Schriftgestaltung: zwischen Leserlichkeit und Ausdruck, Hochschule Darmstadt, 2016.
One week workshop at Hochschule Mainz with Bachelor students. Design of a full digital alphabet with predefined geometric modules.
Learning from Albers, Hochschule Mainz, 2017.
Erhard Ratdolt was one of the most successful and acclaimed printers of the 15th century. He was also a pioneer of new techniques and in 1486 he printed the earliest known type specimen. In this essay Riccardo Olocco analyses the only surviving copy of this single sheet with a discussion on the circumstances of its production and descriptions and identifications of the roman and rotunda types according to existing bibliographical references. The pamphlet is accompanied by a facsimile of the original type specimen. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.
Ratdolt's Index characterum, the earliest known type specimen, Riccardo Olocco, Poem, Frankfurt am Main, 2020.
One week workshop and research trip with ANRT students at Biblioteca Santa Scolastica in Subiaco, 2018. Digital revival of the two types used (and probably also created) by Konrad Sweynheim & Arnold Pannartz in Subiaco and Rome. Part of the Gotico-Antiqua research program. Published as free OpenSource fonts at ANRT (link below).
Sweynheim & Pannartz, w/ Thomas Huot-Marchand & Emilie Rigaud (ANRT), Biblioteca Santa Scolastica, Subiaco, 2018.
Je t'aime, moi non plus, Ergastule & My Monkey, Nancy, 2013-2017.
Sophie Dubosc. Avec ou sans raison, Sophie Dubosc, Frac Normandie, Rouen, 2016.
Là où les détails se cachent, Sébastien Gouju, Institut Français Stuttgart, 2013.
Zainer’s Gotico-Antiqua, Hochschule & Stadtbibliothek Aachen, 2017.
The Musée d'Orsay is dedicated to artistic expression from the period 1848–1914. With an annual attendance of 3.5 million visitors, it stands as one of the world’s most prestigious cultural institutions. Its complete visual identity overhaul, undertaken by the Paris-based graphic design studio Zoo, offers a contemporary interpretation of the museum’s artistic legacy by establishing a clear, readable, and engaging visual language. As part of this redesign, an exclusive typeface was created in two styles. This typeface is a modern reinterpretation of the typographic developments of La Belle Époque, channeling the vitality of the era to which the Musée d'Orsay is devoted. The roman style presents a distilled interpretation of the 19th-century French Elzévir genre, while the italic revives the Coulée Italique Elzévirienne, originally cast by the Parisian foundry Beaudoire & Fils. The italic also features a set of swash capitals. Both styles were drawn by Rafael Ribas, with advisory, mastering, and production by Jérôme Knebusch. Some images are excerpted from the 2023/2024 program, where the typeface is paired with Antique Legacy.
Orsay Elzévir, custom typeface, Musée d'Orsay, Paris, 2023. Advisory & production for zoo, designers graphiques / Rafael Ribas.
Hamlet, Bauhaus Universität, Weimar, 2018.
À l’Antique, Musée de l’Antiquité Rouen & Frac Normandie, Rouen, 2017.
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.