Custom typeface in two styles, upright and italic, respectively entitled 1981 and 1996. While the first is a relecture of the first digital typefaces and their idiosyncratic approach, the second, more mature, comes closer to 1990s humanistic sans serifs. Used exlusively for the identity design of Brave New World Order – Triennale Jeune Création held at Rotondes and Casino Luxembourg. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. The 2021 edition was devoted to the millennials generation. See here the typeface use within the overall design. See here the typeface use within the design of the catalogue. Here for on the signage project. And here for the website. A preliminary version was used here.

Conference given at ISType Mono series, Istanbul, in 2014. 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. More informations on Instant here. Video link below.

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.

Of all the title fonts from the Klingspor type foundry, Neuland was probably the most frequently used abroad. But how was it produced? A letter Koch sent to Ernst Kellner in 1922 raises more questions than it answers, and designers have speculated for nearly half a century about whether Koch really cut the hallmarks without any preparation. Dan Reynolds has examined the various sources; Edvinas Žukauskas and Jérôme Knebusch have digitised the different sizes for the first time. The essay Making Neuland and the typeface Koch Grotesk were published by Poem for Neuland’s centenary in 2023. Conference held at ENSAD Nancy, 28 November 2023. It was recorded, link below.

Pedagogical materiality covers all media, tools, objects, toys and devices dedicated to the transmission of knowledge. In short, all the ‘things' which accompany educational activity, regardless of the place in which it occurs. Because this materiality is expressed in terms of properties perceptible through the senses, its uses are particularly popular throughout the pre-school period and in early-learning methods. Éloïsa Pérez's essay discusses examples from the early 19th century until today. It is structured in three parts: constructing (the letter), guiding (the movement through trajectory and tracing) and composing (the word). The pamphlet is accompanied by the edition of an exclusive capital lettering template and two postcards. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series. Translated into English by Nigel Briggs.

The book brings together researchers from the fields of typography, palaeography and incunabula studies, with a particular focus on type and letterforms. The relatively understudied period – after Gutenberg and before the consolidation of Jenson’s model – extends from the earliest traces of ‘humanistic’ tendencies to ‘pure’ roman type, including many cases of uncertain or experimental design, voluntary hybridisation and proto- or archaic roman. In 1459 in Mainz, Johann Fust and Peter Schöffer printed the Rationale Divinorum Officiorum by Guillaume Durand, using a typeface (now known as ‘Durandus’) that looked like no other before. From that point, we can follow a wide variety of developments, partly related to the travels of early printers from the Rhine area to Italy and France. By extension, the private press movement initiated by William Morris and Emery Walker at the end of the nineteenth century in England, revived some of those typefaces before they were once more largely forgotten.

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

Visual identity and design of the Brave New World Order – Triennale Jeune Création website. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. The website showcases 40 artists and a forum, initiated during the Covid pandemic which delayed the exhibition for one year. Each artist could login and update his profile. The starting page is randomly customized, displaying each time in another order the black and white identity drawings. The identity integrated the custom design of a typefaces in two styles.