Atelier Jérôme Knebusch
Mainzer Landstraße 105
60329 Frankfurt am Main
jk [at] jeromeknebusch.net
+49 69 15 61 60 23

Notizen zu Berlin, residency, text, custom typeface, Berlin, 2010-2011. Available at poem-editions.com

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.

Title
Offenbach
Date
2025
Type
Type design
Client
Hochschule für Gestaltung Offenbach, Klingspor Museum, Poem
Place
Offenbach
Material
Free typeface
Workshop
Yile Cho, Quirin Fürbeck, Simon Gerstner, Paula Janser, Emerson Martus, Ekaterina Sacharova, Ngoc Anh Tran, Chiara Wißler, Edvinas Žukauskas (Marc Schütz, HfG Offenbach)
Licence
Creative Commons CC BY-ND 4.0

Offenbach, free typeface, 2025. Published by Poem and Klingspor Type Archive / HfG Offenbach.

Decode Old Arabian [North & South], custom typeface, Hochschule Mainz, 2016. decodeunicode.org

Etienne Pressager, Malzéville, 2006. etiennepressager.fr

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.

Title
Artem Bureau
Date
2017–2022
Type
Type design
Client
École nationale supérieure d'art et design Nancy
Place
Nancy
Material
Custom typeface

Artem Bureau Italic, custom typeface, ENSAD, Nancy, 2017, 2022.

Three lingual, 16 pages article about the genesis of the Instant typeface. Published in Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine, N°6, 2012. Written by Jérôme Knebusch. Free PDF download on link below.

Title
Instant: from handwriting to type design
Date
2012
Type
Research, Editorial design
Client
Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine
Place
Bern
Material
Essay
Download
Article

Instant: from handwriting to type design, Typografische Monatsblätter / Revue Suisse de l'imprimerie / Swiss Typographic Magazine, N°6, 2012.

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.

Title
Das Blumenbuch
Date
2023
Type
Research
Client
Modulab
Place
Metz
Material
Exhibition
Curator
Jérôme Knebusch
Archive
Klingspor Museum
Conference
ANRT 2020
Photography
Benjamin Roi

Das Blumenbuch, Modulab, Metz, 4.5 – 17.6.2023. Klingspor Museum Archive.

Custom typeface in two styles, upright and italic, respectively entitled 1981 and 1996. While the first is a relecture of the first digital typefaces and their idiosyncratic approach, the second, more mature, comes closer to 1990s humanistic sans serifs. Used exlusively for the identity design of Brave New World Order – Triennale Jeune Création held at Rotondes and Casino Luxembourg. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. The 2021 edition was devoted to the millennials generation. See here the typeface use within the overall design. See here the typeface use within the design of the catalogue. Here for on the signage project. And here for the website. A preliminary version was used here.

Title
Triennale 1981-1996
Date
2020
Type
Type design
Client
Rotondes, Casino Luxembourg
Place
Luxembourg City
Material
Custom typeface

Triennale 1981-1996, custom typeface, Triennale Jeune Création, Rotondes, Casino Luxembourg – Forum d'art contemporain, 2020.

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.

Title
Artem
Date
2007–2017
Type
Type design
Client
Alliance Artem, École nationale supérieure d'art et design Nancy
Place
Nancy
Material
Custom typeface
Graphic design
Nicolas Pleutret

Artem, custom typeface, Alliance Artem & ENSAD, Nancy, 2007-2017. Graphic design Nicolas Pleutret.

Essay devoted to the study of typefaces created during the 15th century which are neither roman nor gothic. The main concern is to offer a description and nomenclature. The research had been undertaken within the framework of the programme at the Atelier National de Recherche Typographique (France). Written by Jérôme Knebusch. Published in Azimuts 48-49, St. Etienne, 2018.

Title
Drôles de types / Strange Types
Date
2018
Type
Research
Client
Azimuts
Place
St. Etienne
Material
Essay
Publisher
Azimuts / ESAD Saint-Etienne
Online republication
ANRT Articles

Drôles de types / Strange Types, Azimuts 48-49, St. Etienne, 2018.

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

Title
Two types in one
Date
2019
Type
Education
Client
Hochschule Aachen
Place
Aachen
Material
Workshop

Two types in one, Hochschule Aachen, 2019.

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.

Title
Instant
Date
2005–2012
Type
Type design, Research
Client
Poem
Place
Frankfurt am Main
Material
Retail typeface
Article
Typografische Monatsblätter 2012
Interview
Azimuts 2013
Conference
IStype Mono 2013
Award
Typo­graphica 2012
Award
Best ten fonts of the year, Fontwerk 2012
Publication
Poem

Instant, typeface, 2005-2012. Research project at ANRT Nancy. Published by Poem.

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