Dr Wouter Soudantype design portfolio2019.01.14

http://scriptorium.blog @rhythmvs

I’m always researching: printing techniques, typesetting, page layout, information technology and text encoding, geometry and computer vision, linguistics and paleography, epigraphy and numismatics, illumination, the art history of lettering — papers, books, and books about books. I’ve been collecting too, metres of shelves loaded with books, antiquarian books, private press editions, and hundreds of books on typography and type design. And then there’s my computer: dozens and dozens of font licenses, hard drives stuffed with thousands of files, piles of type specimens (which I scanned in high-res, to study), research notes, bits of code, drafts for papers, sketches and schemata of harmony canons and type metric analyses, .ufo source files…

Always busy, often at night, at my keyboard, surrounded by my books, pondering about, for one, where to put the crossbar of the A, ideally that is, reasoned about, from first principles. For I am an acolyte of Plato as well: ’t Is not what the eye beholds that matters only, what matters most is immaterial understanding…

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Here is a very brief anthology of my typedesign related work only. My academic bibliobiography looks quite different, and so do my graphic design, web and app development portfolios. No place for my purely typographic work, like typesetting,magazine and book design, either. Some of my software programming contributions are on Github; but do have a look at my typographic start-up: http://textus.io.

My curriculum vitae in a few lines:

2017 — Proud dad to Winter Faust 2015 — Co-Founder Textus.io, typesetting automation 2010 — Lecturer of typography and graphic design 2009 — Post-doctoral research fellow, computational linguistics 2008 — Doctor of Philosophy (theory of art) 2007 — Postgraduate Plantin Genootschap, summa cum laude 2003 — Bachelor of Philosophy, magna cum laude 2002 — Master of Art History, egregia cum laude 1999 — Bachelor of Philology, Latin and Greek, cum fructu 1979 — Born in Leuven, Belgium

Typographic research & design since 1997

SS CC HH HH OO LL AA RRRR

SS SS CC CC HH HH OO OO LL AA AA RR RR

SS CC HHHHHH OO OO LL AAAAAA RRRRR

SS CC HH HH OO OO LL AA AA RR RR

SS SS CC CC HH HH OO OO LL AA AA RR RR

SS CC HH HH OO LLLLLL AA AA RR RR

GG RRRR EEEEEE EEEEEE KK KK

GG GG RR RR EE EE KK KK

GG RRRRR EEEEE EEEEE KKK

GG GGG RR RR EE EE KK KK

GG GG RR RR EE EE KK KK

GG RR RR EEEEEE EEEEEE KK KK

� � � � � � � � � � � � � � � � � �

�

1998 (c) Louanij, ex officina W. Soudan. Omnes jures.

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�

This version of the accompanied font is the bèta-relea

se

which was designed for the greek-students of K.U. Leuv

en

(= Catholic University of Louvain, Belgium).

Please leave your comments in order to enhance thi

s

product at: www.student.kuleuven.ac

.be/~m9708825/scholar.htm

You may try and use this font freely, untill our defin

i-

tive version will be released (by the end of July, ’99

).

wouter.soudan@student.kuleuven.ac.be

$ tree.├── Read_µe.txt├── Scholar.fla├── Ismini.pfa├── Keystroke\ map│ ├── Keymap.gif│ ├── Tekenset.bmp│ ├── bckgrnd3.gif│ ├── charz.wpd│ ├── keymap.cpt│ ├── keystrokes.cpt│ ├── tekenset.cpt│ └── testblad.wpd├── Nieuwe\ map│ ├── Acrobatfiche.p65│ ├── SCHOG___.PFB│ ├── Scholar\ Greek.fog│ ├── Scholar.fla│ ├── Scholar.swf│ ├── cptees.zip│ └── ttefs.zip├── SCHOGI__.PFA├── SCHOGI__.PFB├── SCHOGI__.PFM├── SCHOGI__.PFM$├── SCHOGI__.TTF├── SCHOG___.PFA├── SCHOG___.PFB├── SCHOG___.PFM├── SCHOG___.PFM$├── SCHOG___.TTF├── Scholar\ Greek\ Italic.fog├── Scholar\ Greek.fog├── Vorige\ schog.zip└── Website ├── Bronbestanden │ ├── Background.cpt │ ├── Background2.cpt │ ├── Background3.cpt │ ├── Bckgnd.gif │ ├── Header.cpt │ ├── ODYCCEIAC\ OMHROY.cpt │ ├── meander.cpt │ ├── meander.gif │ └── meander2.gif ├── advant.htm ├── bckgr2.jpg ├── bckgrnd.jpg ├── charz.htm ├── guest.htm ├── header.gif ├── keymap.gif ├── keymap.htm ├── keystrok.jpg ├── other.htm ├── print.htm ├── scholar.htm ├── scholar1.htm ├── scholar1.zip ├── scholar2.htm ├── scholar2.zip ├── scholar3.htm └── version.htm

I went to college to study classical languages. Latin still is my darling; Greek however was new to me—and intimidating with all those accents! Back then, way before Unicode was a household name, it was near impossible to set polytonic Greek properly. As the hacker was just awakening in my sophomore self, I set out to devise my own codepages and develop an easy-to-use font, for me and my fellow students to typeset our bachelor assignments. A bric-à-brac of system fonts, yet a fruitful first acquintance with font engineering. Plus, a new universe opened up for me, as soon as I got my hands on (pirated :-s) copies of Fontographer, PageMaker, and CorelDraw…

Not much to show here, but faded memories. After all these years, it’s all dissolved into digital dust, unreadable, except for the README file and the directory tree. A reminder of why I have become a fervent proponent of open standards and non-proprietary file formats. And of what drives me in my vocation as a typographer:

Ars artium omnium conservatrix est Typographia…

1998. Scholar Greek

Before I even dared to try my hand at type design – an art I held too venerable to spoil – I did some lettering, once in a while, especially when preparing my plates. And I remain a platemaker and a printer, still. True to my first love: the graphic brutalism of wood and linoleum cuts, in a sixteenth-century fashion, or early expressionist, like in the finest editions of the interbellum private press movement. Or the subtle tones of etched stipplings and hatchings—such a contemplative thing to do! In doing, I learned a lot of the transformative effects of aquaforte, ink, pressure, and dampening, on the looks of letters.

2005. Avant la lettre...

(*) ‘L.M. Solzen’ was my nom de plume back then…

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Incited by reading Max Caflisch’s startling Schriftanalysen, I cautiously ventured to draw letters of my own and turn them into a font: my firstling. I admired the italic to Gudrun Zapf-von Hesse’s Diotima, but found it was too calligraphic still. I wanted something more clear-cut and rigid, yet with some of the chancery flair preserved. I also felt tickled to do something of a hybrid, something inbetween a cursive Fraktur and the humanists’ cancellaresca. Something that would be the perfect type for the bibliophile private press edition of Rainer Maria Rilke I was planning to do, in letterpress. — Some day I’ll finish my translation…

2007. Cornet Antiqua / Rilke Kursiv

From 2009 to 2012 I was engaged as a post-doctoral researcher, for a project some-what out of the scope of my official curriculum. The promotor had been looking to hire a scholar able to read medieval archival records in Latin, preferrably a classical philologist, who also was handy with the computer—a white raven. Little did he know his project’s success would however very much depend on arcane acronyms like TEI XML, UTF-8, MUFI, and RegEx. As a digital humanist with a huge appetite for paleo-graphy, I happily took up the challenge and committed to working out an implemen-tation of faithful electronic diplomatic transcriptions.

Thinking up Unicode-compliant text encoding solutions for Bernhard Bischoff’s recommendations for paleo graphic transcription, was something right up my alley. The project did not require the design of a new typeface, but some thorough font en-gineering all the more. Web fonts were very new back then, UTF-8 still widely under-supported. Getting PHP’s RegEx engine to work with Latin flection and scribal breviatures was tough, for example, OpenType mark positioning quite a challenge…

https://web.archive.org/web/20161231113759/http://rhythmus.be/anthroponymical-lexicon/

2012. Post-doc: converting medieval documents into a searchable database

For four very happy years I had the opportunity to convey my passion for typography to students (who indeed loved me as an enthusiastic teacher, they said). I also was very lucky that at the school were I was engaged, typography had in fact been embarrassingly absent from the graphic design curriculum, so that I could fill in my teaching hours fully at my own discretion, from scratch. Since I was academically trained myself but also am a maker, I decided to offer both theory classes and workshops. Being able to put my typography research and years of thinking and tinkering into a coherent course, was great! Thousands of slides, loaded with carefully designed diagrams, are waiting on my backup drives, to once be used again, repurposed, or published anyhow…

2009–’13. Teaching: theory of typography

Even more satisfying than lecturing ex cathedra was it when students showed they had truly understood the principles of ductus and (broken)letter construction, of symbolism and semantics, figuration and abstraction, which all I so scrupulously had been trying to explain with perhaps all too difficult diagrams.

An excercise I especially loved to assign: Take a sign from the zodiac and ‘translate’ its symbol into a writable glyph, as if it never had been done before, so as to re-invent a new character from a pictogram. But beware of Gerrit Noordzij and translation: Thy broad nib shall never go up!

2009–’13. Teaching: theory into practice

Besides graphemes and typesetting, I love geometry too for how it underlays graphics and traditional printmaking techniques. It only follows naturally that I got fascinated by the physics of optics and computer vision as well, and non-photorealstic rendering, hoping to one day find the philosopher’s stone to crack the mystery of ancient shading techniques like manière ciblée, stippling, mezzotinto, and hathcing, algorithmically.

— When typography and computer vision meet, I really get maniacal. Here’s my proof of concept for programmatic typographic river detection.

http://scriptorium.blog/rivers/

2015. Typographic river detection

MACHINE READABLE ⋂ HUMAN READABILITY»Das Alphabet ist das Ergebnis einer Normungsstudie, deren Ziel darin be-stand, eine Formenreihe festzulegen,die sowohl fehlerlos von elektron-ischen Lesern ⌦ wie auch mit Wohlgefallenvom menschlichen Auge erkannt werden kann.Die Bestimmung dieser Schrift zwang zu Kom-promißlösungen.« — Adrian Frutiger (1970) ⌫ If z = r exp(iφ) with −π < φ ≤ π⇒ √z = √r exp(iφ/2); e.g. √−1 = i.

+–––––––––––––––––––––––––––––––––––––––+| || | | | | || || || || || || || |+–––––––––––––––––––––––––––––––––––––––+

DIE SCHRIFT FÜR OPTISCHE LESBARKEIT

Das Alphabet ist das Ergebnis einerNormungsstudie, deren Ziel darinbestand, eine Formenreihe fest-zulegen, die sowohl fehlerlos vonelektronischen Lesern wie auchmit Wohlgefallen vom menschlichenAuge erkannt werden kann. DieBestimmung dieser Schrift zwang zuKompromißlösungen.

HAHBHCHDHEHFHGHIHJHKHLHMHNHOHPHHQHRHSHTHUHVHWHXHYHZH & ÅØÆŒÄÖÜhahbhchdhehfhghihjhkhlhmhnhohphhqhrhshthuhvhwhxhyhzh ß éèêëåñøæœ1234567890.,:;’?!-—*†«»()[]$£§% +×=/°<>.

Having turned from a philologist, philosopher and art historian, into a typographer, then software programmer, I discovered the (my) urgent need for the perfect coding font. — A hommage to Adrian Frutiger, his Documenta and OCR-B typefaces, and to his foundational ideas on readability and micro-typographic proportions. A true monospace console font with a duo-space version for prose. Add some dozens of ligatures which enhance the readability of software source code through smart OpenType substitutions.

http://scriptorium.blog/monospace

2015. Dual spaced mono for coding and typescripts

My spouse had here debute novel published by a renowned Dutch imprint. I did the cover illustration, book design, and typesetting. The perfect opportunity to also design a new typeface! What started off as a revival of Monotype Plantin (which I would reshape and contort to meet my high demands in microtypography) would eventually evolve into my largest type design project…

http://scriptorium.blog/Plantijn/

2015. Plantijn: a typeface for perfect color

� ᛭ � � � ✠☦ ☨ ✝ ♰ ♱ � �� ☧ � �

In the autumn of 2016 I set out for an ambitious side project: to emulate the typographic monuments erected by Christopher Plantijn and Brian Walton, and typeset a new polyglot Bible. I’d use my algorithmic skills and coding handi-ness to strive for the most immaculate parallel typesetting, with the translations perfectly matching, verse by verse, across columns. Truly an excercise in line justicification, for which I take advantage of spacing alternates and OTVar width axis, ligatures, and tatweel (for the Syriac.)

http://dodecaglotta.com/

I decided on twelve liturgically important languages, requiring sorts to be drawn and added to my Plantijn fonts, for eight scripts. The enterprise turned out to be gargantuan: within the scope of four months, I found myself studying dozens of Unicode proposal papers, and drawing about a thousand glyphs…

As a nice addition I studied the great variety of cross-shapes, representative of each liturgical tradition, and deviced them as logotypes for the languages. I could tell a lot about my definite choices for the West-Syriac bifurcation, the petalled branches of the Armenian, cross or my filigrane design for the Ethiopic…

2016. Dodecaglotta: orientalist & liturgical extension to Plantijn

ܒܪܫـܝܬ ܐـܝـܬܘــܝ ܗܘܐ ܡܠܬܐ ܘܗܘ ܡـܠـܬܐ ܐـܝـܬܘــܝ ܗܘܐ ܠܘـܬ ܐܠـܗܐ ܘܐܠܗܐ ܐـܝـܬܘــܝ ܗܘܐ ܗܘ ܡܠܬ ܀ ܗܢܐ ܐܝـܬܘܗܝ ܗܘܐ ܒܪܫܝܬ ܠܘܬ ܐܠܗܐ ܀ ܟܠ ܒܐܝܕܗ ܗܘܐ ܘܒܠܥܕܘܗܝ ܐܦܠܐ ܚܕܐ ܗܘܬ ܡܕܡ ܕܗܘܐ ܀ ܒܗ ܚܝܐ ܗܘܐ ܘܚܝܐ ܐܝܬܝܗܘܢ ܢܘܗܪܐ ܕܒܢܝܢܫܐ ܀ ܘܗܘ ܢܘܗܪܐ ܒܚܫܘܟܐ ܡܢܗܪ ܘܚܫܘܟܐ ܠـܐ ܐܕܪܟܗ ܀ ܗܘܐ ܒܪܢܫܐ ܕܐܫܬܕܪ ܡܢ ܐܠܗܐ ܫܡـܗ ܝـܘܚܢܢ ܀ ܗܢܐ ܐܬܐ ܠـܣـܗܕܘܬܐ ܕܢـܣـܗܕ ܥـܠ ܢܘܗܪܐ ܕܟܠܢـܫ ܢܗܝܡܢ ܒܐܝܕܗ ܀ ܠܐ ܗܘ ܗܘܐ ܢܘܗܪܐ ܐܠܐ ܕܢܣܗܕ ܥܠ ܢܘܗܪܐ ܀ ܐܝܬܘܗܝ ܗܘܐ ܓܝܪ ܢܘܗܪܐ ܕܫܪܪܐ ܕܡܢܗܪ ܠܟܠܢـܫ ܕܐܬܐ ܠـܥـܠܡܐ ܀ ܒܥܠܡـܐ ܗܘܐ ܘܥܠܡـܐ ܒـܐـܝـܕܗ ܗܘܐ ܘܥܠܡܐ ܠܐ ܝܕܥܗ ܀ ܠܕܝܠܗ ܐܬܐ ܘܕܝܠܗ ܠܐ ܩܒܠܘܗܝ ܀ ܐܝܠܝـܢ ܕܝܢ ܕܩܒܠܘܗܝ ܝܗܒ ܠܗܘܢ ܫܘܠܛܢܐ ܕܒܢܝܐ ܕܐܠܗܐ ܢܗܘܘܢ ܠܐܝܠـܝـܢ ܕܡـܗܝܡܢܝܢ ܒܫܡܗ ܀ ܐܝܠܝـܢ ܕܠـܘ ܡـܢ ܕܡܐ ܘܠܐ ܡܢ ܨܒܝܢܐ ܕܒܣـܪܐ ܘܠܐ ܡܢ ܨܒܝܢܐ ܕܓܒܪܐ ܐܠܐ ܡܢ ܐܠܗܐ ܐܬܝܠܕܘ ܀ ܘܡܠܬܐ ܒܣܪܐ ܗܘܐ ܘܐܓܢ ܒܢ ܘܚܙܝܢ ܫܘܒܚܗ ܫܘܒܚܐ ܐܝܟ ܕܝܚܝܕܝܐ ܕܡܢ ܐܒܐ ܕܡܠܐ ܛܝܒܘܬܐ ܘܩܘܫܬܐ ܀ ܝܘܚܢܢ ܣܗܕ ܥܠܘܗܝ ܘܩܥܐ ܘܐܡܪ ܗܢܘ ܗܘ ܕܐܡܪܬ ܕܒܬܪܝ ܐܬܐ ܘܗܘܐ ܠܗ ܩܕܡܝ ܡܛܠ ܕܩܕܡܝ ܗܘ ܡܢܝ ܀ ܘܡܢ ܡܠܝܘܬܗ ܚܢܢ ܟܠܢ ܢܣܒܢ ܘܛܝܒܘܬܐ ܚܠܦ ܛܝܒܘܬܐ ܀ ܡܛܠ ܕܢܡܘܣܐ ܒܝܕ ܡܘܫܐ ܐܬܝܗܒ ܫܪܪܐ ܕܝܢ ܘܛܝܒܘܬܐ ܒܝܕ ܝܫܘܥ ܡܫܝܚܐ ܗܘܐ ܀ ܐܠܗܐ ܠܐ ܚܙܐ ܐܢܫ ܡܡܬܘܡ ܝܚܝܕܝܐ ܐܠܗܐ ܗܘ ܕܐܝܬܘܗܝܒـܥـܘܒـܐ ܕܐـܒـܘــܝ ܗܘ ܐܫـܬـܥـܝ ܀

♰

Peshitta, II. c

syr-Syrj

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ܐܠـܦ ܒـܝـܬ ܣـܘܪܝـܝـܐ ܞ

2016. Serṭā (West-Syriac)

ϧⲉⲛ ⲧⲁⲣⲭⲏ ⲛⲉⲡⲓⲥⲁϫⲓ ⲡⲉ ⲟⲩⲟϩ ⲡⲓⲥⲁϫⲓ ⲛⲁϥⲭⲏ ϧⲁⲧⲉⲛ ⲫⲛⲟⲩϯ ⲟⲩⲟϩ ⲛⲉⲟⲩⲛⲟⲩϯ ⲡⲉ ⲡⲓⲥⲁϫⲓ. ☘ ⲫⲁⲓ ⲉⲛⲁϥⲭⲏ ⲓⲥϫⲉⲛ ϩⲏ ϧⲁⲧⲉⲛ ⲫⲛⲟⲩϯ.  ☘  ϩⲱⲃ ⲛⲓⲃⲉⲛ ⲁⲩϣⲱⲡⲓ ⲉⲃⲟⲗ ϩⲓⲧⲟⲧϥ ⲟⲩⲟϩ ⲁⲧϭⲛⲟⲩϥ ⲙⲡⲉ ϩⲗⲓ ϣⲱⲡⲓ ϧⲉⲛⲫⲏ ⲉⲧⲁϥϣⲱⲡⲓ ☘ ⲛⲉ ⲡⲱⲛϧ ⲡⲉⲧⲉⲛϧⲏⲧϥ ⲟⲩⲟϩ ⲡⲱⲛϧ ⲛⲉ-ⲫⲟⲩⲱⲓⲛⲓ ⲛⲛⲓⲣⲱⲙⲓ ⲡⲉ. ☘ ⲟⲩⲟϩ ⲡⲓⲟⲩⲱⲓⲛⲓ ⲁϥⲉⲣⲟⲩⲱⲓ-ⲛⲓ ϧⲉⲛⲡⲓⲭⲁⲕⲓ ⲟⲩⲟϩ ⲙⲡⲉ ⲡⲓⲭⲁⲕⲓ ⲧⲁϩⲟϥ. ☘ ⲁϥϣⲱⲡⲓ ⲛϫⲉⲟⲩⲣⲱⲙⲓ ⲉⲁⲩⲟⲩⲟⲣⲡϥ ⲉⲃⲟⲗ ϩⲓⲧⲉⲛ ⲫⲛⲟⲩϯ ⲉⲡⲉ-ϥⲣⲁⲛ ⲡⲉ ⲓⲱⲁⲛⲛⲏⲥ.  ☘  ⲫⲁⲓ ⲁϥⲓ ⲉⲩⲙⲉⲧⲙⲉⲑⲣⲉ ϩⲓⲛⲁ ⲛⲧⲉϥⲉⲣⲙⲉⲑⲣⲉ ϧⲁ ⲡⲓⲟⲩⲱⲓⲛⲓ ϩⲓⲛⲁ ⲛⲧⲉⲟⲩⲟⲛ ⲛⲓⲃⲉⲛ ⲛⲁϩϯ ⲉⲃⲟⲗ ϩⲓⲧⲟⲧϥ. ☘ ⲛⲉ ⲛⲑⲟϥ ⲁⲛ ⲡⲉ ⲡⲓⲟⲩⲱⲓⲛⲓ ⲁⲗⲗⲁ ϩⲓⲛⲁ ⲛⲧⲉϥⲉⲣⲙⲉⲑⲣⲉ ϧⲁ ⲡⲓⲟⲩⲱⲓⲛⲓ. ☘ ⲛⲁϥϣⲟⲡ ⲛϫⲉ-ⲡⲓⲟⲩⲱⲓⲛⲓ ⲛⲧⲁⲫⲙⲏⲓ ⲫⲏ ⲉⲧⲉⲣⲟⲩⲱⲓⲛⲓ ⲉⲣⲱⲙⲓ ⲛⲓⲃⲉⲛ ⲉⲑⲛⲏⲟⲩ ⲉⲡⲓⲕⲟⲥⲙⲟⲥ.  ☘  ⲛⲁϥⲭⲏ ϧⲉⲛⲡⲓⲕⲟⲥⲙⲟⲥ ⲡⲉ ⲟⲩⲟϩ ⲡⲓⲕⲟⲥⲙⲟⲥ ⲁϥϣⲱⲡⲓ ⲉⲃⲟⲗ ϩⲓⲧⲟⲧϥ ⲟⲩⲟϩ ⲙⲡⲉ ⲡⲓ-ⲕⲟⲥⲙⲟⲥ ⲥⲟⲩⲱⲛϥ. ☘ ⲁϥⲓ ϩⲁ ⲛⲏ ⲉⲧⲉⲛⲟⲩϥ ⲟⲩⲟϩ ⲛⲉⲧⲉ-ⲛⲟⲩϥ ⲙⲡⲟⲩϣⲟⲡϥ ⲉⲣⲱⲟⲩ. ☘ ⲛⲏ ⲇⲉ ⲉⲧⲁⲩϣⲟⲡϥ ⲉⲣⲱ-ⲟⲩ ⲁϥϯⲉⲣϣⲓϣⲓ ⲛⲱⲟⲩ ⲉⲉⲣϣⲏⲣⲓ ⲛⲛⲟⲩϯ ⲛⲏ ⲉⲑⲛⲁϩϯ ⲉⲡⲉϥⲣⲁⲛ. ☘ ⲛⲏ ⲇⲉ ⲉⲃⲟⲗ ϧⲉⲛⲥⲛⲟϥ ⲁⲛ ⲛⲉⲟⲩⲇⲉ ⲉⲃⲟⲗ ϧⲉⲛⲫⲟⲩⲱϣ ⲛⲥⲁⲣⲝ ⲁⲛ ⲛⲉⲟⲩⲇⲉ ⲉⲃⲟⲗ ϧⲉⲛⲫⲟⲩⲱϣ ⲛⲣⲱⲙⲓ ⲁⲛ ⲛⲉⲁⲗⲗⲁ ⲉⲧⲁⲩⲙⲁⲥⲟⲩ ⲉⲃⲟⲗ ϧⲉⲛⲫⲛⲟⲩϯ. ☘ ⲟⲩⲟϩ ⲡⲓⲥⲁϫⲓ ⲁϥⲉⲣⲟⲩⲥⲁⲣⲝ ⲟⲩⲟϩ ⲁϥϣⲱⲡⲓ ⲛϧⲣⲏⲓ ⲛϧⲏⲧⲉⲛ ⲟⲩⲟϩ ⲁⲛⲛⲁⲩ ⲉⲡⲉϥⲱⲟⲩ ⲙⲫⲣⲏϯ ⲙⲡⲱⲟⲩ ⲛⲟⲩ-ϣⲏⲣⲓ ⲙⲙⲁⲩⲁⲧϥ ⲛⲧⲟⲧϥ ⲙⲡⲉϥⲓⲱⲧ ⲉϥⲙⲉϩ ⲛϩⲙⲟⲧ ⲛⲉⲙ ⲙⲉⲑⲙⲏⲓ. ☘ ⲓⲱⲁⲛⲛⲏⲥ ϥⲉⲣⲙⲉⲑⲣⲉ ⲉⲑⲃⲏⲧϥ ⲟⲩⲟϩ ϥⲱϣ ⲉⲃⲟⲗ ⲉϥϫⲱ ⲙⲙⲟⲥ ϫⲉ ⲫⲁⲓ ⲫⲏ ⲉⲧⲁⲓϫⲟϥ ⲉⲑⲃⲏⲧϥ ϫⲉ ⲫⲏ ⲉⲑⲛⲏⲟⲩ ⲙⲉⲛⲉⲛⲥⲱⲓ ⲁϥⲉⲣϣⲟⲣⲡ ⲉⲣⲟⲓ ϫⲉ ⲛⲉⲟⲩϣⲟⲣⲡ ⲉⲣⲟⲓ ⲣⲱ ⲡⲉ ☘ ϫⲉ ⲁⲛⲟⲛ ⲧⲏⲣⲉⲛ ⲁⲛϭⲓ ⲉⲃⲟⲗ ϧⲉⲛⲡⲉϥⲙⲟϩ ⲛⲉⲙ ⲟⲩϩⲙⲟⲧ ⲛⲧϣⲉⲃⲓⲱ ⲛⲟⲩϩⲙⲟⲧ. ☘ ϫⲉ ⲡⲓⲛⲟⲙⲟⲥ ⲁⲩ-ⲧⲏⲓϥ ⲉⲃⲟⲗ ϩⲓⲧⲉⲛ ⲙⲱⲩⲥⲏⲥ ⲡⲓϩⲙⲟⲧ ⲇⲉ ⲛⲉⲙ ϯⲙⲉⲑⲙⲏⲓ ⲁⲩϣⲱⲡⲓ ⲉⲃⲟⲗ ϩⲓⲧⲉⲛ ⲓⲏⲥⲟⲩⲥ ⲡⲭⲣⲓⲥⲧⲟⲥ.  ☘  ⲫⲛⲟⲩϯ ⲙⲡⲉ ϩⲗⲓ ⲛⲁⲩ ⲉⲣⲟϥ ⲉⲛⲉϩ ⲡⲓⲙⲟⲛⲟⲅⲉⲛⲏ ⲥⲛⲛⲟⲩϯ ⲫⲏ ⲉⲧⲭⲏ ϧⲉⲛⲕⲉⲛϥ ⲙⲡⲉϥⲓⲱⲧ ⲛⲑⲟϥ ⲡⲉⲧⲁϥⲥⲁϫⲓ.

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mss Bohairica, II–III. c

cop-Copt-bhc

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ϯⲙⲉⲧⲣⲉⲙⲛ̀ⲭⲏⲙⲓ ϗ ⲧⲙⲛ̄ⲧⲣⲙ̄ⲛ̄ⲕⲏⲙⲉϯⲙⲉⲧⲣⲉⲙⲛ̀ⲭⲏⲙⲓ ϗ ⲧⲙⲛ̄ⲧⲣⲙ̄ⲛ̄ⲕⲏⲙⲉ

2016. Coptic

ቀደሚሁ ፡ ቃል ፡ ውእቱ ፡ ወውእቱ ፡ ቃል ፡ ኀበ ፡ እግዚ-አብሔር ፡ ውእቱ ፡ ወእግዚአብሔር ፡ ውእቱ ፡ ቃል ፠ ወዝንቱ ፡ እምቀዲሙ ፡ ኀበ ፡ እገዚአብሔር ፡ ውእቱ ፠ ኲሉ ፡ ቦቱ ፡ ኮነ ፡ ወዘእንበሌሁሰ ፡ አልቦ ፡ ዘኮነ ፡ ወኢሞንትኒ ፡ እሞዘኮነ ፠ ቦቱ ፡ ሕደወት ፡ ውእቱ ፡ ወሕይወትሰ ፡ ብርሃኑ ፡ ለእጊለ ፡ እመሕያው ፡ ውእቱ ፠ ወብርሃንሰ ፡ ዘውስተ ፡ ጽልመት ፡ ያበርህ ፡ ወያርኢ ፡ ወጽልመትኒ ፡ ኢይረክቦ ፠ ወሀሎ ፡ አሐዱ ፡ ብእሲ ፡ ዘተፈነወ ፡ እምኀበ ፡ እግዚአብሔር ፡ ዘስሙ ፡ ዮሐንስ ፠ ወውእቱ ፡ መጽአ ፡ ለስምዕ ፡ ሰማዕተ ፡ ይኩን ፡ በእንተ ፡ ብርሃን ፡ ከመ ፡ ኵሉ ፡ ይእመን ፡ ቦቱ ፠ ወለሊሁሰ ፡ ኢኮነ ፡ ብርሃነ ፡ ዳእሙ ፡ ሰማዕተ ፡ ይኩን ፡ በእንተ ፡ ብርሃን ፠ ዘውእቱ ፡ ብርሃነ ፡ ጽድቅ ፡ ዘያበርህ ፡ ለኵሉ ፡ ሰብእ ፡ ዘይመጽእ ፡ ውስተ ፡ ዓለም ፠ ወውስተ ፡ ዓለም ፡ ሀሎ ፡ ወዓለምኒ ፡ ቦቱ ፡ ኮነ ፡ ወዓለምሰ ፡ ኢያእመሮ ፠ ውስተ ፡ ዚአሁ ፡ መጽአ ፡ ወእሊአሁሰ ፡ ኢተወክፍዎ ፠ ወለእለሰ ፡ ተወክፍዎ ፡ ወሀቦሙ ፡ ሥልጣነ ፡ ውሉደ ፡ እግዚ-አብሔር ፡ ይኩኑ ፡ ለእለ ፡ አምኑ ፡ በስሙ ፠ እለ ፡ ኢኮኑ ፡ እምነ ፡ ዘደም ፡ ወኢእምፈቃደ ፡ ፍትወት ፡ ዘሥጋ ፡ ወኢእምሥምረተ ፡ ብእሲ ፡ አላ ፡ እም-እግዚአብሔር ፡ ተወልዱ ፠ ወውእቱ ፡ ቃል ፡ ሥጋ ፡ ኮነ ፡ ወኀደረ ፡ ላዕሌነ ፡ ወርኢነ ፡ ስብሓቲሁ ፡ ከመ ፡ ስብሓተ ፡ አሐዹ ፡ ዋሕድ ፡ ለአቡሁ ፡ ዘምሉእ ፡ ጸጋ ፡ ወሞገሰ ፡ ወጽድቀ ፠ ዮሐንስ ፡ ሰማዕቱ ፡ በእቲአሁ ፡ ከልሐ ፡ ወደቤ ፡ ዝውእቱ ፡ ዘእቤለክሙ ፡ አነ ፡ በእ-ኀቲእሁ ፡ ይመጽእ ፡ እምድኅሬየ ፡ ዘሀሎ ፡ እምቅድ-ሜየ ፡ እስመ ፡ ውእቱ ፡ ቀደመኒ ፠ እስመ ፡ እምተረፈ ፡ ዚአሁ ፡ ነሣእነ ፡ ንሕነ ፡ ኲልነ ፡ ጸጋ ፡ ህየንተ ፡ ጸጋ ፡ በዺበ ፡ ጸጋ ፠ እስመ ፡ ኦሪት ፡ በሙሴ ፡ ተውህበት ፡ ለነ ፡ ወጸጋሰ ፡ ወጽድቅ ፡ በኢየሱስ ፡ ክርስቶስ ፡ ኮነ ፠ ለእግ-ዚአብሔርሰ ፡ አልቦ ፡ ዘርእዮ ፡ ግሙራ ፡ አላ ፡ ወልድ ፡ ዋሕድ ፡ ዘሀሎ ፡ ውስተ ፡ ሕፅነ ፡ አቡሁ ፡ ውእቱ ፡ ነገረነ ።

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S. Frumenti i, ca 350 ad

gez-Ethi

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ግዕዝ ≠

2016. Gəʿəz (Ethiopic)

Ի սկզբանէ էր բանն եւ բանն էր առ Աստ� ած. եւ Աստ� ած էր բանն։ ☘ Նա էր ի սկզբանէ առ Աստ� ած։ ☘ Ամե նայն ինչ՝ նովաւ եղեւ. եւ առանց նորա եղեւ եւ ոչինչ ՝  որ ինչ եղեւն։ ☘ Նովաւ՝ կեանք էր, եւ կեանքն՝ էր լոյս մարդկան. ☘ Եւ լոյսն՝ ի խաւարի անդ՝ լ� սաւոր էր, եւ խաւար՝ նմա ոչ եղեւ հաս� ։ ☘ Եղեւ այր մի առաքեալ յԱստ� ծոյ. ան� ն նմա Յովհաննէս։ ☘ Սա՝ եկն ի վկայ� թիւն զի վկայեսցէ վասն լ� սոյն. զի ամե նեքին հաւատասցեն նովաւ։ ☘ Ոչ էր նա լոյսն, այլ զի վկայեսցէ վասն լ� սոյն։ ☘ Էր լոյսն ճշմա-րիտ, որ լ� սաւոր առնէ զամե նայն մարդ՝ որ գալոց է յաշխարհ։ ☘ Յաշխարհի էր, եւ աշխարհ նովաւ եղեւ, եւ աշխարհ զնա ոչ ծանեաւ։  ☘  Յիւրսն եկն, եւ իւրքն զնա ոչ ընկալան։  ☘  Իսկ որք ընկալան զնա, ետ նոցա իշխան� թիւն որդիս Աստ� ծոյ լինել, որոց հաւատասցեն յան� ն նորա։ ☘ Ոյք ոչ յարենէ, եւ ոչ ի կամաց մարմն ոյ, եւ ոչ ի կա-մաց առն, այլ յԱստ� ծոյ ծնան։ ☘ Եւ բանն մարմի ն եղեւ, եւ բնակեաց ի մե զ։ եւ տե-սաք զփառս նորա զփառս իբրեւ զմի ածնի առ ի հօրէ, լի շնորհօք եւ ճշմարտ� թեամբ։ ☘ Յովհաննէս վկայէ վասն նորա, աղաղա-կեաց եւ ասէ. սա է՝ զոր� ասէի, որ զկնի իմ գալոցն էր, առաջի իմ եղեւ, զի նախ քան զիս էր։ ☘ Զի ի լր� թենէ անտի նորա մե ք ամե նե-քին առաք շնորհս փոխանակ շնորհաց։ ☘ Զի օրէնքն ի ձեռն մովսիսի տ� ան. շնորհք եւ ճշմարտ� թիւնն ի ձեռն Յիս� սի Քրիստոսիեղեն։ ☘ ԶԱստ� ած ոչ ոք ետես երբէք, բայցմի ածինն որդի՝ որ է ի ծոց հօր՝ նա պատմե աց։

�

S. Mastosi i, ca 411 ad

xcl-Armn

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«Ճանաչել զիմաստութիւն եւ զխրատ,իմանալ զբանս հանճարոյ:»*

— Huh? Crack on! An ḃꝼuilꝽaeilᵹe ɑᵹɑꞇ? Ꝼɑꝺ ꞅɑol ɑᵹɑꞇ,ᵹob ꝼliuch, ɑᵹuꞅ b�ꞅ in Éiꞃinn!†

(*)Classical Armenian; Čanačʿel zimastutʿiun yev zxrat, imanal zbans hančaroy.“To know wisdom and instruction; to perceive the words of understanding.”(From the book of Proverbs, 1,2) (†) Irish; “Stop blathering, old chap. You dospeak English,don’t you? Chears, and hail to England’s green and pleasant land!”

2016. Armenian (with more than its required ligatures)

Ⴎⴈⴐⴅⴄⴊⴈⴇⴂⴀⴌ ⴈⴗⴍ ⴑⴈⴒⴗⴓⴀⴢ,  ⴃⴀ ⴑⴈⴒⴗⴓⴀⴢ ⴈⴂⴈ ⴈⴗⴍ ⴖⴋⴐⴇⴈⴑⴀ ⴇⴀⴌⴀ, ⴃⴀ ⴖⴋⴄⴐⴇⴈ ⴈⴗⴍ ⴑⴈⴒⴗⴓⴀⴢ ⴈⴂⴈ. ☘ Ⴄⴑⴄ ⴈⴗⴍ ⴎⴈⴐⴅⴄⴊⴈⴇⴂⴀⴌ ⴖⴋⴐⴇⴈⴑⴀ ⴇⴀⴌⴀ. ☘ Ⴗⴍⴅⴄⴊⴈⴅⴄ ⴋⴈⴑ ⴋⴈⴄⴐ ⴘⴄⴈⴕⴋⴌⴀ, ⴃⴀ ⴇⴣⴌⴈⴄⴐ ⴋⴈⴑⴀ ⴀⴐⴚⴀ ⴄⴐⴇⴈ ⴐⴀⴢ ⴈⴕ-ⴋⴌⴀ, ⴐⴀⴍⴃⴄⴌⴈ ⴐⴀⴢ ⴈⴕⴋⴌⴀ. ☘ Ⴋⴈⴑ ⴇⴀⴌⴀ ⴚⴞⴍⴐⴄⴁⴀⴢ ⴈⴗⴍ ⴃⴀ ⴚⴞⴍⴐⴄⴁⴀⴢ ⴈⴂⴈ ⴈⴗⴍ ⴌⴀⴇⴄⴊ ⴉⴀⴚⴇⴀ. ☘ Ⴃⴀ ⴌⴀⴇⴄⴊⴈ ⴈⴂⴈ ⴁⴌⴄⴊⴑⴀ ⴘⴈⴌⴀ ⴙⴀⴌⴑ, ⴃⴀ ⴁⴌⴄⴊⴈ ⴈⴂⴈ ⴋⴀⴑ ⴅⴄⴐ ⴄⴜⴈⴀ. ☘ Ⴈⴗⴍ ⴉⴀⴚⴈ ⴋⴍⴅⴈⴊⴈⴌⴄⴁⴓⴊⴈ ⴖⴋⴐⴇⴈⴑⴀ ⴋⴈⴄⴐ, ⴃⴀ ⴑⴀⴞⴄⴊⴈ ⴋⴈⴑⴈ ⴈⴍⴅⴀⴌⴄ. ☘ Ⴄⴑⴄ ⴋⴍⴅⴈⴃⴀ ⴋⴍⴜⴀⴋⴄⴃ, ⴐⴀⴢⴇⴀ ⴜⴀⴋⴍⴑ ⴌⴀⴇ-ⴊⴈⴑⴀ ⴋⴈⴑⴇⴣⴑ, ⴐⴀⴢⴇⴀ ⴗⴍⴅⴄⴊⴇⴀ ⴠⴐⴜⴋⴄⴌⴄⴑ ⴋⴈⴑⴂⴀⴌ. ☘ Ⴀⴐⴀ ⴇⴓ ⴈⴂⴈ ⴈⴗⴍ ⴌⴀⴇⴄⴊⴈ, ⴀⴐⴀⴋⴄⴃ ⴐⴀⴢⴇⴀ ⴜⴀⴋⴍⴑ ⴌⴀⴇⴊⴈⴑⴀ ⴋⴈⴑⴇⴣⴑ. ☘ Ⴈⴗⴍ ⴌⴀⴇⴄⴊⴈ ⴝⴄⴘⴋⴀⴐⴈⴒⴈ, ⴐⴍⴋⴄ-ⴊⴈ ⴂⴀⴌⴀⴌⴀⴇⴊⴄⴁⴑ ⴗⴍⴅⴄⴊⴑⴀ ⴉⴀⴚⴑⴀ, ⴋⴍⴋⴀⴅⴀⴊⴑⴀ ⴑⴍ-ⴔⴊⴀⴃ. ☘ Ⴑⴍⴔⴄⴊⴑⴀ ⴘⴈⴌⴀ ⴈⴗⴍ, ⴃⴀ ⴑⴍⴔⴄⴊⴈ ⴋⴈⴑ ⴋⴈⴄⴐ ⴘⴄⴈⴕⴋⴌⴀ, ⴃⴀ ⴑⴍⴔⴄⴊⴋⴀⴌ ⴈⴂⴈ ⴅⴄⴐ ⴈⴚⴌⴀ. ☘ Ⴇⴣⴑⴇⴀ ⴇⴀⴌⴀ ⴋⴍⴅⴈⴃⴀ, ⴃⴀ ⴇⴣⴑⴇⴀ ⴈⴂⴈ ⴀⴐⴀ ⴘⴄⴈⴜⴗⴌⴀⴐⴄⴑ. ☘ Ⴞⴍⴊⴍ ⴐⴀⴍⴃⴄⴌⴇⴀ ⴈⴂⴈ ⴘⴄⴈⴜⴗⴌⴀⴐⴄⴑ,  ⴋⴍⴑⴚⴀ ⴋⴀⴇ ⴤⴄⴊⴋⴜⴈ-ⴔⴄⴁⴀⴢ ⴘⴅⴈⴊ ⴖⴋⴐⴇⴈⴑⴀ ⴗⴍⴔⴀⴃ,  ⴐⴍⴋⴄⴊⴇⴀ ⴠⴐⴜⴀ-ⴋⴑ ⴑⴀⴞⴄⴊⴈ ⴋⴈⴑⴈ, ☘ Ⴐⴍⴋⴄⴊⴌⴈ ⴀⴐⴀ ⴑⴈⴑⴞⴊⴇⴀⴂⴀⴌ, ⴀⴐⴚⴀ ⴌⴄⴁⴈⴇⴀ ⴤⴍⴐⴚⴇⴀⴢⴇⴀ, ⴀⴐⴚⴀ ⴌⴄⴁⴈⴇⴀ ⴋⴀⴋⴀⴉⴀⴚⴈⴑⴀⴢⴇⴀ, ⴀⴐⴀⴋⴄⴃ ⴖⴋⴐⴇⴈⴑⴀⴂⴀⴌ ⴈⴘⴅⴌⴄⴑ. ☘ Ⴃⴀ ⴑⴈⴒⴗⴓⴀⴢ ⴈⴂⴈ ⴤⴍ-ⴐⴚⴈⴄⴊ ⴈⴕⴋⴌⴀ ⴃⴀ ⴃⴀⴄⴋⴉⴣⴃⴐⴀ ⴙⴓⴄⴌ ⴘⴍⴐⴈⴑ, ⴃⴀ ⴅⴈⴞⴈ-ⴊⴄⴇ ⴃⴈⴃⴄⴁⴀⴢ ⴋⴈⴑⴈ, ⴃⴈⴃⴄⴁⴀⴢ ⴅⴈⴇⴀⴐⴚⴀ ⴋⴞⴍⴊⴍⴃ ⴘⴍ-ⴁⴈⴊⴈⴑⴀⴢ ⴋⴀⴋⴈⴑⴀ ⴋⴈⴄⴐ, ⴑⴀⴅⴑⴄ ⴋⴀⴃⴊⴈⴇⴀ ⴃⴀ ⴝⴄⴘⴋⴀⴐⴈ-ⴒⴄⴁⴈⴇⴀ. ☘ Ⴈⴍⴅⴀⴌⴄ ⴜⴀⴋⴀ ⴋⴈⴑⴇⴣⴑ, ⴖⴀⴖⴀⴒ ⴗⴍ ⴃⴀ ⴇⴕⴓⴀ: ⴄⴑⴄ ⴀⴐⴑ, ⴐⴍⴋⴊⴈⴑⴀⴇⴣⴑ ⴈⴂⴈ ⴅⴇⴕⴓ: ⴐⴍⴋⴄⴊⴈ ⴙⴄⴋⴑⴀ ⴘⴄⴋⴃⴂⴍⴋⴀⴃ ⴋⴍⴅⴀⴊⴑ, ⴙⴄⴋⴑⴀ ⴓⴜⴈⴌⴀⴐⴄⴑ ⴈⴗⴍ, ⴐⴀⴋⴄ-ⴇⴓ ⴎⴈⴐⴅⴄⴊ ⴙⴄⴋⴑⴀ ⴀⴐⴑ. ☘ Ⴃⴀ ⴑⴀⴅⴑⴄⴁⴈⴑⴀⴂⴀⴌ ⴋⴈⴑⴈⴑⴀ ⴙⴓⴄⴌ ⴗⴍⴅⴄⴊⴇⴀ ⴋⴍⴅⴈⴖⴄⴇ, ⴃⴀ ⴋⴀⴃⴊⴈ ⴋⴀⴃⴊⴈⴑⴀ ⴜⴈⴊ. ☘ Ⴐⴀⴋⴄⴇⴓ ⴑⴟⴓⴊⴈ ⴋⴍⴑⴄⴑⴂⴀⴌ ⴋⴍⴄⴚⴀ, ⴞⴍⴊⴍ ⴋⴀⴃⴊⴈ ⴃⴀ ⴝⴄⴘⴋⴀⴐⴈⴒⴄⴁⴀⴢ ⴕⴐⴈⴑⴒⴄ ⴈⴄⴑⴓⴢⴑ ⴋⴈⴄⴐ ⴈⴕⴋⴌⴀ. ☘ Ⴖⴋⴄ-ⴐⴇⴈ ⴀⴐⴀⴅⴈⴌ ⴑⴀⴃⴀ ⴈⴞⴈⴊⴀ;  ⴋⴞⴍⴊⴍⴃ ⴘⴍⴁⴈⴊⴋⴀⴌ ⴛⴄ-ⴋⴀⴌ, ⴐⴍⴋⴄⴊⴈ ⴈⴗⴍ ⴜⴈⴀⴖⴇⴀ ⴋⴀⴋⴈⴑⴀⴇⴀ, ⴋⴀⴌ ⴂⴀⴋⴍⴇⴕⴓⴀ.

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S. Mastosi i, ca 411 ad

oge-Geok

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ⴄⴌⴀⴢ ⴕⴀⴐⴇⴓⴊⴈ

2016. Khutsuri (Old-Georgian Asomtavruli + Nuskhuri)

2017– Greek extensions with stylistic sets and historical alternatesThe so-called ‘latinization’ of Greek is one of my pet peeves…I’d say it’s

‘romanization’, and I love to have passionate discussions about the topic! Anyway, Horace has put it well, that eternally troubled relationship between Hellas and Rome: ‘Graecia capta ferum victorem cepit.’

http://scriptorium.blog/Plantijn/

http://scriptorium.blog/Plantijn/

2017– Cyrillic extensions with stylistic sets and historical alternates

Once you got designed the base alphabets for over eight scripts, along with ligatures, small caps, titling alternates, and special punctuation characters and symbols, the impulsion to do all of Unicode becomes irresistible…

http://scriptorium.blog/Plantijn/

2017– Extended Latin, maths, and phonetics

We had a boy! Surely I had to draw new letters for his birth announcement… Nothing so suitable for the occasion as the monumental Roman capital, and nothing more befitting the little lad’s unusual name.

A study of classical proportions, my take on the lapidar and incize genre, but with a gentle flare and a touch of love, especially in the monogram.

http://scriptorium.blog/capitalis/

2017. An alphabet for our little one

lIjit unhmr oce bpadgqAa b Cc Dd e F f g h Iij k ll Mm n Oo Pp q r s t u v w y z ., voor noortje

OEFENBLAD KURSIEF (3/11) v1.0 2018-11-06. Voor een brede penpunt van 2,5 mm. © 2018 Scriptorium.blog2.5

Like my Rilke Kursiv from ten years before, again an inquiry into the similitude of ‘gothic’ blackletter and the renaissance italic. But this time taking inspiration from the greatest Dutch lettering artists’ masterful mid-century calligraphy. A revival, first and foremost, of Helmut Salden’s 1960s ‘Russian’ dust jackets, with a touch of Chris Brand and Susanne Heynemann.

http://scriptorium.blog/blackletter/italic/

2017. Italic calligraphy

Th� Script OpenType � nt family explores na� onal handwri� ng� adi� ons � om the so� r li� ere Cance� areſche umani� e italice cor� ve to the � terna� onal � erican � ush Script that d� ves � om the anco-En� h An� a� e which in � rn evolved � om d� Le� � �anço� � rondes � �nancière & des caractères de Civili� en c� l� . The Deutſ� e Kurrentſ� ri� pre� � es the gorge� idiom-a� c shapes � G� man calligraphy, hin� ng � � e � � n� ri� � � e¡ n ¢ oßm¤ r¥ ens. § � at once an ex� c� e in balancing calligraphy’s connectedness ª th the regulariza� ons � « pography ¬ d� cre� ona® ̄ age � liga� res and contex� al alt� nates.

Having been exploring the great alphabetic variety between scripts with my polyglot Plantijn extensions, I felt the urge to do a script proper, to better study the cheirographic differences between writing cultures. An exploration thus of national handwriting traditions, a case-study in ligatures, and an excercise in ductus. A synthesis of the script genre as a polyvalent variable OpenType font family, with stylistic sets for queer historicisms like Civilité and Sütterlin.

http://scriptorium.blog/scriptura/

2018. Dialects of handwriting

ZZ

Z

ζZ

ⲌZZ

Z ZZZ

Z ZZZ

Z ZZ

շZZ

Z

ZZⵒ

z

ZZZ

Z

ზZ

Z2

Z

↊Z

ꙄZ

z

Z♑

8Z

ZZ

zӠ

Z

ZZ

ꝣZ

�

ZZ

ZZ

Z

�

Years of thinking about the structure and shape of letters is slowly turning into what eventually should become a book: my Theory of Writing, where paleography, philology, and art history meet mathematics and physics.

Here is the introductionary paper: Prolegomena to a mathematical foundation for a theory of writing and grapheme topology, by example of some observations on the origins of the letter Zayin (Z, Zeta, e.a.)

http://scriptorium.blog/graphemics/introduction/

2018. Towards a theory of writing

I designed my polyglot Plantijn family for text sizes, preferably to be set at 10 pt. While it probably is one of the most OpenType-feature-complete fonts not on the market, with small caps, titling caps, ligatures, contextual and historical alternates for over eight scripts, plus special sorts for maths and logic, linguistics and critical apparatus, it lacks… optical masters. I have begun the bedazzling work to draw display, text, and caption masters, along width and weight axes, and have lots of fun experimenting with the OTVar variable font format.

But more importantly, this is the opportunity to put my research on optical sizes, their variation in rhythm and weight, and their over-all effect on typographic color, finally into practice.

2019... Plantijn opticals: a variable font in-progress