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 With rare and unpublished material from the Klingspor archives in Offenbach am Main.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.
Triennals, prefiguration event of the Luxembourg young contemporary art triennale, with former triennale participants. Custom single-typeface and 'ongoing' visual identity which will evolve in the Brave New World Order identity of the triennale held one year later. See this website for more.


Triennials, visual identity & custom typeface, Rotondes, Cercle Cité, Casino Luxembourg, 2020.








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




À l’Antique, exhibition guide, Musée de l’Antiquité Rouen & Frac Normandie, Rouen, 2017.








Sophie Dubosc. Avec ou sans raison, catalogue, Sophie Dubosc, Frac Normandie, Rouen, 2016.
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, essay, Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine, N°6, 2012.
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.






















Brave New World Order – Triennale Jeune création, website, Rotondes, Casino Luxembourg – Forum d'art contemporain, 2020-2021, w/ Thomas Bouville.













Une brève histoire des lignes, exhibition catalogue, Centre Pompidou-Metz, 2013.
Of the display typefaces Rudolf Koch designed, Neuland may have received the most use abroad. But how was it made? A 1922 letter Koch sent to Ernst Kellner provides more questions than answers, and designers have speculated for almost half a century about whether Koch really cut its punches without any preparation. Dan Reynolds’s essay reviews these textual sources, comparing them with surviving process material preserved in the Klingspor Museum and elsewhere. Written by Dan Reynolds and edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.





Making Neuland, Dan Reynolds, Poem, Frankfurt am Main, 2023.
292 pages soft-cover catalogue, offset printed, 20x30 cm, with three bookmarks. The dustjacket is the folded exhibtion poster. The books uses the custom design of a typefaces in two styles. More information on the project on its dedicated website, also designed (link below).

















Brave New World Order – Triennale Jeune Création, catalogue, Rotondes, Casino Luxembourg – Forum d'art contemporain, 2021.








