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.

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

Alice Savoie and Jérôme Knebusch have edited between 2020 and 2025 ten essays by Jérôme Knebusch, Sébastien Morlighem, Riccardo Olocco, Dan Reynolds, Éloïsa Pérez, EESAB Type, Yoann De Roeck, François Chastanet, Julien Van Anholt in the Poem Pamphlets collection. The screenprinted box, white on black paper, assembles them.

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.

Bilingual (French, German) supplement to Pangramme: learning type catalogue, published by ESAL Metz, published at the occasion of the traveling exhibition at Biennale de design graphique Chaumont and Museum für Druckkunst Leipzig in 2017 and 2018. Texts by Andrea Tinnes, Thomas Huot-Marchand, Sébastien Morlighem and Jérôme Knebusch. 15x26 cm, 16 pages pamphlet. Free PDF downloads (links below). More information about the exhibtion here.

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.

‘La page projetée. Livres fictionnels au cinéma’ [The projected page. Fictionnal books in movies] is a pedagogical project led by the Institut Page at ESAL Metz, in collaboration with Léo Coquet, Elamine Maecha, and the institute's students. We analyzed existing films that feature fictional books – books that appear only on screen and were never actually edited or published. These books are often reduced to their physical appearance as cinematic props, typically limited to a cover. Yet they actively contribute to the narrative and, in some cases, even extend it. The research project was presented during The 2024 Biennale Exemplaires in Valence and a one-day symposium in Metz, featuring Agatha Masa, officeabc, Alice Planes, and Pierre Leguillon. This event was promoted via social media and a printed poster. A (filled) popcorn cup was handed out at the entrance of the symposium, with the program printed on it.