Théo Hennequin

Théo Hennequin is a Brussels-based graphic designer and visual artist with a conceptually driven practice spanning culture, music and sport. He collaborates with institutions, artists, festivals and collectives, from major museums to independent structures, to articulate distinctive positions across print, digital and motion.

His practice is rooted in the circulation of images and forms between swiss rigour, experimental layering and popular cultures, from the football stand to the mountain trail, using the distance between them as a space for inquiry.


Services

Visual identity: Creation of cohesive and distinctive visual identity systems — logos, brand guidelines, posters, and print and digital applications.
Editorial design: Content layout and reflection on the physical form — books, catalogues, magazines, zines.
Motion design: Bringing images and identities to life — motion design, teasers, animated posters, projected visuals.
Web design: Custom website design, tailored to the project’s identity — portfolios, festivals, galleries, collective platforms.
Typeface design: Bespoke lettering design — brand fonts, display typefaces, lettering.

Commission

Please contact me so that I can put my skills to work for you.

Collaboration

Currently available on a freelance basis for collaborations.

Contact

hello@theohennequin.com
@theohennequin
Rue Jacques de Lalaing 13, 1040 Brussels

Selected clients

Affenpinshers, Africa Museum, Argos, Entwined, Harlem Lamine, Johan Poezevara, La Bellone, Les Chantiers Battus, Les Îles Mardi, Musique Action Chaumont, Palais de Tokyo, Traumnovelle, Toestand...

About

Harlem Lamine

2025, Brussels

Client: Harlem Lamine
Collaborator: Laurent Mbaah (graphic design and web development)
Fonts: Helvetica (Max Miedinger), Messapia (Luca Marsano)

Harlem Lamine commissioned us to design his visual identity and website. Harlem is an author, speaker and consultant who explores football as a social space and cultural text. He addresses contemporary issues relating to football from a sociological perspective.

The identity gives fieldwork the framework of an institution. The monogram, an H built on three hanging keys, borrows from heraldry and the academic seal; turned into a circular stamp, it signs documents like an archive mark. Its authority comes from a deep red that echoes the clay of the pitches in the photographs, and from the engraved capitals of Messapia, while photography tests it against the real. The website extends this logic. It reads like an archive: each piece of work is a file entry.

Four examples of Harlem Lamine’s brand identity featuring the monogram (an ‘H’ formed by three suspended keys): in red on a photograph of a football pitch set against a backdrop of blocks of flats and mountains; as a red stamp on grey paper; in white on a solid earth-red background; and in white on a photograph of a player’s legs running across red earth
Four further elements of the brand identity: a white monogram on a black-and-white photograph of stadium terraces; a white circular seal reading ‘Harlem Lamine – Research and football studies’ on a solid red background; a red logotype featuring the name on a light grey background; and a white monogram on a dark photograph of a white jersey.
A palette of three named colours, with their codes (white, grey, earth red), and on the right the heading ‘Writing, Research, Speaking, & Curatorial’ in red, in a thin, wide typeface
Two screenshots from the Harlem Lamine website, set against a blurred photograph of a red-earth pitch: at the top, the grid-based homepage combining research titles and photographs (bags and a ball, a block of flats, a player); at the bottom, the page for the essay ‘Thinking through buildings: The Tata Raphael Stadium’, featuring aerial views of stadiums
Two screenshots from the website showing a blurred background: at the top, the ‘About’ page featuring the Harlem Lamine seal and a list of works (texts, images, lecture); at the bottom, the page ‘Lost stadiums: in Gjirokastër, Albania’ with three photographs of a stadium set against the backdrop of a mountain town
Detail of overlapping web pages: search title banners in red capital letters, the title ‘Lost stadiums: in Gjirokastër, Albania’ and, at the bottom, the large Harlem Lamine seal next to the list of works

Next project

Johan Poezevara