ATypI Paris 2023 Archives - Page 7 of 12

12:00–12:30

Where We Came From: The origins and purpose of ATypI

A look at the origin story of ATypI itself: why it was founded, how it has evolved, perhaps where it is headed. Since we’ll be meeting in Paris this year, where ATypI was founded by Charles Peignot in 1956, it seems appropriate to take a look back.

#ATypI #History

11:30–12:00

Salle 106

Wikitype: A prototype for type classification

Leonardo Vázquez Conde

Wikitype is a digital tool, to understand and learn how to define, analyze and classify old, new and future typefaces. • Useful for students and teachers in graphic design • For type professionals • For type amateurs • For non latin alphabets

10:30–11:00

Developing Project Assistants to Support the Process of Type Design

Petr van Blokland

During type projects, many specific parts can be automated to support the design process, such as live spacing/kerning, feedback, filling details, QA, and proofing. But much of this is so closely related to a particular design that these functions will never become an application. The aim of assistants is to support those tasks during sketching… Continue reading Developing Project Assistants to Support the Process of Type Design

18:15–18:45

Salle 108

Experiments on Reforming the Printed Letters of the Bolorgir Style

Elena Papassissa

At different stages in history, the traditional forms of printed Bolorgir typefaces were modified to look modern and Western; the first and major step towards the modernisation of the Armenian typographic script was taken in the second half of the nineteenth century by the Armenian punch-cutter, printer and publisher Yovhannes Miwhêntisean (1810–1891), in Constantinople, and… Continue reading Experiments on Reforming the Printed Letters of the Bolorgir Style

17:45–18:15

Salle 108

Wood Type Manufacturers in France

Eric Nunes

Eric will give an overview of the activity of the French-speaking manufacturers. Their activity occurred between 1837 (Nancy) and 1982 (Grenoble). He will address the question of type manufacturing techniques, which remained essentially manual until the first third of the 20th century, unlike in the United States. He will examine the case of the city… Continue reading Wood Type Manufacturers in France

17:15–17:45

Salle 108

The Anti-type Book

Yomar Augusto

Produced almost entirely by unfinished typefaces, the book is a parody that illustrates Yomar’s complex and deep personality. The book uses a binder as the main support, and each piece is done on demand and individually, utilizing different kinds of paper and several printing methods. Yomar sees the book as a reflection of his personality—a… Continue reading The Anti-type Book

16:15–16:45

Salle 108

Typoteka.pl— Typographic roots of Poland

Ania Wieluńska Borys Kosmynka

Mateusz Machalski

The website Typoteka.pl, launched in 2020, serves as an online archive and index for designs created by Polish authors and in Poland. With over 400 typefaces, some dating back to 1474, the project has allowed for the discovery of previously unknown historical typefaces, as well as the organization and classification of these designs. This has… Continue reading Typoteka.pl— Typographic roots of Poland

15:45–16:15

Salle 108

Cuneiform—New Life for a Dead Script: Rendez-vous of extinct languages

Roman Wilhelm

Cuneiform is a multilingual script. Even though introduced to Unicode long ago, scholars in Ancient Oriental Studies are well aware of the fact that a bit more may actually be needed to let it really make sense in the context of modern-day media. Now, a new font family is produced, aimed at rendering complex sign… Continue reading Cuneiform—New Life for a Dead Script: Rendez-vous of extinct languages

10:00–10:30

Salle 108

Type Design Contribution to the Study of Antique Monetary Inscriptions

Morgane Pierson

The research project Police Pour Les Inscriptions Monétaires (PIM), or Font for Monetary Inscriptions, aims to produce suitable tools for transcribing the information contained in monetary inscriptions beyond their semantic content. Based on the National Library of France collections of antique coins (from France, Italy, Greece, Spain, North Africa and the Middle East), the project… Continue reading Type Design Contribution to the Study of Antique Monetary Inscriptions

18:15–18:45

Salle 106

Chinese Ethnic Typography—Noto Fangsong Khitan Small Script

Congyu Zhang

Kushim Jiang

Liu Zhao

The Khitan small script is one of the two official scripts used during the Liao Dynasty of ancient China, in which each grapheme cluster corresponds to one or more syllables and consisted of one or more yuanzis. After the Khitan small script is encoded in 2020, the corresponding Noto typeface is designed by the local… Continue reading Chinese Ethnic Typography—Noto Fangsong Khitan Small Script

12:00–12:30 Salle 106	Where We Came From: The origins and purpose of ATypI John D. Berry A look at the origin story of ATypI itself: why it was founded, how it has evolved, perhaps where it is headed. Since we’ll be meeting in Paris this year, where ATypI was founded by Charles Peignot in 1956, it seems appropriate to take a look back.	#ATypI #History
11:30–12:00 Salle 106	Wikitype: A prototype for type classification Leonardo Vázquez Conde Wikitype is a digital tool, to understand and learn how to define, analyze and classify old, new and future typefaces. • Useful for students and teachers in graphic design • For type professionals • For type amateurs • For non latin alphabets
10:30–11:00	Developing Project Assistants to Support the Process of Type Design Petr van Blokland During type projects, many specific parts can be automated to support the design process, such as live spacing/kerning, feedback, filling details, QA, and proofing. But much of this is so closely related to a particular design that these functions will never become an application. The aim of assistants is to support those tasks during sketching… Continue reading Developing Project Assistants to Support the Process of Type Design
18:15–18:45 Salle 108	Experiments on Reforming the Printed Letters of the Bolorgir Style Elena Papassissa At different stages in history, the traditional forms of printed Bolorgir typefaces were modified to look modern and Western; the first and major step towards the modernisation of the Armenian typographic script was taken in the second half of the nineteenth century by the Armenian punch-cutter, printer and publisher Yovhannes Miwhêntisean (1810–1891), in Constantinople, and… Continue reading Experiments on Reforming the Printed Letters of the Bolorgir Style
17:45–18:15 Salle 108	Wood Type Manufacturers in France Eric Nunes Eric will give an overview of the activity of the French-speaking manufacturers. Their activity occurred between 1837 (Nancy) and 1982 (Grenoble). He will address the question of type manufacturing techniques, which remained essentially manual until the first third of the 20th century, unlike in the United States. He will examine the case of the city… Continue reading Wood Type Manufacturers in France
17:15–17:45 Salle 108	The Anti-type Book Yomar Augusto Produced almost entirely by unfinished typefaces, the book is a parody that illustrates Yomar’s complex and deep personality. The book uses a binder as the main support, and each piece is done on demand and individually, utilizing different kinds of paper and several printing methods. Yomar sees the book as a reflection of his personality—a… Continue reading The Anti-type Book
16:15–16:45 Salle 108	Typoteka.pl— Typographic roots of Poland Ania Wieluńska Borys Kosmynka Mateusz Machalski The website Typoteka.pl, launched in 2020, serves as an online archive and index for designs created by Polish authors and in Poland. With over 400 typefaces, some dating back to 1474, the project has allowed for the discovery of previously unknown historical typefaces, as well as the organization and classification of these designs. This has… Continue reading Typoteka.pl— Typographic roots of Poland
15:45–16:15 Salle 108	Cuneiform—New Life for a Dead Script: Rendez-vous of extinct languages Roman Wilhelm Cuneiform is a multilingual script. Even though introduced to Unicode long ago, scholars in Ancient Oriental Studies are well aware of the fact that a bit more may actually be needed to let it really make sense in the context of modern-day media. Now, a new font family is produced, aimed at rendering complex sign… Continue reading Cuneiform—New Life for a Dead Script: Rendez-vous of extinct languages
10:00–10:30 Salle 108	Type Design Contribution to the Study of Antique Monetary Inscriptions Morgane Pierson The research project Police Pour Les Inscriptions Monétaires (PIM), or Font for Monetary Inscriptions, aims to produce suitable tools for transcribing the information contained in monetary inscriptions beyond their semantic content. Based on the National Library of France collections of antique coins (from France, Italy, Greece, Spain, North Africa and the Middle East), the project… Continue reading Type Design Contribution to the Study of Antique Monetary Inscriptions
18:15–18:45 Salle 106	Chinese Ethnic Typography—Noto Fangsong Khitan Small Script Congyu Zhang Kushim Jiang Liu Zhao The Khitan small script is one of the two official scripts used during the Liao Dynasty of ancient China, in which each grapheme cluster corresponds to one or more syllables and consisted of one or more yuanzis. After the Khitan small script is encoded in 2020, the corresponding Noto typeface is designed by the local… Continue reading Chinese Ethnic Typography—Noto Fangsong Khitan Small Script