Dr Wouter Soudan portfolio

2019.01.14

http://scriptorium.blog  @rhythmvs Typographic research & design since 1997 I’m always researching: printing techniques, , 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 and type design. And then there’s my computer: dozens and dozens of 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 , 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 $ tree . ├── Read_µe.txt ├── Scholar.fla ├── Ismini.pfa ├── Keystroke\ map 1998. Scholar Greek │ ├── Keymap.gif │ ├── Tekenset.bmp I went to college to study classical languages. Latin still is my darling; Greek however │ ├── bckgrnd3.gif │ ├── charz.wpd was new to me—and intimidating with all those accents! Back then, way before Unicode │ ├── keymap.cpt was a household name, it was near impossible to set polytonic Greek properly. As the │ ├── keystrokes.cpt hacker was just awakening in my sophomore self, I set out to devise my own codepages │ ├── tekenset.cpt │ └── testblad.wpd and develop an easy-to-use font, for me and my fellow students to typeset our bachelor ├── Nieuwe\ map assignments. A bric-à-brac of system , yet a fruitful first acquintance with font │ ├── Acrobatfiche.p65 engineering. Plus, a new universe opened up for me, as soon as I got my hands on │ ├── SCHOG___.PFB │ ├── Scholar\ Greek.fog (pirated :-s) copies of Fontographer, PageMaker, and CorelDraw… │ ├── Scholar.fla │ ├── Scholar.swf Not much to show here, but faded memories. After all these years, it’s all dissolved into │ ├── cptees.zip │ └── ttefs.zip digital dust, unreadable, except for the README file and the directory tree. A reminder ├── SCHOGI__.PFA of why I have become a fervent proponent of open standards and non-proprietary file ├── SCHOGI__.PFB formats. And of what drives me in my vocation as a typographer: ├── SCHOGI__.PFM ├── SCHOGI__.PFM$ ├── SCHOGI__.TTF Ars artium omnium conservatrix est Typographia… ├── SCHOG___.PFA ├── SCHOG___.PFB ├── SCHOG___.PFM ├── SCHOG___.PFM$ ├── SCHOG___.TTF SS CC HH HH OO LL AA RRRR ├── Scholar\ Greek\ Italic.fog SS SS CC CC HH HH OO OO LL AA AA RR RR ├── Scholar\ Greek.fog SS CC HHHHHH OO OO LL AAAAAA RRRRR ├── Vorige\ schog.zip SS CC HH HH OO OO LL AA AA RR RR └── Website SS SS CC CC HH HH OO OO LL AA AA RR RR ├── Bronbestanden SS CC HH HH OO LLLLLL AA AA RR RR │ ├── Background.cpt │ ├── Background2.cpt GG RRRR EEEEEE EEEEEE KK KK │ ├── Background3.cpt │ ├── Bckgnd.gif GG GG RR RR EE EE KK KK │ ├── Header.cpt GG RRRRR EEEEE EEEEE KKK │ ├── ODYCCEIAC\ OMHROY.cpt GG GGG RR RR EE EE KK KK │ ├── meander.cpt GG GG RR RR EE EE KK KK │ ├── meander.gif GG RR RR EEEEEE EEEEEE KK KK │ └── meander2.gif ├── advant.htm ├── bckgr2.jpg 1998 (c) Louanij, ex officina W. Soudan. Omnes jures. ├── bckgrnd.jpg ├── charz.htm ├── guest.htm ├── header.gif This version of the accompanied font is the bèta-release ├── keymap.gif which was designed for the greek-students of K.U. Leuven ├── keymap.htm (= Catholic University of Louvain, Belgium). ├── keystrok.jpg Please leave your comments in order to enhance this ├── other.htm product at: ├── print.htm www.student.kuleuven.ac.be/~m9708825/scholar.htm ├── scholar.htm ├── scholar1.htm You may try and use this font freely, untill our defini- ├── scholar1.zip ├── scholar2.htm tive version will be released (by the end of July, ’99). ├── scholar2.zip ├── scholar3.htm └── version.htm [email protected] 2005. Avant la lettre... 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.

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(*) ‘L.M. Solzen’ was my nom de plume back then… 2007. Cornet / Rilke Kursiv Incited by reading Max Caflisch’s startlingSchriftanalysen , 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 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… 2012. Post-doc: converting medieval documents into a searchable database From 2009 to 2012 I was engaged as a post-doctoral researcher, for a project some- Thinking up Unicode-compliant text encoding solutions for Bernhard Bischoff’s what out of the scope of my official curriculum. The promotor had been looking to recommendations for paleo­graphic transcription, was something right up my alley. hire a scholar able to read medieval archival records in Latin, preferrably a classical The project did not require the design of a new , but some thorough font - philologist, who also was handy with the computer—a white raven. Little did he know gineering all the more. Web fonts were very new back then, UTF-8 still widely under­ his project’s success would however very much depend on arcane acronyms like TEI supported. Getting PHP’s RegEx engine to work with Latin flection and scribal XML, UTF-8, MUFI, and RegEx. As a digital humanist with a huge appetite for paleo­ breviatures was tough, for example, OpenType mark positioning quite a challenge… graphy, I happily took up the challenge and committed to working out an implemen- tation of faithful electronic diplomatic transcriptions. https://web.archive.org/web/20161231113759/http://rhythmus.be/anthroponymical-lexicon/ 2009–’13. Teaching: theory of typography 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 into practice 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 , 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! 2015. Typographic detection 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. Dual spaced mono for coding and typescripts 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 , and to his foundational ideas on 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

DIE SCHRIFT FÜR OPTISCHE LESBARKEIT +–––––––––––––––––––––––––––––––––––––––+ Das Alphabet ist das Ergebnis einer | MACHINE READABLE ⋂ HUMAN READABILITY | Normungsstudie, deren Ziel darin bestand, eine Formenreihe fest- | »Das Alphabet ist das Ergebnis einer | zulegen, die sowohl fehlerlos von | Normungsstudie, deren Ziel darin be- | elektronischen Lesern wie auch | stand, eine Formenreihe festzulegen, | mit Wohlgefallen vom menschlichen Auge erkannt werden kann. Die | die sowohl fehlerlos von elektron- | Bestimmung dieser Schrift zwang zu | ischen Lesern ⌦ wie auch mit Wohlgefallen | Kompromißlösungen. | vom menschlichen Auge erkannt werden kann. | HAHBHCHDHEHFHGHIHJHKHLHMHNHOHPH | Die Bestiung dieser Schrift zwang zu Kom- | HQHRHSHTHUHVHWHXHYHZH & ÅØÆŒÄÖÜ | promißlösungen.« — Adrian Frutiger (1970) ⌫ | hahbhchdhehfhghihjhkhlhmhnhohph hqhrhshthuhvhwhxhyhzh ß éèêëåñøæœ | If z  r exp(iφ) with −π < φ ≤ π | 1234567890 | ⇒ √z  √r exp(iφ/2); e.g. √−1  i. | .,:;’?!-—*†«»()[] $£§% +×=/°<>. +–––––––––––––––––––––––––––––––––––––––+ 2015. Plantijn: a typeface for perfect color 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/ 2016. Dodecaglotta: orientalist & liturgical extension to Plantijn In the autumn of 2016 I set out for an ambitious side project: to emulate the I decided on twelve liturgically important languages, requiring sorts to be drawn typographic monuments erected by Christopher Plantijn and Brian Walton, and and added to my Plantijn fonts, for eight scripts. The enterprise turned out to be typeset a new polyglot Bible. I’d use my algorithmic skills and coding handi- gargantuan: within the scope of four months, I found myself studying dozens of ness to strive for the most immaculate parallel typesetting, with the translations Unicode proposal papers, and drawing about a thousand … perfectly matching, verse by verse, across columns. Truly an excercise in line As a nice addition I studied the great variety of cross-shapes, representative of justicification, for which I take advantage of spacing alternates andOT Var width each liturgical tradition, and deviced them as logotypes for the languages. axis, ligatures, and tatweel (for the Syriac.) 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… http://dodecaglotta.com/ ᛭✠ ☦☨✝♰♱  ☧  2016. Se�ṭā (West-Syriac)

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P, II. c

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ـ ܐــܘـ ܗܘ  ܘܗܘ 1 ــ ܐــܘـ ܗܘ ـ ܐـ ܘܐ ܐــܘـ ܗܘ ܗܘ  ܀ ܗ ܐ ـܘܗܝ ܗܘ  ܬ ܐ ܐ ܝܗܘܘ ܘܗ ܗ   ܀ ܘܗ   ܀ ܘܗܕ ܡ ܬܘܗ  ܘܗܘ ܀  ­ܕ ܪܗ‚ ܢܘ  ܐ ܘ ‚ܗܪ „  ܪ ܘ ـ ܐ  ܪܕܐܕ ‚ ܘܗ ܀ ܪܕܐ ‡ـ ـ ܀ ܗ ܐܬ ـ†ـܕܘܬ ܕ‚ـ†ـܕ ‰ـ ‚ܗܪ ܕ ـˆ ‚ ‡ ܐـ ــ ـܪــ ܞ ܕ†‚ܕ Šܐ ܪܗ‚ ܘܗ ܘܗ Š ܀ ܗ  ܪܗ‚ ‹ ܘܗ ܝܗܘ ܐ ܀ ܪܗ‚ ‰ ܕܪ ܕ ܪ Œ ـˆ ܕܐܬ ــ‡ ܀ ‡ـ ܗܘ ܘ‰‡ـ ـــܗ ܗܘ  ܕܘ ܬܐ  Ž ܀ ‰ Š ‡‰ܘ Š ’‘ܗܝ ܀ ܐ ـ ܕ ܕ’‘ܗܝ ܐܕ ­ܕ “”Ž ܢܘ ܒ ‚ܘܘܢ Š– ــ ܕـ ‡­ ‡ ܀ ܐ ـ ܕـ ـ ܕ ܘŠ  ܨ“ ܕ†ـ ܘŠ  ܨ“ ܕ‹‘ ܐŠ  ܘܗ † ܘ ܀ ܘ ܬܐ ܐ ˜ ܐ „ „ ™ܘ  š‹ܐܘ ’ܘ ܬ‘› ܕ ܐ ܕ  „ ܕ ܐܘ ’ܘ ܝܗ‰ ܕœ  ܀  ܘܗܘ ܬܐ ܝܪܕ ܬܐܕ ܘܗ ‚ܗ 10 ܘ ܀ ­ ܘܗ ’ܕ ” ’ ܬ‘›ܘ ‘†‚   ܗܬ  œ‡‚ܕ ” ܀ ܬ‘› ž  ܬ‘›ܘ ܕ ܪ ܒ ܬܐ  11 ˆ‚ܐ ™ Š ܐ ܀ ܘܗ „ ܥ ܝܗܘ ܐܕ ܘܗ ܐ  „ ܡܘ‡ ـــ ܕـ‘ــ ܗܘ ܐـــ ܀ 12 2016. Coptic

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 B†‡, II–III. c

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1 ϧⲉⲛ ⲧⲁⲣⲭⲏ ⲛⲉⲡⲓⲥⲁϫⲓ ⲡⲉ ⲟⲩⲟϩ ⲡⲓⲥⲁϫⲓ ⲛⲁϥⲭⲏ ϧⲁⲧⲉⲛ 1 ⲫⲛⲟⲩϯ ⲟⲩⲟϩ ⲛⲉⲟⲩⲛⲟⲩϯ ⲡⲉ ⲡⲓⲥⲁϫⲓ. ☘ ⲫⲁⲓ ⲉⲛⲁϥⲭⲏ 2 ⲓⲥϫⲉⲛ ϩⲏ ϧⲁⲧⲉⲛ ⲫⲛⲟⲩϯ. ☘ ϩⲱⲃ ⲛⲓⲃⲉⲛ ⲁⲩϣⲱⲡⲓ ⲉⲃⲟⲗ ϩⲓⲧⲟⲧϥ ⲟⲩⲟϩ ⲁⲧϭⲛⲟⲩϥ ⲙⲡⲉ ϩⲗⲓ ϣⲱⲡⲓ ϧⲉⲛⲫⲏ 3 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- 4 ϥⲣⲁⲛ ⲡⲉ ⲓⲱⲁⲛⲛⲏⲥ. ☘ ⲫⲁⲓ ⲁϥⲓ ⲉⲩⲙⲉⲧⲙⲉⲑⲣⲉ ϩⲓⲛⲁ ⲛⲧⲉϥⲉⲣⲙⲉⲑⲣⲉ ϧⲁ ⲡⲓⲟⲩⲱⲓⲛⲓ ϩⲓⲛⲁ ⲛⲧⲉⲟⲩⲟⲛ ⲛⲓⲃⲉⲛ ϯⲙⲉⲧⲣⲉⲙⲛ̀ⲭⲏⲙⲓ ϗ ⲧⲙⲛ̄ⲧⲣⲙ̄ⲛ̄ⲕⲏⲙⲉⲛⲁϩϯ 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 10 ⲉⲣⲟⲓ ⲣⲱ ⲡⲉ ☘ ϫⲉ ⲁⲛⲟⲛ ⲧⲏⲣⲉⲛ ⲁⲛϭⲓ ⲉⲃⲟⲗ ϧⲉⲛⲡⲉϥⲙⲟϩ ⲛⲉⲙ ⲟⲩϩⲙⲟⲧ ⲛⲧϣⲉⲃⲓⲱ ⲛⲟⲩϩⲙⲟⲧ. ☘ ϫⲉ ⲡⲓⲛⲟⲙⲟⲥ ⲁⲩ- ⲧⲏⲓϥ ⲉⲃⲟⲗ ϩⲓⲧⲉⲛ ⲙⲱⲩⲥⲏⲥ ⲡⲓϩⲙⲟⲧ ⲇⲉ ⲛⲉⲙ ϯⲙⲉⲑⲙⲏⲓ 11 ⲁⲩϣⲱⲡⲓ ⲉⲃⲟⲗ ϩⲓⲧⲉⲛ ⲓⲏⲥⲟⲩⲥ ⲡⲭⲣⲓⲥⲧⲟⲥ. ☘ ⲫⲛⲟⲩϯ 11 ⲙⲡⲉ ϩⲗⲓ ⲛⲁⲩ ⲉⲣⲟϥ ⲉⲛⲉϩ ⲡⲓⲙⲟⲛⲟⲅⲉⲛⲏ ⲥⲛⲛⲟⲩϯ 12 ⲫⲏ ⲉⲧⲭⲏ ϧⲉⲛⲕⲉⲛϥ ⲙⲡⲉϥⲓⲱⲧ ⲛⲑⲟϥ ⲡⲉⲧⲁϥⲥⲁϫⲓ. 12 2016. Gəʿəz (Ethiopic)

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S. F‹ Œ, ca 350  Ž

‘’-E

1 ቀደሚሁ ፡ ቃል ፡ ውእቱ ፡ ወውእቱ ፡ ቃል ፡ ኀበ ፡ እግዚ- 1 አብሔር ፡ ውእቱ ፡ ወእግዚአብሔር ፡ ውእቱ ፡ ቃል ወዝንቱ ፡ እምቀዲሙ ፡ ኀበ ፡ እገዚአብሔር ፡ ውእቱ 2 ኲሉ ፡ ቦቱ ፡ ኮነ ፡ ወዘእንበሌሁሰ ፡ አልቦ ፡ ዘኮነ ፡ ወኢሞንትኒ ፡ እሞዘኮነ ቦቱ ፡ ሕደወት ፡ ውእቱ ፡ 3 ወሕይወትሰ ፡ ብርሃኑ ፡ ለእጊለ ፡ እመሕያው ፡ ውእቱ ወብርሃንሰ ፡ ዘውስተ ፡ ጽልመት ፡ ያበርህ ፡ ወያርኢ ፡ ወጽልመትኒ ፡ ኢይረክቦ ወሀሎ ፡ አሐዱ ፡ 4 ብእሲ ፡ ዘተፈነወ ፡ እምኀበ ፡ እግዚአብሔር ፡ ዘስሙ ፡ 4 ዮሐንስ ወውእቱ ፡ መጽአ ፡ ለስምዕ ፡ ሰማዕተ ፡ ይኩን ፡ በእንተ ፡ ብርሃን ፡ ከመ ፡ ኵሉ ፡ ይእመን ፡ ቦቱ ወለሊሁሰ ፡ ኢኮነ ፡ ብርሃነ ፡ ዳእሙ ፡ ሰማዕተ ≠ ፡ ግዕዝይኩን ፡ በእንተ ፡ ብርሃን ዘውእቱ ፡ ብርሃነ ፡ ጽድቅ ፡ ዘያበርህ ፡ ለኵሉ ፡ ሰብእ ፡ ዘይመጽእ ፡ ውስተ ፡ 6 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 ፡ 11 ወጸጋሰ ፡ ወጽድቅ ፡ በኢየሱስ ፡ ክርስቶስ ፡ ኮነ ለእግ- 11 ዚአብሔርሰ ፡ አልቦ ፡ ዘርእዮ ፡ ግሙራ ፡ አላ ፡ ወልድ ፡ 12 ዋሕድ ፡ ዘሀሎ ፡ ውስተ ፡ ሕፅነ ፡ አቡሁ ፡ ውእቱ ፡ ነገረነ ። 12 2016. Armenian (with more than its required ligatures)

“

S. M†, ca 411  Ž

”‡•-A Œ

1 Ի սկբանէ էր բանն եւ բանն էր առ Աստ ած. 1 եւ Աստ ած էր բանն։ ☘ Նա էր ի սկբանէ 2 առ Աստ ած։ ☘ Աﬔ նայն ինչ՝ նովաւ եղեւ. «Ճանաչելեւ առանց նորա եղեւ զիմաստութիւն եւ ոչինչ ՝ որ ինչ եւ զխրատ, 3 եղեւն։ ☘ Նովաւ՝ կեանք էր, եւ կեանքն՝ էր լոյս մարդկան. ☘ Եւ լոյսն՝ ի խաւարի անդ՝ լ սաւոր էր, եւ խաւար՝ նմա ոչ եղեւ հաս ։ իմանալ☘ Եղեւ այր ﬕ առաքեազբանս յԱստ ծոյ. ան ն հանճարոյ:» 4 նմա Յովհաննէս։ ☘ Սա՝ եկն ի վկայ թիւն 4 ի վկայեսցէ վասն լ սոյն. ի աﬔ նեքին 5 հաւատասցեն նովաւ։ ☘ Ոչ էր նա լոյսն, այլ ի վկայեսցէ վասն լ սոյն։ ☘ Էր լոյսն ճշմա- րիտ, որ լ սաւոր առնէ զաﬔ նայն մարդ՝ — Huh? Crack on! An ḃꝼuil որ գալոց է յաշխարհ։ ☘ Յաշխարհի էր, եւ աշխարհ նովաւ եղեւ, եւ աշխարհ զնա ոչ 6 Ᵹ ɑᵹɑꞇ? Ꝼɑꝺ ꞅɑol ɑᵹɑꞇ, ծանեաւ։ ☘ Յիւրսն եկն, եւ իւրքն զնա ոչ 7 ընկալան։ ☘ Իսկ որք ընկալան զնա, ետ ᵹob ꝼliuch, ɑᵹuꞅ bꞅ in Éiꞃinn! նոցա իշխան թիւն որ‰իս Աստ ծոյ ինե, որոց հաւատասցեն յան ն նորա։ ☘ Ոյք ոչ յարենէ, եւ ոչ ի կամաց մարﬓ ոյ, եւ ոչ ի կա- 8 մաց առն, այ յԱստ ծոյ ծնան։ ☘ Եւ բանն մարﬕ ն եղեւ, եւ բնակեաց ի ﬔ զ։ եւ տե- 9 սաք փառս նորա փառս իբրեւ զﬕ ածնի առ ի հօրէ, ի շնորհօք եւ ճշմարտ թեամբ։ (*)Classical Armenian; Čanačʿel zimastutʿiun yev zxrat, imanal zbans hančaroy. ☘ Յովհաննէս վկայէ վասն նորա, աղաղա- “To know wisdom and instruction; to perceive the words of understanding.” կեաց եւ ասէ. սա է՝ զորŽ ասէի, որ զկնի իմ (From the book of Proverbs, 1 2) (†) Irish; “Stop blathering, old chap. You do 10 գալոցն էր, առաջի ի’ եղեւ, ի նախ քան իս speak English,don’t you? Chears, and hail to England’s green and pleasant land!” էր։ ☘ Զի ի ր 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 Քրիստոսի 11 եղեն։ ☘ ԶԱստ ած ոչ ոք ետես երբէք, բայց ﬕ ածինն որ‰ի՝ որ է ի ծոց հօր՝ նա պատﬔ աց։ 12 2016. Khutsuri (Old-Georgian Asomtavruli + Nuskhuri)

—

S. M†, ca 411  Ž

†‘-G†˜

Ⴎⴈⴐⴅⴄⴊⴈⴇⴂⴀⴌ ⴈⴗⴍ ⴑⴈⴒⴗⴓⴀⴢ, ⴃⴀ ⴑⴈⴒⴗⴓⴀⴢ ⴈⴂⴈ ⴈⴗⴍ 1 ⴖⴋⴐⴇⴈⴑⴀ ⴇⴀⴌⴀ, ⴃⴀ ⴖⴋⴄⴐⴇⴈ ⴈⴗⴍ ⴑⴈⴒⴗⴓⴀⴢ ⴈⴂⴈ. ☘ Ⴄⴑⴄ ⴈⴗⴍ ⴎⴈⴐⴅⴄⴊⴈⴇⴂⴀⴌ ⴖⴋⴐⴇⴈⴑⴀ ⴇⴀⴌⴀ. ☘ Ⴗⴍⴅⴄⴊⴈⴅⴄ ⴋⴈⴑ 2 ⴋⴈⴄⴐ ⴘⴄⴈⴕⴋⴌⴀ, ⴃⴀ ⴇⴣⴌⴈⴄⴐ ⴋⴈⴑⴀ ⴀⴐⴚⴀ ⴄⴐⴇⴈ ⴐⴀⴢ ⴈⴕ- ⴋⴌⴀ, ⴐⴀⴍⴃⴄⴌⴈ ⴐⴀⴢ ⴈⴕⴋⴌⴀ. ☘ Ⴋⴈⴑ ⴇⴀⴌⴀ ⴚⴞⴍⴐⴄⴁⴀⴢ ⴈⴗⴍ 3 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- 4 ⴊⴈⴑⴀ ⴋⴈⴑⴇⴣⴑ, ⴐⴀⴢⴇⴀ ⴗⴍⴅⴄⴊⴇⴀ ⴠⴐⴜⴋⴄⴌⴄⴑ ⴋⴈⴑⴂⴀⴌ. ☘ Ⴀⴐⴀ ⴇⴓ ⴈⴂⴈ ⴈⴗⴍ ⴌⴀⴇⴄⴊⴈ, ⴀⴐⴀⴋⴄⴃ ⴐⴀⴢⴇⴀ ⴜⴀⴋⴍⴑⴄ 5 ⴌⴀⴢ ⴕⴀⴐⴇⴓⴊⴈ 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- 7 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- 8 ⴐⴚⴈⴄⴊ ⴈⴕⴋⴌⴀ ⴃⴀ ⴃⴀⴄⴋⴉⴣⴃⴐⴀ ⴙⴓⴄⴌ ⴘⴍⴐⴈⴑ, ⴃⴀ ⴅⴈⴞⴈ- ⴊⴄⴇ ⴃⴈⴃⴄⴁⴀⴢ ⴋⴈⴑⴈ, ⴃⴈⴃⴄⴁⴀⴢ ⴅⴈⴇⴀⴐⴚⴀ ⴋⴞⴍⴊⴍⴃ ⴘⴍ- 9 ⴁⴈⴊⴈⴑⴀⴢ ⴋⴀⴋⴈⴑⴀ ⴋⴈⴄⴐ, ⴑⴀⴅⴑⴄ ⴋⴀⴃⴊⴈⴇⴀ ⴃⴀ ⴝⴄⴘⴋⴀⴐⴈ- ⴒⴄⴁⴈⴇⴀ. ☘ Ⴈⴍⴅⴀⴌⴄ ⴜⴀⴋⴀ ⴋⴈⴑⴇⴣⴑ, ⴖⴀⴖⴀⴒ ⴗⴍ ⴃⴀ ⴇⴕⴓⴀ: ⴄⴑⴄ ⴀⴐⴑ, ⴐⴍⴋⴊⴈⴑⴀⴇⴣⴑⴈⴂⴈ ⴅⴇⴕⴓ: ⴐⴍⴋⴄⴊⴈ ⴙⴄⴋⴑⴀ ⴘⴄⴋⴃⴂⴍⴋⴀⴃ ⴋⴍⴅⴀⴊⴑ, ⴙⴄⴋⴑⴀ ⴓⴜⴈⴌⴀⴐⴄⴑ ⴈⴗⴍ, ⴐⴀⴋⴄ- 10 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; ⴋⴞⴍⴊⴍⴃⴘⴍⴁⴈⴊⴋⴀⴌ ⴛⴄ- ⴋⴀⴌ, ⴐⴍⴋⴄⴊⴈ ⴈⴗⴍ ⴜⴈⴀⴖⴇⴀ ⴋⴀⴋⴈⴑⴀⴇⴀ, ⴋⴀⴌ ⴂⴀⴋⴍⴇⴕⴓⴀ. 2017– Greek extensions with stylistic sets and historical alternates The 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/ 2017– Cyrillic extensions with stylistic sets and historical alternates http://scriptorium.blog/Plantijn/ 2017– Extended Latin, maths, and phonetics Once you got designed the base alphabets for over eight scripts, along with ligatures, , titling alternates, and special characters and symbols, the impulsion to do all of Unicode becomes irresistible… http://scriptorium.blog/Plantijn/ 2017. An alphabet for our little one 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. Italic Like my Rilke Kursiv from ten years before, again an inquiry into the similitude of ‘gothic’ 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/ lIjit unhmr oce bpadgq

2.5 Aa b Cc DOEFENBLADd KURSIEF (3/11)e v1.0 2018-11-06.F Voor eeng brede penpunt h van 2,5 mm. © I2018 Scriptorium.blogij k l Mm n Oo Pp q r s t u v w y z ., voor nootje 2018. Dialects of handwriting 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/

Th cript OpenType  nt family explores na onal handwri ng  adi ons  om the so r li ere Cance areche umani e italice cor ve to the  terna onal  erican  ush cript that d ves  om th anco- n n a e which in  rn evolved  om d e  anço  onde  nancièr &  ca act­  € ‚iƒi„i n c† „‡ . The ˆe‰tŠ‹ e K‰rrentŠ‹ riŒ preŽ ‘ es the gorge’ idiom- a c shapes “ ”• man calligraphy, hin ng “ – — ˜ ™ nš ›iœ ž Ÿ —¡ n ¢ o£m¤ ›¥ —n¦. § at once an ex• c e in balancing cal¨igraphy’s connectedness ª th the regulariza ons “ « pography ¬ d cre ona® ¯age “ liga res and contex al alt• nates° 2018. Towards a theory of writing 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/

 „  ♑ ზ 8  € ⵒ  ƒ  Ꙅ  ↊    ζ  Š ­  2 շ Z  ‰  ’  Ⲍ †  ‘    Ӡ  ꝣ  • ˆ  Œ  “  Ž  ”  2019... Plantijn opticals: a variable font in-progress 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.