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

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.

Title
Triennials
Date
2020
Type
Visual identity, Editorial design
Client
Rotondes, Casino Luxembourg
Place
Luxembourg City
Material
Pamphlet, animations

Triennials, visual identity & custom typeface, Rotondes, Cercle Cité, Casino Luxembourg, 2020.

Jardin de Cristal, Abbaye des Prémontrés, Pont-à-Mousson, 2007.

Europa String Quartet, Marienkirche, Berlin, 2009.

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.

Title
Philly Hands
Date
2024
Type
Editorial design
Client
Poem
Place
Frankfurt am Main
Material
Pamphlet
Publisher
Poem

Philly Hands, François Chastanet, Poem, Frankfurt am Main, 2024.

Zaunkönig Appartements, Baden-Baden, 2019.

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.

Un mot, un matériau, École Française de Saarbruck et Dilling, 2008.

Futura Super Extra Bold, Gutenberg Museum Mainz, 2017.

Drawing Time / Le temps du dessin, Musée des Beaux-Arts & galeries Poirel, Nancy, 2010.

Garden Party, Sébastien Gouju, Saarländische Galerie, Berlin, 2011.

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

À l’occasion > Rencontres nationales de la Fraap, Trinitaires & 49 Nord 6 Est Frac Lorraine Metz, 2008.

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