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.

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.

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.

‘What if' is a typical question for an alternate history scenario, also called Uchronia: choose a starting point in history and imagine a different outcome. Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebusch and released in 2020, was initially created during a workshop at the Gutenberg Museum Mainz at the occasion of the 'Futura. Die Schrift' exhibition in 2017. It has a single weight (among the blackest one can find), five widths and respective oblique versions. The glyphset is extended with Futura's iconic historical alternates, ‘Schmuck-Elemente' (decorative geometric forms) and a complete range of thin punctuation marks and diacritics.

Until the advent of talking pictures, cinema had been referred to as silent. To compensate for the absence of sound, films were punctuated by numerous ‘intertitles’ containing a fixed text, interspersed among the sequences of moving images. Intertitles could be hand-painted on thick paper or glass plates, using brushes or round-tipped nibs, by teams of letterers capable of producing up to 100 cards a day. Yet today we know almost nothing about these technically gifted craftsmen. However, at the end of the 1910s, in the United States, the name of a technician occasionally appeared in the film credits: that of Victor Vance, a letterer associated with the Warner Bros. studio. His distinctive style of lettering, constant over the years, was based on a virtuosic use of the brush. Considered a ‘title-artist’, he also wrote in 1930 an article on how to paint intertitles. This account sheds valuable and precise light on the methods used to produce intertitles and the way these objects were viewed at the time. Written by Julien Van Anholt and edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.

The old guys stole our best ideas. Three typographic perspectives on historical forms, conference held at Bibliothèque nationale et universitaire Strasbourg, 2024. With Francis Ramel and Laurent Bourcellier. Each of us presented two type revival projects. Francis presented Carolinéale and Baroque Brutal, Laurent Joos and Johannes, myself Nouveau Quellstift and Koch Grotesk. The conference was recorded, video link below.

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.