Nouveau LED is the dotted display variant of the Nouveau type family. While the original typeface draws its inspiration from the Art Nouveau style, the LED variant is inspired by nocturnal urban landscapes illuminated by vintage lights. The dots are not aligned to a grid but are optically balanced to closely follow the ductus of each glyph. Their size also varies in areas where dot density increases, such as at the junctions of letterforms. Nouveau LED includes exactly the same number of fonts and styles as the original family. The Medium weight maintains the same horizontal spacing, while the other weights are duplexed to the same metrics so that the dots remain in place. This is particularly effective in the variable font version, where subtle light effects can be achieved by moving through the weight axis. The Nouveau typeface was initially designed as an all-caps custom typeface for the École de Nancy, the art museum in France, with Philippe Tytgat.

In 2026, the Casino Luxembourg – Forum d’art contemporain celebrates three decades of commitment to supporting and promoting emerging artists. To mark this anniversary year, it reaffirms its desire to promote contemporary art by inviting the public to discover and experience a diverse programme which, now as in the past, places synergy at the heart of its mission. Entitled FORA, conceived as the plural of ‘forum’, the programme runs from March to December 2026 through a series of initiatives designed as platforms for reflection, experimentation and dialogue. It is as much about celebrating a history that has been unfolding for three decades as it is about collectively imagining all its futures.

The will to dedicate almost a whole year to its anniversary is further reflected in a new and exclusive visual identity. The name of FORA is placed as a magazine title on top of all documents and displays in the background a coloured fading unifying the documents. Variation and emphasis is provided by three custom alphabets: Fora Dreams, Fora Gestures, Fora Structures. They were created during a workshop in late 2025 at ANRT and correspond to the different curatorial gestures (phases) of the event throughout the year. More information about the typefaces here.

The essay 'Quelqus pages, seulement (pamphlets)' discusses the inspiration from historical collections and presents current publishing projects that have caught my eye. In particular, it reflects my attachment to small formats – a legacy of paperback books – which condense research into short, compelling texts. These objects, both light and dense, often designed as simple booklets, acquire a strong individual identity while fitting into a collection-based framework. Collections discussed are: Reclam's Universal-Bibliothek, the Poem Pamphlet series, La petite collection of Association Presse Offset, the Milieux series of Éditions 205, and Manifestes by HEAD Publishing. English translation available.

The Biennale Exemplaires is an occasion for exhibiting, showcasing, and highlighting the work produced by students and faculty at French-speaking fine art and design schools. It is also a venue for meeting and exchange, enriched by a symposium aligned with the research priorities of the participating schools. The main exhibition highlights a selection of recent, francophone publications deemed “exemplary”. To expand upon and complement this selection, each school produces a publication in a format of its choice. The biennial also includes satellite events, a festive evening, and a book fair featuring a selection of independent publishers. The sixth edition of the Biennale Exemplaires gathered fourteen schools and was held in Metz in March 2026.

The work of the exhibition design and scenography of the main biennal exhibition was undertaken within a dedicated class and group of students during one academic year at ÉSAL Metz under the direction of Jérôme Knebusch. The principal idea was to break the common fragmentation of individual school 'islands' and to propose a library where the selected books come together and can be borrowed to be consulted in the reading spaces of the exhibition.

In 2026, the Casino Luxembourg – Forum d’art contemporain celebrates three decades of commitment to supporting and promoting emerging artists. To mark this anniversary year, it reaffirms its desire to promote contemporary art by inviting the public to discover and experience a diverse programme which, now as in the past, places synergy at the heart of its mission. Entitled FORA, conceived as the plural of ‘forum’, the programme runs from March to December 2026 through a series of initiatives designed as platforms for reflection, experimentation and dialogue. It is as much about celebrating a history that has been unfolding for three decades as it is about collectively imagining all its futures.

The will to dedicate almost a whole year to its anniversary is further reflected in a new and exclusive visual identity. The name of FORA is placed as a magazine title on top of all documents and displays in the background a coloured fading unifying the documents. Variation and emphasis is provided by three custom alphabets: Fora Dreams, Fora Gestures, Fora Structures. They were created during a workshop in late 2025 at ANRT and correspond to the different curatorial gestures (phases) of the event throughout the year. More information about the typefaces here.

Three day workshop at ANRT with Tanguy Merkt, Gabriela Simon Flores, Yaprak Buse Çağlar, Marine Monseux, Mickael Bourguer, Arnab Chakraborty. Three custom display typefaces were created reflecting the curatorial choices of the FORA 2026 year at Casino Luxembourg – Forum d'art contemporain. The typefaces were intended as a foundation for the visual identity, later designed by Jérôme Knebusch. More information here.

Exclusive visual identity 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 archive's building. The main identity typeface is Gudrun Zapf-von Hesse's Hesse Antiqua, who lived with her husband in Darmstadt. Letters revived by Ferdinand P. Ulrich. Smaller texts use Martin Majoor's Comma Sans.

Rudolf Koch began drawing the Offenbach typeface in 1928, the first size was cut in 1931, and Koch made final corrections on his deathbed in 1934. The type was published from 6 to 60 pt posthumously by Gebr. Klingspor foundry in 1935. Stylistically, Offenbach is a hybrid, pairing wide roman capitals with narrow gothic minuscules, a mixture Koch had experienced in several of his typefaces like Jessen or Wallau. His student Hans Kühne had added to the Klingspor release the ‘German’ gothic capitals as alternative to the roman capitals. Offenbach is a faithful revival of Offenbach Mager, the initial thin weight, based on a one-week workshop in 2022 under the direction of Jérôme Knebusch. The students of the HfG Offenbach studied the archive material in the Klingspor Museum and lead type in the nearby printing workshop in the Bernardbau. The Offenbach typeface is freely usable by anyone, privately or professionally, under the Creative Commons CC BY-ND 4.0 license. This licence allows free use of the font, provided that the type and author are mentioned when using it (Offenbach by Rudolf Koch) and that no modification is made to its design.

Alice Savoie and Jérôme Knebusch have edited between 2020 and 2025 ten essays about writing, lettering, type and typography by Jérôme Knebusch, Sébastien Morlighem, Riccardo Olocco, Dan Reynolds, Éloïsa Pérez, EESAB Type, Yoann De Roeck, François Chastanet, Julien Van Anholt in the Poem Pamphlets collection. The screenprinted box, white on black paper, assembles them.

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.

‘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.

Nouveau Quellstift is the rounded variant of the Nouveau typeface. In theory, all sans serif types could have rounded versions. Here, it resonates particularly with the origins of Art Nouveau letters, which can be found in writing rather than in typography. The Quellstift, literally ‘source pen’, is a monolinear writing tool made of shaped cork. Rudolf von Larisch promoted its use through his artistic writing courses at the Kunstgewerbeschule in Vienna and his influential 1905 book ‘Unterricht in ornamentaler Schrift’. This modern interpretation designed by Jérôme Knebusch has 36 styles: six weights ranging from thin to bold, and five sub-families arranged from the most quiet to the most expressive forms named after some influential flowers of the Art Nouveau mouvement: Crocus, Dahlia, Gingko, Nenuphar, Rose, Thistle. The Nouveau typeface was initially designed as an all-caps custom typeface for the École de Nancy, the art museum in France, with Philippe Tytgat.