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. It was recorded, link below.

‘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.

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 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.

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.

Visual identity and design of the Brave New World Order – Triennale Jeune Création website. The young art triennale is a major event for emerging artists from Luxembourg and the Greater Region. The website showcases 40 artists and a forum, initiated during the Covid pandemic which delayed the exhibition for one year. Each artist could login and update his profile. The starting page is randomly customized, displaying each time in another order the black and white identity drawings. The identity integrated the custom design of a typefaces in two styles.

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.

Rudolf Koch and Fritz Kredel's remarkable Blumenbuch [Book of Flowers] was published between 1929 and 1942, from precious volumes and portfolios to pocket editions, involving numerous collaborators, printers and publishers such as Mainzer Presse in Mainz, Ernst-Ludwig-Presse in Darmstadt and Insel-Verlag, Leipzig. The Insel paperback edition continued to be printed throughout the 20th century. Koch began drawing wild flowers in 1922. He explains that he 'collected [the flowers] at random and without any particular purpose. I only drew those that grew in Offenbach and the surrounding area...'. A member of Koch's Werkstatt, the young Kredel, engraved most of the 250 drawings. The flowers were engraved on wood and coloured entirely by hand. The entire project - the various editions, sketchbooks, printing tests and original woodcuts - constitutes an exceptional archive that was exhibited for the first time in France, at the Modulab gallery in Metz The exhibition curated by Jérôme Knebusch is a joint venture between the Klingspor Museum, Poem, Modulab and the École nationale d'art et de design de Nancy.

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.