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February 17, 2018

Jazz à Vienne and the Angoulême International Comics Festival bring the arts together. The two festivals have more in common than simply setting the benchmark in their respective fields…Starting with a mutual drive to bring festivalgoers a diverse line-up with a focus on introductions and get-togethers in both jazz and comic strips. As part of the partnership, every year the Angoulême Festival gives a different comic strip illustrator the chance to design the Jazz à Vienne poster.

    

THE NEW 2018 POSTER

French illustrator Brüno and his mysterious dream world blending musical imagery have taken on the 2018 poster challenge! The visual is in line with his work whose very synthetic style is inspired by Franco-Belgian comic strips with an American spin with influences such as Burns. Brüno’s style is all about simple but striking images. Carefully-crafted minimalism. The 2018 poster brings us a timeless musician inspired by Miles Davis with a 70s vibe and futuristic sunglasses. The choice of colours in the poster reflects the illustrator’s style. The restricted colour spectrum sees the hues, like the visual, make a big impact. It’s the vivid relationship between the rich yellow counterbalanced by cooler and more subdued shades of blue that underlines the design’s composition. To further enhance this change in visual style, the Jazz à Vienne festival has all new branding starting with the logo by graphic designer Aude Perrier.

THE ILLUSTRATOR

Brüno was born in 1975 and lives and works in Nantes. His favourite playground is storytelling in all its forms: science-fiction (Biotope, Nemo), war (Commando Colonial), crime (Inner City Blues), western (Junk)... Alongside Fabien Nury, he has created Tyler Cross, a gangster character in keeping with the noir novel tradition. In terms of musical inspiration, in 2000 he published the 50 Portraits de jazz portfolio and in 2009 was involved in the Rock Strips collective album. He loves Afro-American music and in 2016 he co-wrote Le Petit Livre Black Music with Bourhis using popular US music to look back from 1945 to 2015 over “the slow and still incomplete emancipation of a population from segregation to Obama.”