2017

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

2016

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

2015

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

2014

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

2013

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
Montasser Drissi,
”What should an Alef look like?”
Multiscript type design holds complex formal challenges. Printing techniques, the pursuit of uniformity and editorial constraints often imply a revision of the established forms. The first Arabic typefaces were seriously constrained by European techniques designed mostly for the Latin script. In a series of adaptations of the Arabic script to the printing press, the typewriter, the Linotype, or to early digital font formats, some basic characteristics of the script were lost on the way and we ended up with new forms. These were often criticised for marking an abrupt breakup with the calligraphic forms used for transcribing texts during centuries. More recently, new font formats and the democratisation of type production software have opened the way for a revision of certain forms that we still associate to Arabic type, even though they resulted from constraints that are now obsolete. A number of typefaces published in the last few years reflect the new approaches type designers are coming up with. This research project aims to explore Arabic type design while taking into consideration current typographic issues and matchmaking challenges, in parallel to an analysis of a selected body of existing typefaces designed and produced at different periods.