Margaux Moussinet I propose to present my doctoral research, during which I developed a concept called “typographic opacity”. This concept offers an equivalent to the Crystal Gobelet theorized by Beatrice Warde in the early 20th century. According to this theory, typographic composition and letterforms must fade in order to optimize the clarity and legibility of the text. But this requirement for transparency of letters has since been questioned by graphic and typographic designers. Therefore, the concept of typographic opacity seeks to answer the following question: what happens when letters become independent of their linguistic role, in order to highlight their materiality and plasticity? During my presentation, I will outline the results of my research and the definition of the concept of typographic opacity from several perspectives: the forms, function and design practice underlying this concept.
This proposal fits in with the two themes of the 2026 sessions. For the Stanford session, it corresponds particularly to the sub-theme of Touch Screen, as the materiality of text and letters is at the heart of the concept of typographic opacity. Furthermore, one of the results of my research is that this concept implies a practice that is akin to “typographic craftsmanship”. I will develop what this term means in the context of digital typography. My proposal also fits into the Start Screen sub-theme, presenting a theoretical research in typographic design.For the Sharjah session, my proposal contributes to the sub-theme Between Forms. Indeed, the conclusion of my thesis is that there isn’t a strict opposition between transparent typography and opaque typography, but rather a range of possibilities between the two, nuances that are more a matter of gradation. I will present my thoughts on these different degrees and explain how typographic opacity is not limited to experimental typography, while still being part of typographic experimentation.