Visual identity and design of the Brave New World Order – Triennale Jeune Création held at Rotondes and Casino Luxembourg – Forum d'art contemporain in 2021. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. Initiated during Luxembourg European Capital of Culture 2007, the Triennale was held for the fifth time in 2021. Under the curation of Kevin Muhlen, director of the Casino Luxembourg, the exhibition was highlightning a 'Brave New World Order' as seen and represented by millennials. Design of posters, booklets, ads, invitations, outdoor shops and more. The identity integrated the custom design of a typefaces in two styles. See here for more information on the design of the catalogue. Here for more information on the signage project. And here for the website.

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 is an anachronic type family going from thin, quick handwritten letters to stable, black typographic shapes. Each of the five styles correspond to a singular design related to a specific stroke speed and weight: Vivid, Quick, Regular, Slow, Heavy. Hommage to the poet, painter and writer Henri Michaux (1899 – 1984), it questions fundamental differences between handwriting and typography, type family consistency and the relation and usage of roman, bold and cursive faces. Instant was designed by Jérôme Knebusch in 2005 as part of a personal research project at ANRT Nancy. First published in 2012 by BAT Foundry, it is today available at Poem. In 2020, Instant Variable was added to the collection.

One week workshop at Hochschule Mainz with Bachelor students. Design of a full digital alphabet with predefined geometric modules.

One week workshop and research trip with ANRT students at Biblioteca Santa Scolastica in Subiaco, 2018. Digital revival of the two types used (and probably also created) by Konrad Sweynheim & Arnold Pannartz in Subiaco and Rome. Part of the Gotico-Antiqua research program. Published as free OpenSource fonts at ANRT (link below).

From metal type to phototypesetting, from the typewriter to the Minitel, and from engraving to dry-transfer lettering, the typographical work of Ange Degheest (1928-2009) testifies of the numerous technical changes the printing and telecommunication sectors went through during the second half of the twentieth century. Ange Degheest’s story is remarkable and a perfect illustration of the technical odyssey that took place throughout the twentieth century. Yet it is astonishing and disturbing to realise that, in spite of the quality and diversity of her lettering and type design work, her name has been forgotten amongst the list of those who have shaped the history of typography to this day. Reviving Ange Degheest was collectively written in Benjamin Gomez's type design class at EESAB Rennes by Eugénie Bidaut, Oriane Charvieux, Anaïs Déal, Luna Delabre, Camille Depalle, Mandy Elbé, Justine Herbel and May Jolivet. Afterword 'Ange Degheest, a female ghost of France’s type history' by Alice Savoie. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.

In 2011, students of ESAL Metz started within a workshop with Argentinian type designer Alejandro Lo Celso and their teacher Jérôme Knebusch a specific design for their school. Looking for a bookish typeface tending to modern forms, the students found interesting references in the work of Baskerville and Didot, precisely: exactly inbetween. The type grew during the following years, each time in intensive workshop sessions, to a complete type family named Messine, covering text, display, poster, italic, bold, sans and serif versions. Today, Messine is the official and exclusive typeface of the school, used all over its documents.