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Page ATypI Antwerp Team
by Pedro Amado published Mar 15, 2017 last modified Jun 29, 2018 09:21 PM — filed under: , , , , , , , , ,
Starting in 1957, every year ATypI has hosted the most important and only truly global event on type and typography. This, of course, requires a significant amount of experience and manpower. We are happy to present the team behind our 2018 conference.
Located in Conferences / Antwerp 2018
Media Octet Stream Alverata
by Gerard Unger published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: ,
Alverata, present-day European letters with roots in the middle ages. Presentation given by Gerard Unger to ATypI Amsterdam 2013 on 11 October 2013
Located in Type & typography
Media Making Mongolian & Balinese work in digital type
by Jo A J De Baerdemaeker published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
In this presentation, Jo De Baerdemaeker & Rainer Scheichelbauer explain the way traditional Mongolian and Balinese scripts work and which technical challenges they pose.
Located in Type & typography
Media Glossy design then and now
by Mark Barratt published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
Mark Barratt talks about how the typography of marginalia - footnotes, glosses and asides - evolved. From the 2013 ATypI conference in Amsterdam.
Located in Type & typography
Media New Transport
by Henrik Kubel published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , ,
Updating, expanding and refining the UK Transport alphabet dating back to 1957, by Henrik Kubel. From the 2013 ATypI conference in Amsterdam.
Located in Type & typography
Media Lost and found
by Adi Stern published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , ,
Adi Stern about the case of Hebrew typeface design during the 1950s. From the 2013 ATypI conference in Amsterdam.
Located in Type & typography
Media Inline vs outline
by Jo de Baerdemaeker published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , ,
Jo de Baerdemaeker investigates the roots of manufacturing inline typefaces and illustrates the reasoning of their development through the typographic analysis of ornamented types. From the 2013 ATypI conference in Amsterdam.
Located in Type & typography
Media Directionality in Korean type design
by Aaron Bell published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , , ,
Hyun-Guk, Ryu and Aaron Bell discuss Hangeul’s incomplete transition from a traditionally vertical script to a horizontal script. From the 2013 ATypI conference in Amsterdam
Located in Type & typography
Media The history of ‘humanist’ type
by Craig Eliason published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
Craig Eliason examines the term ‘humanist as it has been applied to type. From the 2013 ATypI conference in Amsterdam.
Located in Type & typography
File Black and white in Indian typography
by D. Udaya Kumar published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
By D. Udaya Kumar. India is a diverse country with multiple scripts, Tamil and Sanskrit being the earliest among them. The ancient script, Brāhmī is the root of all Indian scripts. The script is also the parent to several other major script families of Central and Southeast Asia. Each of these Indian scripts evolved on its own course over centuries. The medium and tools used for writing played an important role in the evolution process. The palm leaf manuscripts were one of the major mediums used for written communication during the early periods. Their writing system and calligraphy were unlike the Far Eastern and Western calligraphic cultures. The concept of black and white was no concern for the calligrapher. In the majority of manuscripts the content was more important than the aesthetics of lettering or composition. On the other hand the present scripts have its roots from the unique writing system and medium. The scripts that has evolved with such culture and written practices reflected the same in the contemporary typography. Similar to the manuscript calligraphy the present typography that is seen all around has no concerns for the black and white. This raises the several important questions such as, is it important to balance the black and white in typography? Does the concept of black and white really matters in typography of Indian scripts? This paper primarily aims at understanding the concept of black and white in Indian typography especially in Tamil script. It discusses the calligraphy on palm leaf manuscript, influence of the medium and its writing system on letterforms. It also explores the issues related to aesthetics in Indian language typography in comparison to Western typography. From the ATypI 2012 conference in Hong Kong.
Located in Type & typography