Conference ATypI Tokyo 2019
You’re invited to a celebration of all things typographic! Join us 4–7 September in Tokyo for ATypI 2019, the sixty-third annual conference of the non-profit Association Typographique Internationale. Four type-filled days and nights in this enthralling city will engage, entertain, and inspire you.
Rediscover typography in Tokyo, a city of change and tradition.
2019年のATypIは東京で開催いたします。東京で開催できることを心から光栄に思っております。みなさまのご参加をお待ちしております。(期間:2019年9月4日〜7日。会場:日本科学未来館)
ATypI Tokyo will bring together typeface designers, publishers, developers, and educators from Japan and the global typographic community. Tokyo is the perfect environment for a global gathering: it is a crucible of hypermodernity and tradition, globalism and regionalism. ATypI is a global network that spans design professions, company sizes, and geographic areas of activity.
The conference is a stimulating environment where opportunities can arise to meet professionals from related industries, make connections across industries, and develop networks of learning, enterprise, and mentorship.
It is in this spirit of comprehension and inclusion that the ATypI 2019 conference invites designers, typographers, type designers, and type enthusiasts worldwide to Tokyo this September.
ATypI 2019 will take place at the Miraikan Museum in Tokyo, a space dedicated to emerging science and innovation.
- Wednesday, 4 September: Pre-conference optional workshops and associated events.
- Thursday–Saturday, 5–7 September: The main conference programme, exhibitions, demonstrations, and special events.
Please stay tuned for a conference hotel recommendation and early bird registration.
| 09:30–00:30 |
Crash Course: Western CalligraphyA working knowledge of Western calligraphy can be most helpful in speeding up one’s understanding of type design basics. This crash course will cover the two primary styles used in Western typography—roman and italics with the broad nib pen and the pointed pen. A deeper understanding of the relationships between tools and letterforms is expected… Continue reading Crash Course: Western Calligraphy |
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| 17:00–17:45 |
News from Nowhere or: How I Learned to Stop Worrying and Love Doing Research in a Small European Country基調講演 | 無名の地よりの知らせ：またはいかに欧州の小国で研究することへの不安を乗り越え、楽しむようになったか |
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| 15:10–03:30 |
The Evolution of Thai Loopless Scriptタイ文字のループレス系書体の変遷 |
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| 14:50–15:10 |
New Writing Manuals新しい書字の手引き |
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| 12:00–12:30 |
Tracking Kinetic Typography動的タイポグラフィを追い求めて |
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| 11:40–12:00 |
Callijatra: Reviving Ranjana Script in Nepalカリジャトラ：ネパールのランジャナー文字の復刻 |
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| 11:20–11:40 |
The State of Progressive Font Enrichment漸進的フォント補完技術の進捗状況 |
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| 10:10–10:30 |
Expressing Vocal Tones through Typography声色のタイポグラフィ |
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| 09:10–09:50 |
Super Graphics; The possibilities of Type Scapes基調講演 | スーパーグラフィック：タイプスケープの可能性 |
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| 16:30–16:50 |
A Paradigm Shift: How Y. Nakamura’s Na-ru and Go-na Influenced the Japanese Type Design Industry in the 1970sA seismic shift occurred in Japanese type design in the 1970s. The legendary designer Yukihiro Nakamura (1942–) is responsible for this change, which can almost be thought of as a paradigm shift. He created a rounded sans serif called Na-ru in 1973 and a sans serif called Go-na in 1975. These designs caused a stir… Continue reading A Paradigm Shift: How Y. Nakamura’s Na-ru and Go-na Influenced the Japanese Type Design Industry in the 1970s |
César Puertas 
Petra Černe Oven 
Milda Kuraityte 
Sunita Dangol