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.

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

Artem is the custom exclusive typeface for ARTEM, which stands for Art, Technology and Management,an original initiative set up by the École nationale supérieure d'art et de design de Nancy, ICN Business School and Mines Nancy. For everyday text use, an extension known as Artem Bureau has been added to the Artem type family. While Artem is a unicase type (a singular mixture of some capitals and minuscules), Artem Bureau is a complete set of lowercase and capitals for everyday office use, and enhanced with more extensive functions and glyphs. Currently, only ENSAD Nancy uses this typeface, available in Regular, Bold (2017) and Italic (2022). ENSAD Nancy has also ordered a graphic version, Artem Dot, which reinforces its identity within the overall Artem project. More information on the Artem identity typeface page.

‘What if' is a typical question for an alternate history scenario, also called Uchronia: choose a starting point in history and imagine a different outcome. Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebusch and released in 2020, was initially created during a workshop at the Gutenberg Museum Mainz at the occasion of the 'Futura. Die Schrift' exhibition in 2017. It has a single weight (among the blackest one can find), five widths and respective oblique versions. The glyphset is extended with Futura's iconic historical alternates, ‘Schmuck-Elemente' (decorative geometric forms) and a complete range of thin punctuation marks and diacritics.

Koch Grotesk is the newest revival of Neuland by Rudolf Koch, designed by Edvinas Žukauskas and Jérôme Knebusch and published by Poem for Neuland’s centenary in 2023. It is the most faithful to Gebr. Klingspor’s products and includes one separate font for each of the nine original sizes. The appearance is rough, especially when comparing multiple sizes. One notices that the characters in each size are not enlarged or reduced versions of the same master. Koch wrote, ‘the inventor of the form and the maker of the punches were united in one person. The typeface was created without a previous draft on paper, from the mass of metal and the [punchcutter’s] tool, as a sculptural task.' Koch Grotesk also includes a tenth font with lowercase letters. For the first time, this tenth font gives designers access to Gebr. Klingspor’s never-released Neuland lowercase and their matching uppercase. Koch Grotesk was accurately redrawn based on the archives at Klingspor Museum Offenbach and Hessisches Landesmuseum Darmstadt. Only few, necessary glyphs have been added, and the font names correspond to the point sizes and original German terms. 10% of licence purchases are deposited each year as flowers on Koch's grave.

Visual identity and design of the symposium & exhibition Gotico-Antiqua, proto-roman, hybrid. 15th-century types between gothic and roman held at ENSAD Nancy in 2019. Design in French and English includes signage, poster, booklets and micro-website where you can find more information about the project (see link below). First use of the Almost typeface.

The conference explores a period in the history of typography that, relatively speaking, is not often studied: after Gutenberg and before the Jenson model was stabilized. The body of work study extends back to the first humanistic tendencies toward 'pure' romans, by way of many cases of uncertain designs, voluntary hybridizations, or archaic forms of roman. Undertaken between 2016 and 2020 at ANRT Nancy and coordinated by Jérôme Knebusch, this conference at ATypI Montréal in 2017 was the first public presentation of an ongoing research project. Its final outcome was an exhibition with symposium in 2019, and a book in 2021. Conference video link below.

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.

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.