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.

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.

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. Instant was designed by Jérôme Knebusch in 2005 as part of a personal research project at ANRT Nancy. First published in 2012 by BAT Foundry, it is today available at Poem. In 2020, Instant Variable was added to the collection.

Poster of the Hubba Bubba collage by Jérôme Knebusch (2010, from the Biography series) greatly enlarged and screenprinted by renowned printer Lézard Graphique, Brumath (F). At the occasion of the Aux petits bonheurs poster exhibition in Crest (F), 2020. Limited edition of 10 copies, signed and numbered. The unsigned copies were pasted in the streets of Crest.

One week workshop with Bachelor students. Design of a digital alphabet where capitals and minuscules have a distinctive different drawing.

La fin du monde [The end of the world] resembles a thistle or a holly branch. During his residency at the Ergastule studios in Nancy, France, Jérôme Knebusch created twelve in a limited edition. All look similar, but none are identical. They were vector drawn, laser cut in brass, manually folded and oxidized in vinegar steam. Six are exclusively available at Poem, six others at Ergastule. The thistle photograph by Emile Gallé is from the École de Nancy archives.

Visual identity and design of the Brave New World Order – Triennale Jeune Création held at Rotondes and Casino Luxembourg – Forum d'art contemporain in 2021. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. Initiated during Luxembourg European Capital of Culture 2007, the Triennale was held for the fifth time in 2021. Under the curation of Kevin Muhlen, director of the Casino Luxembourg, the exhibition was highlightning a 'Brave New World Order' as seen and represented by millennials. Design of posters, booklets, ads, invitations, outdoor shops and more. The identity integrated the custom design of a typefaces in two styles. See here for more information on the design of the catalogue. Here for more information on the signage project. And here for the website.

One week workshop at Hochschule Mainz with Bachelor students. Design of a full digital alphabet with predefined geometric modules.

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.

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.