Rémi Forte, Designing Literary Writing in the Digital Age

Tanguy Vanlaeys, CNC Typography

Alexis Faudot, Rafael Ribas, Halbgotische, Gotico-​Antiqua, Fere-​Humanistica: between blackletter and roman

Morgane Pierson, Nsibidi, a pictographic and ideographic system of Nigeria. The Missing Scripts 2017

Rosalie Wagner, A parametric typographic system for literacy and remedial reading


Montasser Drissi, ”What should an Alef look like?”

Isia Yurovsky, The tsar’s roman

Gabriele Cepulyte, Form & visibility of archives online: editing the archives of Antoine Vitez’ Electra

Clément Le Tulle-Neyret, Immortel

Camille Trimardeau, A writing system for gymnastics

Arthur Francietta, The Missing Scripts 2016


Lucas Descroix, Italicismes. From Aldine to oblique, italic forms in relation to the traditional family model

Miklós Ferencz, Liveliness of the printed text

Pierre Fournier, The signs on the wall

Sylvain Julé, (Trans)textual interfaces

Corentin Noyer, Typographic manipulation


Alice Jauneau, Stencilled

Céline Kriebs, Borders areas

Francis Ramel, A typeface for the first musical notations

David Vallance, Re‑Typograph 2014

Mário Vinícius, Paideuma

Elvire Volk Leonovitch, Typeface for monetary inscriptions


Sébastien Biniek, Mapping composition, new topology

Thomas Bouville, Re‑Typograph 2013

Redouan Chetuan, Awal. One country, three wrting systems

Sarah Kremer, Design and development of an extended phonetic typeface

Julian Moncada, Ugly Faces

Éloïsa Pérez, From the gesture to the idea: graphic forms of the writing at the primary school

Publications En
Gabriele Cepulyte,
Form & visibility of archives online: editing the archives of Antoine Vitez’ Electra
This research project in graphic design questions the way we show archival resources online. If we take a look at the recent governmental applications, we notice that in 2013, the OpenData circulatory was adopted in Europe: this one led to the massive creation of websites offering databases and graphics, showing anything related to the public domain in a pseudo ultra-transparency—including archives. The aim of this project was to reconsider the analytic point of view of the database, and try to show a specific point of view on an archival fonds. This statement led to the creation of a « virtual exhibition » of the archives related to the three stagings of Electra by the French stage-setter Antoine Vitez: the event of the performance being lost, the issue was to create another kind of experience, which would be more related to the notion of historicity. This could be antithetic with the support, here a website; it takes form through extractions of manuscripts, videos, photographs inserted in the text of the antic play, playing on the materiality of the archival ressources and the historical imaginary that surrounds them. This project is made in partnership with Imec—Institute for Memory of Contemporary Edition, Caen.