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.

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 With rare and unpublished material from the Klingspor archives in Offenbach am Main.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.

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.

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.

Rudolf Koch's and Fritz Kredel's remarkable Blumenbuch [the flower book] was published several times between 1929 and 1942, from pocket book editions to precious volumes and portfolios, involving many collaborators, printers and publishers like Mainzer Presse, Ernst-Ludwig-Presse in Darmstadt and Insel-Verlag, Leipzig. The essay by Jérôme Knebusch compiles a detailed chronology of the different editions and presents rare and unpublished material from the archives of the Klingspor Museum, Offenbach am Main. About the Blumenbuch is the first of the Poem Pamphlet series edited by Alice Savoie and Jérôme Knebusch.

Brave New World Order catalogue, exhibition held 2021 at Rotondes, Casino Luxembourg – Forum d'art contemporain. The exhibition was entirely photographed so that the catalogue resembles a guided tour. Shorter, white info sheets come next to the photographs to identify the artworks. Three bookmarks permit multiple entries and reflect the black identity lines. The dust jacket once unfolded presents the exhibition 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).

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.

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.