 'new-typography-219', 0, 1),
(220, 97, 'visual identity', '<p>When it came to designing our visual identity, we couldn&#39;t help but play with optical wizardry again, this time inventing and patenting an embossing technique that, combined with tightly spaced printed lines, reveals hidden designs.</p>\r\n', 2016, 1, 'visual-identity-220', 0, 0),
(221, 98, 'FW 2016 campaign', '', 2016, 1, 'fw-2016-campaign-221', 0, 0),
(222, 29, '2013-2016 : A three-year pre-launch programme.', '', 2016, 1, '2013-2016-a-three-year-pre-launch-programme-222', 0, 1),
(223, 29, 'faisons de l&rsquo;inconnu un allié', '', 2016, 1, 'faisons-de-l-inconnu-un-alli--223', 0, 1),
(224, 47, 'beauty shots', '', 2016, 1, 'beauty-shots-224', 0, 1);

-- --------------------------------------------------------

--
-- Structure de la table `utilisateur_droit`
--

CREATE TABLE `utilisateur_droit` (
  `id` tinyint(4) NOT NULL,
  `titre` varchar(50) NOT NULL DEFAULT ''
) ENGINE=MyISAM DEFAULT CHARSET=latin1;

--
-- Déchargement des données de la table `utilisateur_droit`
--

INSERT INTO `utilisateur_droit` (`id`, `titre`) VALUES
(1, 'Administrateur'),
(2, 'Utilisateur');

--
-- Index pour les tables déchargées
--

--
-- Index pour la table `categorie`
--
ALTER TABLE `categorie`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `client`
--
ALTER TABLE `client`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `commande`
--
ALTER TABLE `commande`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact`
--
ALTER TABLE `contact`
  ADD PRIMARY KEY (`id_contact`),
  ADD KEY `id_categorie` (`id_civilite`),
  ADD KEY `id_societe` (`id_societe`),
  ADD KEY `id_user` (`id_user`,`id_user_update`);

--
-- Index pour la table `contact_adresse`
--
ALTER TABLE `contact_adresse`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_pays` (`id_pays`),
  ADD KEY `id_parent` (`id_parent`);

--
-- Index pour la table `contact_categorie`
--
ALTER TABLE `contact_categorie`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact_categorie_liaison`
--
ALTER TABLE `contact_categorie_liaison`
  ADD KEY `id_contact` (`id_contact`,`id_categorie`);

--
-- Index pour la table `contact_civilite`
--
ALTER TABLE `contact_civilite`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact_coordonnee`
--
ALTER TABLE `contact_coordonnee`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_parent` (`id_parent`,`id_type`);

--
-- Index pour la table `contact_coordonnee_type`
--
ALTER TABLE `contact_coordonnee_type`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact_fonction`
--
ALTER TABLE `contact_fonction`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact_fonction_liaison`
--
ALTER TABLE `contact_fonction_liaison`
  ADD KEY `id_contact` (`id_contact`,`id_fonction`);

--
-- Index pour la table `contact_pays`
--
ALTER TABLE `contact_pays`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `contact_societe`
--
ALTER TABLE `contact_societe`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `document`
--
ALTER TABLE `document`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_parent` (`id_parent`),
  ADD KEY `id_vide` (`id_vide`),
  ADD KEY `id_categorie` (`id_categorie`,`id_client`),
  ADD KEY `id_projet` (`id_projet`);

--
-- Index pour la table `document_vide`
--
ALTER TABLE `document_vide`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `grille`
--
ALTER TABLE `grille`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `logo`
--
ALTER TABLE `logo`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `newsletter`
--
ALTER TABLE `newsletter`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_categorie` (`id_categorie`);

--
-- Index pour la table `parametre`
--
ALTER TABLE `parametre`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `presse`
--
ALTER TABLE `presse`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `produit`
--
ALTER TABLE `produit`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `site_language`
--
ALTER TABLE `site_language`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `traduction`
--
ALTER TABLE `traduction`
  ADD PRIMARY KEY (`id`);

--
-- Index pour la table `travaux`
--
ALTER TABLE `travaux`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_client` (`id_client`),
  ADD KEY `onlyclient` (`onlyclient`),
  ADD KEY `alsoclient` (`alsoclient`);

--
-- Index pour la table `travaux_also`
--
ALTER TABLE `travaux_also`
  ADD KEY `id_travaux` (`id_travaux`,`id_also`);

--
-- Index pour la table `travaux_also_client`
--
ALTER TABLE `travaux_also_client`
  ADD KEY `a1` (`id_travaux`),
  ADD KEY `a2` (`id_also`);

--
-- Index pour la table `travaux_categorie`
--
ALTER TABLE `travaux_categorie`
  ADD KEY `id_work` (`id_travaux`,`id_categorie`),
  ADD KEY `ordre` (`ordre`);

--
-- Index pour la table `travaux_sauve`
--
ALTER TABLE `travaux_sauve`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_client` (`id_client`);

--
-- Index pour la table `travaux_sauve_texte`
--
ALTER TABLE `travaux_sauve_texte`
  ADD PRIMARY KEY (`id`),
  ADD KEY `id_client` (`id_client`),
  ADD KEY `onlyclient` (`onlyclient`),
  ADD KEY `alsoclient` (`alsoclient`);

--
-- Index pour la table `utilisateur_droit`
--
ALTER TABLE `utilisateur_droit`
  ADD PRIMARY KEY (`id`);

--
-- AUTO_INCREMENT pour les tables déchargées
--

--
-- AUTO_INCREMENT pour la table `categorie`
--
ALTER TABLE `categorie`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=13;
--
-- AUTO_INCREMENT pour la table `client`
--
ALTER TABLE `client`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=111;
--
-- AUTO_INCREMENT pour la table `commande`
--
ALTER TABLE `commande`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT;
--
-- AUTO_INCREMENT pour la table `contact`
--
ALTER TABLE `contact`
  MODIFY `id_contact` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=3466;
--
-- AUTO_INCREMENT pour la table `contact_adresse`
--
ALTER TABLE `contact_adresse`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=1991;
--
-- AUTO_INCREMENT pour la table `contact_categorie`
--
ALTER TABLE `contact_categorie`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=183;
--
-- AUTO_INCREMENT pour la table `contact_civilite`
--
ALTER TABLE `contact_civilite`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=67;
--
-- AUTO_INCREMENT pour la table `contact_coordonnee`
--
ALTER TABLE `contact_coordonnee`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=5420;
--
-- AUTO_INCREMENT pour la table `contact_coordonnee_type`
--
ALTER TABLE `contact_coordonnee_type`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=5;
--
-- AUTO_INCREMENT pour la table `contact_fonction`
--
ALTER TABLE `contact_fonction`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=900;
--
-- AUTO_INCREMENT pour la table `contact_pays`
--
ALTER TABLE `contact_pays`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=240;
--
-- AUTO_INCREMENT pour la table `contact_societe`
--
ALTER TABLE `contact_societe`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=1719;
--
-- AUTO_INCREMENT pour la table `document`
--
ALTER TABLE `document`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=4151;
--
-- AUTO_INCREMENT pour la table `document_vide`
--
ALTER TABLE `document_vide`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=3;
--
-- AUTO_INCREMENT pour la table `grille`
--
ALTER TABLE `grille`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=5;
--
-- AUTO_INCREMENT pour la table `logo`
--
ALTER TABLE `logo`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=39;
--
-- AUTO_INCREMENT pour la table `newsletter`
--
ALTER TABLE `newsletter`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=3;
--
-- AUTO_INCREMENT pour la table `parametre`
--
ALTER TABLE `parametre`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=2;
--
-- AUTO_INCREMENT pour la table `presse`
--
ALTER TABLE `presse`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=69;
--
-- AUTO_INCREMENT pour la table `produit`
--
ALTER TABLE `produit`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT;
--
-- AUTO_INCREMENT pour la table `site_language`
--
ALTER TABLE `site_language`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=3;
--
-- AUTO_INCREMENT pour la table `traduction`
--
ALTER TABLE `traduction`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=12;
--
-- AUTO_INCREMENT pour la table `travaux`
--
ALTER TABLE `travaux`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=265;
--
-- AUTO_INCREMENT pour la table `travaux_sauve`
--
ALTER TABLE `travaux_sauve`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=194;
--
-- AUTO_INCREMENT pour la table `travaux_sauve_texte`
--
ALTER TABLE `travaux_sauve_texte`
  MODIFY `id` int(11) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=225;
--
-- AUTO_INCREMENT pour la table `utilisateur_droit`
--
ALTER TABLE `utilisateur_droit`
  MODIFY `id` tinyint(4) NOT NULL AUTO_INCREMENT, AUTO_INCREMENT=3;COMMIT;

