Jardin de Cristal, Abbaye des Prémontrés, Pont-à-Mousson, 2007.
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.
Zaunkönig Appartements, Baden-Baden, 2019.
Europa String Quartet, Marienkirche, Berlin, 2009.
It is usually believed that the typefounder Robert Thorne (1753–1820) was the first to have introduced in the early 19th century the ‘fat face’, a swollen offspring of the new ‘modern’ types then in vogue. Sébastien Morlighem’s essay intends to reassess his precise role in its development as well as other English founders. It is built on a re-reading of several key texts and a careful survey of original specimen books from the Thorne, Caslon & Catherwood, Fry & Steele and Figgins foundries. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.
Thorne and the origin of the 'modern' fat face, Sébastien Morlighem, Poem, Frankfurt am Main, 2020.
À l’occasion > Rencontres nationales de la Fraap, Trinitaires & 49 Nord 6 Est Frac Lorraine Metz, 2008.
Yona Friedman. La création, Centre d'art contemporain – La synagogue de Delme, 2009.
Parix, w/ Thomas Huot-Marchand, isdaT Toulouse, 2018.
Invitation and program designed for Kunst Archiv Darmstadt. The archive collects works from artists related to the city of Darmstadt. The vertical alignment of the letters reminds book spines, as well as the monumental historical lettering on the building. Typeset in Gudrun Zapf-von Hesse's Hesse Antiqua, who lived with her husband in Darmstadt. Letters revived by Ferdinand P. Ulrich. The smaller texts are composed with Martin Majoor's Comma Sans.
Kunst Archiv Darmstadt, invitation and program, 2025.
Decode Blockdock is a font which integrates a representative, uniformed glyph for each encoded Unicode block. Commissioned by Johannes Bergerhausen from Institut Designlabor Gutenberg/ Hochschule Mainz and used for the decodeunicode and worldswritingsystems websites (links below), and its iconic poster together with the missing scripts (ANRT research program).
Decode Blockdock, custom typeface, Hochschule Mainz, 2015-2023.
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.
About the Blumenbuch, Poem, Frankfurt am Main, 2020.
The remarkable edition of Das Blumenbuch [The Flower Book] was published several times between 1929 and 1942, from small 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. Rudolf Koch, explains in a letter that he ‘collected [flowers] at random and without any particular aim. I ketched only the ones which grew in and around Offenbach … This collection is intended to give people a taste of summer while it is winter.’ One member of Koch’s ‘Werkstatt’, the young Fritz Kredel, engraved most of the 250 drawings in pear wood. Online lecture given at ANRT Nancy. With rare and unpublished material from the Klingspor Archives. Courtesy Klingspor Museum, Offenbach am Main. Video recording link below.