Jérôme Knebusch and Alice Savoie’s Poem Pamphlet series has been a typographic highlight of 2020s. The first pamphlet tells the story behind Rudolf Koch’s Blumenbuch. Back in 2020, I wrote the fourth, which questioned the details of Gebr. Klingspor’s accounts of the Eckmannschrift’s. I refocused the view of that story onto the typeface’s punchcutter, Louis Hoell. This week, the seventh pamphlet debuted. It contains my account of the creation of Gebr. Klingspor’s Neuland typeface, which Rudolf Koch designed and cut in 1922/23. Jérôme distributed copies of the pamphlet to every attendee at this year’s ATypI conference in Paris. It is for sale on the Poem website for just €8. While you are there, you can order back issues from the series, too.
If you want more information about the pamphlet, here is the official description from the Poem website:
Of the display typefaces Rudolf Koch designed, Neuland may have received the most use abroad. But how was it made? A 1922 letter Koch sent to Ernst Kellner provides more questions than answers, and designers have speculated for almost half a century about whether Koch really cut its punches without any preparation. Dan Reynolds’s essay reviews these textual sources, comparing them with surviving process material preserved in the Klingspor Museum and elsewhere. Written by Dan Reynolds and edited by Alice Savoie and Jérôme Knebusch in the Poem Pamphlet series.
24 pages, 12 × 20 cm
Offset print on uncoated paper
Glossy UV varnish
Saddle stitch binding