Rémi Forte (@rmfrt) header
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Poetic Program, Typographic System

Lyon, France
Joined April 2019
Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)Photo by Rémi Forte (@rmfrt)
Starting in 2025, this account will go dormant. If you’d like to stay in touch, you’ll find all the ways to reach me here: rmfrt.com/
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Franz Mon, Abstrakt, 1967
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Now spinning: Spacemen 3, Starship, 1987 open.spotify.com/intl-fr/tra…
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Ruth Wolf-Rehfeldt, Cages on the Run, ca. 1980s
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Ian Hamilton Finlay, Sea-Poppy 1 (Fishing Boat Letters and Numbers), 1968
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After two years of building and using my Obsidian vault, I’ve just completely dismantled it. It feels surreal—it’s been my go-to tool for so long.
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Honestly, it’s a bit of a mess right now, and I’m questioning whether I’ll even continue with Obsidian. And I don’t have the time to organize it all at the moment.
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It’s a huge change, and I’m still processing what’s next.
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Now spinning: Cowboys International, The ‘No’ Tune, 1979 (A track for everyone who loved Andrew Weatherall’s show on @NTSlive ) open.spotify.com/intl-fr/tra…
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Natalie Czech, A Negative Calligramme by Julien Bismuth (Jalousie), 2018
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Behind the scenes of designing my 2022 poetry book “Airplane Crash”
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Běla Kolářová, Radiogram of Circle, 1962-1963
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Poem from the “hmnru” series, December 2021—one of my earliest concrete poems created with a pen plotter.
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Presentation to the @ANRT_type on automating the layout of Thomas Huot-Marchand‘s Garaje typeface specimen, published by 205TF, using Python and Drawbot.
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