Catalogue, ANRT Archives 1985–2006


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

ANRT 2013–2015, Projects


Nancy, Feb. 19-20, 2018, Writing With Pictures

Nancy, 17-18 November 2016, Automatic Type Design 2

Paris, BnF, 4–5 december 2015, III TYPE

Nancy, 3 July 2015, Les Physiques du livre

Nancy, 6–7 May 2014, Automatic Type Design

Nancy, 4 juillet 2013, Renaissances de la typographie


Rémi Forte, ANRT 2018

Montasser Drissi, ANRT 2017

Lucas Descroix, Poster ANRT 2016

Alice Jauneau & David Vallance, Poster ANRT 2015

Jean Widmer, Poster ANRT 2013

Sarah Kremer, Poster ANRT 2013

Éloïsa Pérez, Poster ANRT 2014

David Studer, Poster ANRT 2006

Gregory Bouchier, Poster ANRT 2005

Céline Gillier & Sidonie Mangin, Poster ANRT 2004

Laurent Kuhni, Poster ANRT 2003

Thomas Huot-Marchand, Poster ANRT 2002

Paule Palacios-Dalens, Poster ANRT 2001

Arne Freytag, Poster ANRT 1999

Marion Olk, Poster ANRT 1998

Roxane Jubert, Poster ANRT 1997

Agathe Hondré, Poster ANCT 1996

Philippe Moubèche, Poster ANCT 1995

Luca Dotti, Poster ANCT 1994

André Baldinger, Poster ANCT 1993

Maryse Khoriaty, Poster ANCT 1992

Margaret Gray, Poster ANCT 1991

Muriel Paris, Poster ANCT 1991

Publications En
Nancy, Feb. 19-20, 2018,
Writing With Pictures
Encounters of the Third Type Writing with pictures Atelier national de recherche typographique École nationale supérieure d’art et de design de Nancy Lundi 19 – mardi 20 février 2018 Campus ARTEM Nancy, France Programme With: Ruedi Baur, Integral Ruedi Baur, Paris (FR) Johannes Bergerhausen, Hochschule Mainz (DE) Christopher Burke, Univ. Reading (UK) Charlène Cassier, Magali Massiera, Frédéric Rouffet, Arcanae / Univ. Paul Valéry Montpellier 3 (FR) Sébastien Dégeilh , Antonio Silveira Gomes, ISDAT Toulouse (FR), FCTUC (PT) Marie Flesch, ATILF Nancy (FR) Colin M. Ford, Hoefler & Co, NYC (USA) Pierre Fournier, ANRT-Nancy / Labex Archimede - HieroLexique / Arcanae (FR) Charles Gautier, Univ. Paris Descartes (FR) Jochen Gerner, Nancy (FR) Jérémie Hornus, Gaetan Baehr, Julie Soudanne, [Black]Foundry, Paris (FR) Paul D.Hunt, Adobe, San Francisco (USA) Thomas Huot-Marchand, ENSAD Nancy - ANRT (FR) Luna Kindler, ENSAV La Cambre, Bruxelles (BE) Aline Melaet, ENSAV La Cambre, Bruxelles (BE) Gilles Palsky, Univ. Paris 1 Panthéon-Sorbonne (FR) Éloïsa Pérez , ENSAD Nancy - ANRT (FR) Luciano Perondi, ISIA Urbino, Univ. Urbino (IT) Morgane Pierson, Arthur Francietta, ENSAD Nancy - ANRT (FR) Anne-Lyse Renon, Telecom Paris Tech i3 CNRS, EHESS, Paris (FR) Rainer Erich Scheichelbauer, Glyphs / Schriftlabor, Vienna (AU) Shivay la bruja, Ecole offshore Shanghai – ENSAD Nancy / Lyon (FR) Coline Sunier, Charles Mazé, Bruxelles (BE) / ENSAD Nancy - ANRT (FR) Daniel Utz, Hochschule für Gestaltung, Schwäbisch Gmünd, University of Applied Sciences (DE) Writing with pictures “I think that this was this possibility of actively combining things which was at the bottom of the joy I took in symbols, whether they appeared in isolation and could be put together, or in combinations that could be split up and then recombined in different ways. I regretted that the old picture writing had gradually disappeared instead of becoming the source of a kind of international picture language which would be able to bring together all kinds of people.” Otto Neurath, From hieroglyphics to Isotype, a visual autobiography, chap.4. London, Hyphen Press, 2010. The Encounters of the Third Type explore the boundaries of typographic systems : neither Latin nor non-Latin, but of another kind. The popularity and recent development of emojis has revived the oldest type of writing : pictographic writing systems. The letters of the alphabet, distant descendants of ideograms, are now mixed with small coloured images, primitive and almost universal symbols. The rapid adoption of emojis by users worldwide is putting unprecedented pressure on the organization responsible for standardizing these signs and deciding on their adoption, the Unicode consortium. For instance, the debates aroused by the representation of genres and skin tones in emojis underline both the limits of archetypal representations, and their intrinsic ambiguity. Is writing with images still writing? Is a pictographic writing system able to express everything, and to embrace the entire visible and sayable universe? What can ancient writing systems, such as Egyptian hieroglyphs, or projects such as Otto Neurath Isotype, teach us with regards to contemporary practice? What kind of linguistic or semantic limits are posed by the normalization of these symbols? What role do pictograms play when mixed with letters of the alphabet? Is their use really universal, or are there any cultural differences in their adoption?