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ographique
Juliette Ogier
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• Trouveuse à @anrt_type
• Certifiée @isdat_fr
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Expo — ARTDECO)))
Juliette Ogier @ographique nous parle de ses travaux de recherche autour d’Alfred Erdmann ✍️
— Rendez-vous du jeudi au dimanche
de 14h à 18h
à la Galerie Poirel à Nancy
jusqu’au 21 juin 2026
Entrée libre
Plus d’infos sur notre site
—
🎥 @diegozebina @derniersoleilagence
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒 ! 🪄
L’Enclava et ses ligatures Acadam rejoignent la typothèque @bye.byebinary dans sa version 2.0 🌐
Ces caractères enclavés, issus d’anciens modèles d’écriture ont été exhumés d’outre-livres en 2022 par trois compagnon·nes @troubadour_graphique @cmll_mrtnt @ographique à l’@isdaT 📜
Si des caractères vous manquent, des bugs apparaissent, signalez-le nous, il nous reste encore du pain sur la planche mais nous ne rechignons pas à la besogne ! 🤓 #girlboss
⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆⋆
𝕬𝖇𝖗𝖆𝖈𝖆𝖉𝖊𝖓𝖈𝖑𝖆𝖛𝖆𝖈𝖆𝖉𝖆𝖒!🪄
The Enclava and its Acadam ligatures join the typotheque @bye.byebinary in its 2.0 version🌐
These enclaved characters, from old writing models, were exhumed from beyond the books in 2022 by three companions @troubadour_graphique @cmll_mrtnt @ographique at the @isdaT📜
If you are missing characters, bugs appear, let us know, we still have work to do and we are not reluctant to do it!🤓 #girlboss
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
L’écriture décorative d’Alfred Erdmann, the research project of Juliette Ogier @ographique , @anrt_type @ensadnancy 2023–2025
“Decorative writing should be taught in all schools for general education” Alfred Erdmann, 1922.
Alfred Erdmann (1872–1966) attended Anton Seder’s classes at the School of Decorative Arts in Strasbourg before working in Paris and teaching in Mainz for a few years. After these experiences, he returned to the School of Decorative Arts as a professor of graphic arts in 1902, where he taught for nearly 30 years.
With a passion for drawing, Erdmann experimented in various artistic fields such as painting, pattern design, furniture creation, as well as lettering and its arrangement. Inspired by the works of Edward Johnston and Rudolf von Larisch, he consolidated his research and personal approach alongside Adolphe A. Braun, in his book titled Decorative Writing and Arrangement of Lettering published in England in 1922 and reissued three years later. His goal was to restore value and importance to artistic writing and decorative lettering by making them accessible to a wide audience, from students to craftsmen, printers, and artists.
Through the exploration of Erdmann’s unpublished archives, deposited in 2023 at the ANRT, this research aims to study the genesis of his work, as well as to examine and invest in his models of writing and teaching. It also commits to designing effective means of classifying, preserving, and presenting these valuable archives, thus highlighting Erdmann’s pioneering role in the renewal of graphic arts and typography in the Alsace context at the beginning of the 20th century.
Furthermore, the development of digital adaptations of these models of writing raises questions regarding the transposition of tools from that era, such as “Even-stroke” pens producing monolinear strokes with rounded ends. Similarly, lettering practice, designed for a specific surface and conceived as a static image, must now meet the requirements of contemporary typography, where each glyph must adapt to various contexts.
French text in the first comment.
The presentation (FR) is now online: anrt-nancy.fr
Affiches sérigraphiées pour l’exposition → 𝘤𝘰𝘶𝘭𝘰𝘪𝘳 𝘯°7 - 𝘦𝘹𝘩𝘶𝘮𝘢𝘵𝘪𝘰𝘯 𝘵𝘺𝘱𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘲𝘶𝘦
• À vendre 10€ + fdp ou remise en mains propres
• Contactez l’un.e de nous en message privé ! 🔮🏆
Lettres inspirées du fonds ancien de l’@isdat_fr @isdat_patrimoine_editions
#typography #typedesign #poster #affiche #fluo #serigraphie #forsale
Affiches sérigraphiées pour l’exposition → 𝘤𝘰𝘶𝘭𝘰𝘪𝘳 𝘯°7 - 𝘦𝘹𝘩𝘶𝘮𝘢𝘵𝘪𝘰𝘯 𝘵𝘺𝘱𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘲𝘶𝘦
• À vendre 10€ + fdp ou remise en mains propres
• Contactez l’un.e de nous en message privé ! 🔮🏆
Lettres inspirées du fonds ancien de l’@isdat_fr @isdat_patrimoine_editions
#typography #typedesign #poster #affiche #fluo #serigraphie #forsale
Affiches sérigraphiées pour l’exposition → 𝘤𝘰𝘶𝘭𝘰𝘪𝘳 𝘯°7 - 𝘦𝘹𝘩𝘶𝘮𝘢𝘵𝘪𝘰𝘯 𝘵𝘺𝘱𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘲𝘶𝘦
• À vendre 10€ + fdp ou remise en mains propres
• Contactez l’un.e de nous en message privé ! 🔮🏆
Lettres inspirées du fonds ancien de l’@isdat_fr @isdat_patrimoine_editions
#typography #typedesign #poster #affiche #fluo #serigraphie #forsale
Affiches sérigraphiées pour l’exposition → 𝘤𝘰𝘶𝘭𝘰𝘪𝘳 𝘯°7 - 𝘦𝘹𝘩𝘶𝘮𝘢𝘵𝘪𝘰𝘯 𝘵𝘺𝘱𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘲𝘶𝘦
• À vendre 10€ + fdp ou remise en mains propres
• Contactez l’un.e de nous en message privé ! 🔮🏆
Lettres inspirées du fonds ancien de l’@isdat_fr @isdat_patrimoine_editions
#typography #typedesign #poster #affiche #fluo #serigraphie #forsale
Started from the bottom
#manif #manifestation #pascontent #lettring #lettrage
Started from the bottom
#manif #manifestation #pascontent #lettring #lettrage
Started from the bottom
#manif #manifestation #pascontent #lettring #lettrage
Workshop - Lettrages monumentaux / façade isdaT 2020 - avec Ivan Bléhaut
#lettrage #lettres #peintreenlettres #diplome
Workshop - Lettrages monumentaux / façade isdaT 2020 - avec Ivan Bléhaut
#lettrage #lettres #peintreenlettres #diplome
Workshop - Lettrages monumentaux / façade isdaT 2020 - avec Ivan Bléhaut
#lettrage #lettres #peintreenlettres #diplome
Workshop - Lettrages monumentaux / façade isdaT 2020 - avec Ivan Bléhaut
#lettrage #lettres #peintreenlettres #diplome
2 salles, 2 ambiances
#lesoleiletlalune #charlestrenet #jul #onmappellelovni #animation #solex
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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