Atelier Jérôme Knebusch
Mainzer Landstraße 105
60329 Frankfurt am Main
jk [at] jeromeknebusch.net
+49 69 15 61 60 23

A letter from Sancho Panza to his wife, HEAR Mulhouse, 2015.

Koch Lichte Grotesk is the newest revival of Lichte Neuland by Rudolf Koch, designed by Edvinas Žukauskas and Jérôme Knebusch and published by Poem for Neuland’s centenary in 2023. Lichte Neuland appeared five years after Neuland in 1928, in the Gebr. Klingspor specimen dedicated to the American market by the Continental Typefounders Association. Koch Lichte Grotesk is an accurate revival of the 12 pt Cicero size, the smallest one. It is currently the only fully identified original size, as shown on the 1928 index card of the German Association of Typefounders. This association was founded at the beginning of the 20th century and most German type foundries were members. It served to represent their interests in economic, political and legal matters. A secondary source are the Lichte Neuland Cicero letters from the letterpress workshop P98A, Berlin. Koch Lichte Grotesk is available in four fonts: 12 Cicero, 12 Cicero Plain, 12 Cicero Inline and 12 Cicero Line. 10% of licence purchases are deposited each year as flowers on Koch's grave.

Title
Koch Lichte Grotesk
Date
2023
Type
Type design
Client
Poem
Place
Frankfurt am Main
Material
Retail typeface
Conference
ENSAD Nancy 2023
Photography
Norman Posselt
Publisher
Poem

Koch Lichte Grotesk, typeface, 2023, w/ Edvinas Žukauskas. Published by Poem.

Decode Old Arabian [North & South], custom typeface, Hochschule Mainz, 2016. decodeunicode.org

Editorial design of the Pangramme: learning type design catalogue, published by ESAL Metz, 2016. The catalogue showcases fifty unpublished student type designs, interviews held by the Design graphique & Typographie class at ESAL Metz with the jury members: Andrea Tinnes (Germany), Alejandro Lo Celso (Argentina), Matthieu Cortat (France), Hans-Jürg Hunziker (Switzerland) & Gerard Unger (Netherlands). The catalogue features also bibliography in images, essential books when learning type design, published between 1905 and 2016. Book entirely printed in single black, and distributed freely at the opening of the exhibition. 15x26 cm, 200 pages, soft-cover with dustjacket, limited to 300 copies. Free PDF download of the catalogue (link below). More information about the exhibition here.

Title
Pangramme: learning type design
Date
2016
Type
Education, Editorial design
Client
École Supérieure d'Art de Lorraine
Place
Metz
Material
Catalogue
Assistance
Francis Ramel, Rafael Ribas
Text typeface
Messine
Paper
Munken Lynx
Printing
Imbescheidt, Frankfurt am Main
Edition
École Supérieure d'Art de Lorraine

Pangramme: learning type design, ESAL Metz, 2016.

Chercher sa recherche, Ministère de la culture, ENSAD Nancy, 2012. Published by Presses Universitaires Nancy.

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.

Title
Louis Hoell and the making of the Eckmannschrift
Date
2020
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publisher
Poem

Louis Hoell and the making of the Eckmannschrift, Dan Reynolds, Poem, Frankfurt am Main, 2020.

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.

Title
Instant
Date
2005–2012
Type
Type design, Research
Client
Poem
Place
Frankfurt am Main
Material
Retail typeface
Article
Typografische Monatsblätter 2012
Interview
Azimuts 2013
Conference
IStype Mono 2013
Award
Typo­graphica 2012
Award
Best ten fonts of the year, Fontwerk 2012
Publication
Poem

Instant, typeface, 2005-2012. Research project at ANRT Nancy. Published by Poem.

Philly Hands is a concise but in-depth survey description of Philadelphian street penmanship, written and photographed by François Chastanet. It explores the Philly writers’ lexicon of ‘hands’, ranging from the original Gangster Prints to the Tall Hands, Wickeds, Stiff Hands, Punchlines, and more. It also provides a rare glimpse into the preparatory work done on paper before performing in the street. Through ductus diagrams, the inner tracing logic of landmark letters is revealed, offering insights into the unique calligraphic tradition of Philadelphia – nicknamed ‘Whip City’ and celebrated as the land of extreme cursivity. With a legacy spanning more than fifty years, the city has much to offer to lettering enthusiasts. Some cities are able to develop their own scriptural ‘texture’, going beyond individual experiments with the image of the name. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.

Title
Philly Hands
Date
2024
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publisher
Poem

Philly Hands, François Chastanet, Poem, Frankfurt am Main, 2024.

Là où les détails se cachent, Sébastien Gouju, Institut Français Stuttgart, 2013.

À l’occasion > Rencontres nationales de la Fraap, Trinitaires & 49 Nord 6 Est Frac Lorraine Metz, 2008.

‘La page projetée. Livres fictionnels au cinéma’ [The projected page. Fictionnal books in movies] is a pedagogical project led by the Institut Page at ESAL Metz, in collaboration with Léo Coquet, Elamine Maecha, and the institute's students. We analyzed existing films that feature fictional books – books that appear only on screen and were never actually edited or published. These books are often reduced to their physical appearance as cinematic props, typically limited to a cover. Yet they actively contribute to the narrative and, in some cases, even extend it. The research project was presented during The 2024 Biennale Exemplaires in Valence and a one-day symposium in Metz, featuring Agatha Masa, officeabc, Alice Planes, and Pierre Leguillon. This event was promoted via social media and a printed poster. A (filled) popcorn cup was handed out at the entrance of the symposium, with the program printed on it.

Title
La page projetée
Date
2024
Type
Research, Visual identity, Editorial design
Client
ESAL Metz
Place
Metz
Material
Poster portfolio, popcorn cup, ads
Publisher
ESAL Metz
Editors
Léo Coquet, Elamine Maecha, Jérôme Knebusch
Texts
Léo Coquet, Emilia Bernard, Corentin Ferry, Alix Hetreux, Yu-Chien Huang, Maddy Lepage, Théo Michaud, Gabin Nivard, Léa Pesant, Valentine Poulet, Erwan Wilhelm
Photography
Léo Coquet
Typeface
Bureau Grotesque
Printing
Édicolor, Bain-de-Bretagne, pok Büroartikel, Berlin, ESAL Metz
Copies
400
ISBN
979-10-90886-22-3

La page projetée. Livres (fictionnels) au cinéma, research symposium, ESAL Metz, 2023. Visual identity, w/ Institut Page

Artem is the custom exclusive typeface for ARTEM, which stands for Art, Technology and Management,an original initiative set up by the École nationale supérieure d'art et de design de Nancy, ICN Business School and Mines Nancy. For everyday text use, an extension known as Artem Bureau has been added to the Artem type family. While Artem is a unicase type (a singular mixture of some capitals and minuscules), Artem Bureau is a complete set of lowercase and capitals for everyday office use, and enhanced with more extensive functions and glyphs. Currently, only ENSAD Nancy uses this typeface, available in Regular, Bold (2017) and Italic (2022). ENSAD Nancy has also ordered a graphic version, Artem Dot, which reinforces its identity within the overall Artem project. More information on the Artem identity typeface page.

Title
Artem Bureau
Date
2017–2022
Type
Type design
Client
École nationale supérieure d'art et design Nancy
Place
Nancy
Material
Custom typeface

Artem Bureau Italic, custom typeface, ENSAD, Nancy, 2017, 2022.

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