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

Hamlet, Bauhaus Universität, Weimar, 2018.

Louis Hoell cut the punches for the only published typeface Otto Eckmann ever designed. The story of the Eckmannschrift’s creation has often been told. In retrospect, it was the release that made Karl Klingspor’s reputation as a typefoundry director of note. Yet instead of looking at the Eckmannschrift from Klingspor or Eckmann’s point of view, Dan Reynolds's essay directs its focus to what Hoell’s design contributions to the project might have been. With rare and unpublished material from the Klingspor archives in Offenbach am Main. Edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.

Title
Louis Hoell and the making of the Eckmannschrift
Date
2020
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publisher
Poem

Louis Hoell and the making of the Eckmannschrift, Dan Reynolds, Poem, Frankfurt am Main, 2020.

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.

Title
The material discovery of the alphabet
Date
2021
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publication
Poem

The material discovery of the alphabet, Éloïsa Pérez, Poem, Frankfurt am Main, 2021. Published by Poem.

Yona Friedman. La création, Centre d'art contemporain – La synagogue de Delme, 2009.

Etienne Pressager, Malzéville, 2006. etiennepressager.fr

A letter from Sancho Panza to his wife, HEAR Mulhouse, 2015.

Almost is a typeface between gothic and roman. It was designed by Jérôme Knebusch in five weights and many alternates. They can be endlessly combined, taking either a roman or gothic direction, without falling in a strong, broken script nor becoming a ‘pure’ roman design. Above, uncialesque and bizarre (Byzantine) letterforms and a full set of initials complete the fonts. All take their inspiration in the 15th century, specifically in the period of 1459-1482 with Gotico-Antiqua typefaces like the ‘Durandus’ of Fust & Schöffer, the first type to present a humanistic tendency. A few years later Sweynheim & Pannartz use a type in Subiaco which some consider to be the first roman although gothic influences remain clearly visible. Roman type was finally defined in 1469-70 in Venice by the ‘de Spira’ brothers and Nicolas Jenson. But roman did not precipitate the death of gothic forms, mixtures of gothic and roman were tried out and the two co-existed for some time. Almost is a hommage to these types, which represent a unique, transitory moment in history of typography. More information about Almost on Poem's website.

Title
Almost Italic
Date
2021
Type
Type design, Research
Client
Poem
Place
Frankfurt am Main
Material
Retail typeface
Conference
Gotico-Antiqua symposium, Nancy 2019
Award
Type Directors Club 2020
Award
Typographica 2019
Publication
Poem

Almost Italic, typeface, 2021. Published by Poem.

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.

Conference given at ISType Mono series, Istanbul, in 2014. 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. More informations on Instant here. Video link below.

Title
Instant: from handwriting to type design
Date
2014
Type
Research
Client
ISType
Place
Istanbul
Material
Conference
Video
IStype Mono 2014

Instant: from handwriting to type design, conference, ISType Mono, Istanbul, 2014.

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.

Title
Instant Nouveau
Date
2022
Type
Research
Client
Campus Fonderie de l'Image
Place
Paris
Material
Conference
Identity design
Simon Renaud
Conference
Full video online

Instant Nouveau, conference, Fonts & Faces #9, symposium, Campus Fonderie de l'Image, Paris, 2022.

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
2022
Type
Education
Client
Hochschule für Gestaltung Offenbach, Klingspor Museum
Place
Offenbach
Material
Workshop
Workshop
Yile Cho, Quirin Fürbeck, Simon Gerstner, Paula Janser, Emerson Martus, Ekaterina Sacharova, Ngoc Anh Tran, Chiara Wißler, Edvinas Žukauskas (Marc Schütz, HfG Offenbach)
Publication
Free OpenSource font

Offenbach in Offenbach. Koch's last typeface?, Klingspor Museum, Druckwerkstatt & HfG Offenbach, 2022.

Biography, 2003-2018 [folded], Poem, Frankfurt am Main, 2019. Published by Poem Original artworks here

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