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

Europa String Quartet, Marienkirche, Berlin, 2009.

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 With rare and unpublished material from the Klingspor archives in Offenbach am Main.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

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.

Title
Making Neuland
Date
2023
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publisher
Poem

Making Neuland, Dan Reynolds, Poem, Frankfurt am Main, 2023.

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).

Title
Triennale Jeune Création
Date
2021
Type
Editorial design
Client
Rotondes, Casino Luxembourg
Place
Luxembourg City
Material
Catalogue
Publisher
Rotondes, Luxembourg & Casino Luxembourg – Forum d’art contemporain, Luxembourg
Editors
Kevin Muhlen, Marc Scozzai
Translation
Patrick Kremer
Photography
Andrés Lejona
Format
20x30 cm
Papers
Fedrigoni Arena Extra-White Smooth, Sirio Black, Bruno & Perla, Symbol Freelife Matt Plus
Pages
292
Printing
Cassochrome, Waregem
Binding
Soft cover, dust jacket, perfect binding
Website
bravenewworldorder.lu
Copies
700
ISBN
978−2−919790−20−3

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

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.

Title
Gotico-Antiqua, proto-roman, hybrid. 15th-century types between gothic and roman
Date
2021
Type
Editorial design, Research
Client
Poem, Atelier National de Recherche Typographique
Place
Nancy
Material
Book
Editorial direction
Jérôme Knebusch
Translation
Nigel Briggs, Jean-François Caro
Photography
Nabila Halim
Format
16×23,6 cm
Paper
Fedrigoni Sirio, Arena White Rough
Pages
496
Printing
Imprimerie Moderne, Pont-à-Mousson
Binding
Cloth hardcover, sewn, hot foil embossing, 2 colour screenprint on edges, 2 bookmarks
Publisher
Poem, ANRT/ENSAD, les presses du réel
Award
Fedrigoni Top Award 2022
Award
Most Beautiful German Books Shortlist 2021
ISBN
978-2-37896-226-5

Gotico-Antiqua, proto-roman, hybrid. 15th-century types between gothic and roman, Jérôme Knebusch (ed.), Poem & ANRT/ENSAD, Frankfurt am Main & Nancy, 2021.