Unicode has become an essential character-​encoding standard for exchanging texts electronically. Unicode 13 encompasses 150 different writing systems, and more than 139 000 characters: its ambition is to include all the scripts of humanity. 

The decodeunicode​.org website, started in 2005 by Johannes Bergerhausen, and its associated book « decodeunicode Schriftzeichen die der Welt » (ed. Hermann Schmidt) gives a fascinating insight into the richness and diversity of the scripts covered by Unicode.
And yet, more than a hundred writing systems are still missing from Unicode. Jenticha, Kulitan, Garay (Wolof), Ranjana (Lantsa), Mayan Hieroglyphs… minority scripts, sometimes ancient or undeciphered (but not necessarily complex in their design), which are still awaiting to be approved by the Unicode Consortium. 

The aim of the Script Encoding Initiative (SEI) at the University of Berkeley is to provide the linguistic expertise required to submit new proposals for these writing systems to Unicode. Many of these scripts have never existed in a typographic form, and display some very interesting shapes: they represent a kind of unexplored territory for type designers.
The Missing Scripts project aims to support the SEI’s proposals to Unicode, through the design of typefaces for the missing entries. To achieve this, a multi-​year research program is implemented, based on a classification by Johannes Bergerhausen, who established different levels of complexity for these scripts, based on the SEI database. The work will be conducted over a number of years, combining several levels of expertise: linguistics (SEI, Berkeley), type design (ANRT) and graphic design /​ mediation (decodeunicode, Hochschule Mainz). 

The website The World's Writing Sytems and the poster show the actual state of research.

The Missing Scripts programme will focus, from Octobe 2020 to March 2022, on the following scripts: YEZIDI, AFÁKA, SHARADA, DIVES AKURU, TOTO, BOOK PAHLAVI.

Desired profile for the application:

• Interest in Latin and non-​Latin type design (specify which writing system) 
• English spoken
• Good organisational skills 

Visiting professors & experts:

Pr Johannes Bergerhausen, Hochschule Mainz (DE) /​ decodeunicode​.org

Dr Deborah Anderson, Université de Berkeley (USA) /​ Script Encoding Initiative
The Unicode consortium

How to classify and archive a collection of typographic work and type design from a period spanning more than 5 decades? This research program, based on the personal archives of Hans Jurg Hunziker, will propose a classification methodology in a field that is still little addressed. It will help build an easy-​to-​access, on-​site and online research platform, and a retrospective publication.

Hans Jurg Hunziker, instructor at the ANRT from 1990 to 2006, will help the student-​researcher to understand, classify and digitize documents. They will be presented by a notice placing them in their historical, cultural, social and technical context.

In partnership with the Bibliothèque cantonale Vadiana, Saint Gall

Typeface designer and typographer, Hans-​Jürg Hunziker trained as a typesetter and typographer in Zurich before attending the Allgemeine Gewerbeschule in Basel in 1965, where he met Jan Tschichold, Emil Ruder, Armin Hoffmann and André Gürtler. He later travelled to Brooklyn to start working for the Mergenthaler Linotype Company, where he developed typefaces for phototypesetting under the direction of Matthew Carter (1967-​71). In 1971 he joined Adrian Frutiger’s studio, where he contributed (among other projects) to the Roissy airport signage typeface, later released as Frutiger. In 1974 he designed for Visual Design (Jean Widmer & Ernst Hiestand) the CGP typeface for the identity of the Centre George Pompidou. From 1980-​83, as part of a United Nations Development Project, he designed some Arabic typefaces and taught typeface design at Institut de recherche et d’étude pour l’arabisation in Rabat, Morocco. Back in Paris, he worked as a freelance designer and co-​founded Atelier H together with Ursula Held in 1998. He designed several books and catalogues for the Centre Georges Pompidou, Cité de la Musique, Institut du Monde Arabe and Bibliothèque nationale de France. Between 1999 and 2002, he designed the corporate typeface for Siemens, a project of exceptional scale: 3 styles, Sans Serif and Slab, in three weights, with accompanying italics. The fonts, developed in collaboration with URW, cover a very large number of writing systems: Latin, Arabic, Greek, Cyrillic, Hebrew, Traditional and Simpli ed Chinese, Korean, Japanese, Thai, etc. Hans-​Jürg Hunziker taught at the Hochschule für Gestaltung in Zurich until 2014, as well as Atelier national de recherche typographique between 1990 and 2006. 

• April 2020: call for applications 
• 20 June 2020: deadline for submission of applications on anrt​-nancy​.fr/​c​a​n​d​i​d​a​t​ure 
• 3 July 2020: Notification of shortlisted applications available online. 
Interview dates and times will be announced together with the application results. 
• 6-​10 July 2019: admission interview with the selection committee (video-​conference interviews are possible). 
• 1 October 2019: academic year starts. Registration of successful applicants 
from September 2020.
  


Applications must be submitted by 20 June 2020 in electronic formonly (PDF) and should include: 

• A document or portfolio demonstrating the candidate’s approach and his recent work. (PDF format, 10MB maximum);
• A typographic research project. Candidates should present in written form the personal project, or the research programme they plan to undertake at the ANRT (3 pages maximum); 
• A covering letter detailing your reasons for applying; 
• A registration form, to be downloaded from the ANRT website: 
anrt​-nancy​.fr/​c​a​n​d​i​d​a​t​u​re/
• A detailed CV; 
• A photocopy of the candidate’s identity card or passport; 
• Two passport photographs with the candidate’s name; 
• Copies of certificates

candidature@​anrt-​nancy.​fr

The interview panel comprises:

• The Course Director and one tutor from the ANRT 
• Three qualified interviewers appointed by ANRT’s management board, including a French or international graphic designer and/​or typographer, an interviewer with appropriate design expertise and a teacher/​researcher with expertise in this field. 

During the interview the panel will focus on: 

• The quality and maturity of the work presented 
• The candidate’s ability to contextualise and present their project effectively, as well as visualising ways in which it might be developed 
• The candidate’s motivation and level of expertise 
• The ability to approach typography from an experimental and/​or interdisciplinary perspective

I am currently a master student and I will soon graduate. Can I apply now for the next session?

— Yes. The applications are open to students who are currently registered in Master 2. 

I graduated a few years ago, but my diploma is not a Master’s degree. Can I still apply?

— Yes. Exceptions can be made : for the holders of DNSEP who graduated before 2011 (when the DNSEP became a Master’s degree) and for the holders of a DSAA. 

Is there an age restriction to join the ANRT?

— No.

I do not speak either French or English, is it a problem?

— Yes. The discussions at the ANRT are in French and in English. A good level in both languages is required : if you have some difficulties in one or the other, training is available on the Artem campus, at “la Maison des Langues” (self-​learning, language exchange groups). 

I submitted my application. What is the next step?

— The shortlist will be made the following week. Then the applicants will be invited to an oral examination in Paris. The final selection will be unveiled afterwards. 

I live very far from France. Do I have to come especially for the oral examination?

— No. Videoconference interviews are possible. 

I already work. Can I still do my work while studying at the ANRT?
— No. A full commitment is required. 

I live in Paris. Do I have to move to Nancy to study at the ANRT?

— It is highly recommended to live in Nancy to be able to do a proper one-​year-​long research. Each student will have his own workspace at the Atelier, and a permanent access to the equipment and documentary resources of the ANRT. 

What is exactly a research project at the ANRT?

— The fields are typeface design (latin and/​or non-​latin), editorial design (printed or on screen) and, in a general way, relations of typography with space, movement, architecture, new technologies, writing or fine arts. While a historical and theoretical support is needed, each project has to keep a practical dimension, aimed at the production of new forms. For the application stage, the project can remain a bit vague, the general idea is explained, as well as a few references. 

My project is not about typeface design. Is it an issue?

— No. Research at the ANRT questions typographical design in a wider sense : it can cover the relationships of typography with space, movement, architecture, new technologies, fine arts, literature. We frequently talk about typeface design but it is not the only field of research.

How is the teaching at the ANRT organized?

— Teachers are at the ANRT 2 days a week, on Thursday and Friday. Each teacher comes to the ANRT one or two times a month. The discussion mode alternates between group sessions and individual sessions. Each researcher has to regularly present the progression of his research and has to produce a synthesis paper at the end of the year. The year ends with an oral presentation, supervised by the teaching team and a special guest. 

I am interested in one of the research programs (ANRT/​ATILF or ANRT/​LORIA). Do I have to submit a research project?

— Not necessarily. An explanatory note about the applicant’s motivations may be enough. 

How are supervised the research programs linked with the partner laboratories?
— The supervision is combined, both the teachers of the ANRT and the researchers of partner laboratories are taking part in the project. These partnerships result in regular discussions with the researchers, access to the documentary resources of each laboratory, and perspectives of group publications. 

Do you give training on specific softwares?

— Yes. The researchers-​students will benefit from a training on typeface design softwares (Robofont, Glyphs and Fontlab). 

Are workshops or field trips planned?

— Yes. A field trip is organized every year. A thematic workshop takes place each semester. ANRT students also have to lead a workshop with students of the ENSA Nancy once a year.

How much does a year at the ANRT cost?

— Registration fees are about 400€, to be paid to the ENSA Nancy. 

Is there a research allowance?

— Yes. A research grant of 4 450€ (paid in 6 times) is allowed to each of the 6 researchers-students. 

When does the academic year start?
— The academic year begins on 2 October 2017, in Nancy.

The submission of applications is over 

contact@​anrt-​nancy.​fr

École nationale supérieure d’art de Nancy
Atelier National de Recherche Typographique (ANRT)
1 place Charles Cartier-​Bresson
BP 13129 54013 Nancy CEDEX
France