Of all the title fonts from the Klingspor type foundry, Neuland was probably the most frequently used abroad. But how was it produced? A letter Koch sent to Ernst Kellner in 1922 raises more questions than it answers, and designers have speculated for nearly half a century about whether Koch really cut the hallmarks without any preparation. Dan Reynolds has examined the various sources; Edvinas Žukauskas and Jérôme Knebusch have digitised the different sizes for the first time. The essay Making Neuland and the typeface Koch Grotesk were published by Poem for Neuland’s centenary in 2023. Conference held at ENSAD Nancy, 28 November 2023.

La fin du monde [The end of the world] resembles a thistle or a holly branch. During his residency at the Ergastule studios in Nancy, France, Jérôme Knebusch created twelve in a limited edition. All look similar, but none are identical. They were vector drawn, laser cut in brass, manually folded and oxidized in vinegar steam. Six are exclusively available at Poem, six others at Ergastule. The thistle photograph by Emile Gallé is from the École de Nancy archives.

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.

The Musée d'Orsay is dedicated to artistic expression from the period 1848–1914. With an annual attendance of 3.5 million visitors, it stands as one of the world’s most prestigious cultural institutions. Its complete visual identity overhaul, undertaken by the Paris-based graphic design studio Zoo, offers a contemporary interpretation of the museum’s artistic legacy by establishing a clear, readable, and engaging visual language. As part of this redesign, an exclusive typeface was created in two styles. This typeface is a modern reinterpretation of the typographic developments of La Belle Époque, channeling the vitality of the era to which the Musée d'Orsay is devoted. The roman style presents a distilled interpretation of the 19th-century French Elzévir genre, while the italic revives the Coulée Italique Elzévirienne, originally cast by the Parisian foundry Beaudoire & Fils. The italic also features a set of swash capitals. Both styles were drawn by Rafael Ribas, with advisory, mastering, and production by Jérôme Knebusch. Some images are excerpted from the 2023/2024 program, where the typeface is paired with Antique Legacy.