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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

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Des lettres

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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

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#filmisnotdead #filmphotography #latvia #35mm