Three lingual, 16 pages article about the genesis of the Instant typeface. Published in Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine, N°6, 2012. Written by Jérôme Knebusch. Free PDF download on link below.
Instant: from handwriting to type design, Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine, N°6, 2012.
Invitation and program designed for Kunst Archiv Darmstadt. The archive collects works from artists related to the city of Darmstadt. The vertical alignment of the letters reminds book spines, as well as the monumental historical lettering on the building. Typeset in Gudrun Zapf-von Hesse's Hesse Antiqua, who lived with her husband in Darmstadt. Letters revived by Ferdinand P. Ulrich. The smaller texts are composed with Martin Majoor's Comma Sans.
Kunst Archiv Darmstadt, invitation and program, 2025.
Une brève histoire des lignes, Centre Pompidou-Metz, 2013.
The old guys stole our best ideas. Three typographic perspectives on historical forms, conference held at Bibliothèque nationale et universitaire Strasbourg, 2024. With Francis Ramel and Laurent Bourcellier. Each of us presented two type revival projects. Francis presented Carolinéale and Baroque Brutal, Laurent Joos and Johannes, myself Nouveau Quellstift and Koch Grotesk. The conference was recorded, video link below.
The old guys stole our best ideas, conference w/ Francis Ramel & Laurent Bourcellier, Bibliothèque nationale et universitaire Strasbourg, 2024.
Essay devoted to the study of typefaces created during the 15th century which are neither roman nor gothic. The main concern is to offer a description and nomenclature. The research had been undertaken within the framework of the programme at the Atelier National de Recherche Typographique (France). Written by Jérôme Knebusch. Published in Azimuts 48-49, St. Etienne, 2018.
Drôles de types / Strange Types, Azimuts 48-49, St. Etienne, 2018.
Prix d'art / Kunstpreis Robert Schuman, École supérieure d'art, Église des Trinitaires, Centre d'art contemporain Faux Mouvement, Église Saint-Pièrre-aux-Nonnains, Metz, 2009.
Drawing Time / Le temps du dessin, Musée des Beaux-Arts & galeries Poirel, Nancy, 2010.
Louis Hoell cut the punches for the only published typeface Otto Eckmann ever designed. The story of the Eckmannschrift’s creation has often been told. In retrospect, it was the release that made Karl Klingspor’s reputation as a typefoundry director of note. Yet instead of looking at the Eckmannschrift from Klingspor or Eckmann’s point of view, Dan Reynolds's essay directs its focus to what Hoell’s design contributions to the project might have been. With rare and unpublished material from the Klingspor archives in Offenbach am Main. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.
Louis Hoell and the making of the Eckmannschrift, Dan Reynolds, Poem, Frankfurt am Main, 2020.
Decode Blockdock is a font which integrates a representative, uniformed glyph for each encoded Unicode block. Commissioned by Johannes Bergerhausen from Institut Designlabor Gutenberg/ Hochschule Mainz and used for the decodeunicode and worldswritingsystems websites (links below), and its iconic poster together with the missing scripts (ANRT research program).
Decode Blockdock, custom typeface, Hochschule Mainz, 2015-2023.
One hour conference about four typeface projects: Instant, Almost, Triennale and Nouveau. Given at Fonts & Faces symposium #9 curated by Simon Renaud. Video recording link below.
Instant Nouveau, conference, Fonts & Faces #9, symposium, Campus Fonderie de l'Image, Paris, 2022.
Là où les détails se cachent, Sébastien Gouju, Institut Français Stuttgart, 2013.
Visual identity and design of the symposium & exhibition Gotico-Antiqua, proto-roman, hybrid. 15th-century types between gothic and roman held at ENSAD Nancy in 2019. Design in French and English includes signage, poster, booklets and micro-website where you can find more information about the project (see link below). First use of the Almost typeface.