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
Clément Le Tulle-Neyret,
How can a typeface transmit / say /show / embody texts / thoughts / concepts, beyond its layout? In reaction to Beatrice Warde’s theory, supported by Stanley Morison, about the idea that typography and typefaces should be transparent and objective1, this research questions how text can be embodied by the typeface used to set it, letterforms being here considered as the smallest unit of communication. The transmission of a text is not simply the result of a purely physiological process, it also calls for for a degree of subjectivity and sensitivity in its perception – the text is seen as much as it is read2. Consequently, how and to which extent can a typeface embody the content it displays to the eyes of the reader? How may the subjectivity of the type designer manifest itself as part of an original typeface intended for continuous reading or for a specific text? How may these letters, these words, these sentences, this text be qualified? This research also investigates what makes the identity of a typeface family. As part of this process, a number of variations will be designed, using as a basis specific texts selected for this occasion. Which parameters will need to remain unchanged, and which ones will vary as part of the creation of the identity of the type family? Up to which point will these variations remain part of a coherent system, and when will they depart too much from it? 1. Beatrice Warde, «The Crystal Goblet, or Printing Should Be Invisible.», The Crystal Goblet: sixteen essays on typography, London, The Sylvan Press, 1955 2. Emmanuël Souchier, «L’image du texte pour une théorie de l’énonciation éditoriale», Les cahiers de médiologie, vol. 6, no. 2, 1998, p. 137–145.