Notizen zu Berlin, residency, text, custom typeface, Berlin, 2010-2011. Available at poem-editions.com
À l’Antique, Musée de l’Antiquité Rouen & Frac Normandie, Rouen, 2017.
In 2011, students of ESAL Metz started within a workshop with Argentinian type designer Alejandro Lo Celso and their teacher Jérôme Knebusch a specific design for their school. Looking for a bookish typeface tending to modern forms, the students found interesting references in the work of Baskerville and Didot, precisely: exactly inbetween. The type grew during the following years, each time in intensive workshop sessions, to a complete type family named Messine, covering text, display, poster, italic, bold, sans and serif versions. Today, Messine is the official and exclusive typeface of the school, used all over its documents.
Messine, workshop programme, custom typeface, w/ PampaType, ESAL Metz, 2011-2019.
Alte Buchbinderei Appartements, Baden-Baden, 2016.
A letter from Sancho Panza to his wife, HEAR Mulhouse, 2015.
Custom all-caps typeface in medium weight, used throughout the museum's documents and announcements. The nearby, recently restored Villa Majorelle uses the typeface as well for its signage. The typeface gathers different Art Nouveau forms found in architecture, furniture or art and transposes them into one harmonizing design. It is further is characterized by wide capitals in many variants. The six styles (Crocus, Dahlia, Gingko, Nenuphar, Rose, Thistle) are arranged from the most quiet to the most expressive letterforms. Designed with Philippe Tytgat. Graphic design by Lab.Leblond.Tytgtat, Nancy. The typeface was later extended to minuscules in diverse weights, and published by Poem as a full retail type family in 2022.
Nouveau, custom typeface, Musée de l’Ecole de Nancy, w/ Philippe Tytgtat, Nancy, 2018-2020. Graphic design Lab.Leblond.Tytgtat.
One week workshop and research trip with ANRT students at Biblioteca Santa Scolastica in Subiaco, 2018. Digital revival of the two types used (and probably also created) by Konrad Sweynheim & Arnold Pannartz in Subiaco and Rome. Part of the Gotico-Antiqua research program. Published as free OpenSource fonts at ANRT (link below).
Sweynheim & Pannartz, w/ Thomas Huot-Marchand & Emilie Rigaud (ANRT), Biblioteca Santa Scolastica, Subiaco, 2018.
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.
Almost Display, typeface, 2024. Published by Poem.
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.
Triennials, visual identity & custom typeface, Rotondes, Cercle Cité, Casino Luxembourg, 2020.
One week workshop at Hochschule Mainz with Bachelor students. Design of a full digital alphabet with predefined geometric modules.
Learning from Albers, Hochschule Mainz, 2017.
One week workshop with Bachelor students. Design of a digital alphabet where capitals and minuscules have a distinctive different drawing.
Two types in one, Hochschule Aachen, 2019.