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

2015
Pierre Fournier,
The signs on the wall
The hieroglyphic font I am currently designing is to be used for transcribing hieroglyphic texts, without distinction of period or geographic area. To give a shape to the hieroglyphs of the Vocabulaire de l’Égyptien Ancien (VÉgA) I had to set up a process to design glyphs that synthesise several epigraphic sources. A hieroglyphic font based on epigraphic sources may be used for the publication of scientific studies, communication between researchers or as a tool for learning the language. Typography is a tool taking part in a succession of codes used to translate the hieroglyphic text in a form we can understand : photographs-facsimile / typographique transcription / transliteration / translation. By studying scientific publications, I observed that hieroglyphic fonts are used to refer to another state of the text (facsimile or photograph), and don’t have to support the semantic aspect of hieroglyphs, which is very important in the interpretation of hieroglyphic texts : the font is used to refer to another document, so the sign acts as a referral. This function involves that the shape of the glyph has to be different from the shape of the epigraphic sources the glyph is based on, in order to not be too close from a specific period of the script. Moreover, this function justifies that I had to determine the structure and the proportion of a glyph by the synthesis of several sources. There goes a triangulation between the original shape, the shape noted by academics, and the normalised typographic version I am working on, conferring a scientific veracity to the system I established. At the end of this process, the glyphs are submitted to the egyptologists for approval. For the creation of the font, I conceived a typographic template, a structure with its own logic within a coherent typographic system : the font doesn’t refer to any epigraphic source in particular. As a designer, my role involves to judge of the most appropriate way to translate a form that was produced several millenia ago.