Artem is the custom exclusive typeface for ARTEM, which stands for Art, Technology and Management,an original initiative set up by the École nationale supérieure d'art et de design de Nancy, ICN Business School and Mines Nancy. For everyday text use, an extension known as Artem Bureau has been added to the Artem type family. While Artem is a unicase type (a singular mixture of some capitals and minuscules), Artem Bureau is a complete set of lowercase and capitals for everyday office use, and enhanced with more extensive functions and glyphs. Currently, only ENSAD Nancy uses this typeface, available in Regular, Bold (2017) and Italic (2022). ENSAD Nancy has also ordered a graphic version, Artem Dot, which reinforces its identity within the overall Artem project. More information on the Artem identity typeface page.

The conference explores a period in the history of typography that, relatively speaking, is not often studied: after Gutenberg and before the Jenson model was stabilized. The body of work study extends back to the first humanistic tendencies toward 'pure' romans, by way of many cases of uncertain designs, voluntary hybridizations, or archaic forms of roman. Undertaken between 2016 and 2020 at ANRT Nancy and coordinated by Jérôme Knebusch, this conference at ATypI Montréal in 2017 was the first public presentation of an ongoing research project. Its final outcome was an exhibition with symposium in 2019, and a book in 2021. Conference video link below.

Alice Savoie and Jérôme Knebusch have edited between 2020 and 2025 ten essays by Jérôme Knebusch, Sébastien Morlighem, Riccardo Olocco, Dan Reynolds, Éloïsa Pérez, EESAB Type, Yoann De Roeck, François Chastanet, Julien Van Anholt in the Poem Pamphlets collection. The screenprinted box, white on black paper, assembles them.

Almost is a typeface between gothic and roman. Based on in-depth research, it was designed by Jérôme Knebusch in 2012-2019 in five weights and two styles, Gothic and Roman, and completed in 2021 with respective italics. Almost Display was added to the collection in 2024, intended to headlines and shorter texts in bigger sizes. It carefully adapts its proportions to save horizontal space, and sharper terminals look more refined, especially in bolder weights. Almost Display otherwise mirrors the various expressive possibilities of Almost, and might be the preferred choice in point sizes above twenty. More information about Almost on Poem's website.

Pedagogical materiality covers all media, tools, objects, toys and devices dedicated to the transmission of knowledge. In short, all the ‘things' which accompany educational activity, regardless of the place in which it occurs. Because this materiality is expressed in terms of properties perceptible through the senses, its uses are particularly popular throughout the pre-school period and in early-learning methods. Éloïsa Pérez's essay discusses examples from the early 19th century until today. It is structured in three parts: constructing (the letter), guiding (the movement through trajectory and tracing) and composing (the word). The pamphlet is accompanied by the edition of an exclusive capital lettering template and two postcards. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series. Translated into English by Nigel Briggs.

Visual identity and design of the Brave New World Order – Triennale Jeune Création website. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. The website showcases 40 artists and a forum, initiated during the Covid pandemic which delayed the exhibition for one year. Each artist could login and update his profile. The starting page is randomly customized, displaying each time in another order the black and white identity drawings. The identity integrated the custom design of a typefaces in two styles.

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

One hour conference about four typeface projects: Instant, Almost, Triennale and Nouveau. Given at Fonts & Faces symposium #9 curated by Simon Renaud. Video recording 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.

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.