Rudolf Koch and Fritz Kredel's remarkable Blumenbuch [Book of Flowers] was published between 1929 and 1942, from precious volumes and portfolios to pocket editions, involving numerous collaborators, printers and publishers such as Mainzer Presse in Mainz, Ernst-Ludwig-Presse in Darmstadt and Insel-Verlag, Leipzig. The Insel paperback edition continued to be printed throughout the 20th century. Koch began drawing wild flowers in 1922. He explains that he 'collected [the flowers] at random and without any particular purpose. I only drew those that grew in Offenbach and the surrounding area...'. A member of Koch's Werkstatt, the young Kredel, engraved most of the 250 drawings. The flowers were engraved on wood and coloured entirely by hand. The entire project - the various editions, sketchbooks, printing tests and original woodcuts - constitutes an exceptional archive that was exhibited for the first time in France, at the Modulab gallery in Metz The exhibition curated by Jérôme Knebusch is a joint venture between the Klingspor Museum, Poem, Modulab and the École nationale d'art et de design de Nancy.

Of all the title fonts from the Klingspor type foundry, Neuland was probably the most frequently used abroad. But how was it produced? A letter Koch sent to Ernst Kellner in 1922 raises more questions than it answers, and designers have speculated for nearly half a century about whether Koch really cut the hallmarks without any preparation. Dan Reynolds has examined the various sources; Edvinas Žukauskas and Jérôme Knebusch have digitised the different sizes for the first time. The essay Making Neuland and the typeface Koch Grotesk were published by Poem for Neuland’s centenary in 2023. Conference held at ENSAD Nancy, 28 November 2023. It was recorded, link below.

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.

‘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.

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.

Brave New World Order catalogue, exhibition held 2021 at Rotondes, Casino Luxembourg – Forum d'art contemporain. The exhibition was entirely photographed so that the catalogue resembles a guided tour. Shorter, white info sheets come next to the photographs to identify the artworks. Three bookmarks permit multiple entries and reflect the black identity lines. The dust jacket once unfolded presents the exhibition poster. The books uses the custom design of a typefaces in two styles. More information on the project on its dedicated website, also designed (link below).

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.

ARTEM, which stands for Art, Technology and Management, is an original initiative set up by the École nationale supérieure d'art et de design de Nancy, ICN Business School and Mines Nancy. It combines the creation and the integration of new technologies with a managerial, strategic, economic and legal perspective. By crossing cultures – of the scientist or engineer from Mines Nancy, that of the manager from ICN Business School, and that of the artist or designer from the École nationale supérieure d'art et de design de Nancy – the Artem Alliance invites students to think outside the box by plunging them into the heart of issues and logics that are a priori far removed from their field of excellence. The exclusive custom typeface was commissioned successively between 2007 and 2017. The main idea and concept of Artem's graphic identity lies in the shared use of an exclusive typeface. Rather than stamping documents, it is a shared voice that speaks through the typeface. With a linear, pragmatic design based on Johnston (Edward Johnston, 1916), it has the distinctive feature of mixing capitals and lower case letters. Known as unicase (a single typographic case), the capitals of the acronym ARTEM blend in as small capitals among the lower case letters. There is no real set of capitals. The typeface is available in five weights: Thin, Light, Regular, Bold and Black. It is designed for headlines and short texts, where the design is as visible as it is readable. It is used throughout the Artem campus, for signage and on-screen and printed documents. See also the extension Artem Bureau on this website.