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7th ICTVC 2019 | Challenging design paths
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7th International Conference on Typography & Visual Communication (ICTVC), Main Conference 19–21 June | Workshops 17–18 June 2019, Patras, Greece
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Events
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A Typography for India
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Rathna Ramanathan
ATypI 2016 • Warsaw, Poland
Academy of Fine Arts in Warsaw ASP
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Type & typography
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Athena Ruby
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Athena Ruby: when shape has meaning. Presentation by John Hudson to ATypI Letter.2 in Buenos Aires on 4 October 2011
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Type & typography
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ATypI 2020 All Over call for proposals extended to July 15, 2020
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Proposals have been coming in at a rapid pace. Because it’s such a busy time of year for so many, we’ve extended the submission deadline by two weeks.
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ATypI 2020 registration opens soon!
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Get ready for an exciting experience designed by and for typography lovers from around the world. ATypI 2020 All Over is coming next month, and it’s an event you won’t want to miss.
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ATypI de-adopts Vox-ATypI typeface classification
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Global nonprofit typography organization withdraws endorsement of system, will convene working group surrounding contemporary type classification.
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About us
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ATypI Press
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ATypI de-adopts Vox-ATypI typeface classification
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Global typography nonprofit withdraws endorsement of system it adopted in 1962, will convene exploratory working group surrounding classification.
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Black and white in Indian typography
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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.
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Type & typography
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Development of pan-CJK fonts
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By Jürgen Willrodt. The development of fonts which are usable and acceptable in different countries using CJK ideograms in Asia requires the usage of multiple locale glyph variants for different countries. We discuss the technical requirements for such a font, the different options for implementation and the production process using the Ikarus font production system. We show as an example the integration of different CJK locales into our Nimbus Global font family.
From the 2012 ATypI conference in Hong Kong.
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Type & typography
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Directionality in Korean type design
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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
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Type & typography