Multilingual typography

A study of the limits of multilingual literary expression in print culture. Beginning with the insight that multilingual literature defies simple translation, Brian Lennon examines the resistance multilingual literature offers to book publication. Looking closely at the limit of multilingual literary expression and the literary journalism, criticism, and scholarship that comments on multilingual work, In Babel’s Shadow presents a critical reflection on the fate of literature in a world gripped by the crisis of globalization.

This article is dedicated to the issues and notion of multilingualism, particularly in Kazakhstan. Kazakhstan is a multiethnic country where more than 130 different ethnic groups reside. Currently, a fast multilingual advancement is taking place in Kazakhstan. The study explores the origins and definitions of multilingualism, role of multilingualism in the development of the Kazakhstani education system, the models of multilingual education in Kazakhstan. Different approaches and definitions in terms of multilingualism and the performance and implementation of multilingual education are presented The development of multilingual education in the Kazakhstani educational system plays a pivotal role and it is developing rapidly. The implementation of multilingual education in this country aims at integrating and internationalization of Kazakhstan to the world's educational and scientific societies. Multilingualism is also widespread in some of the European countries. Several approaches related to the multilingualism and multilingual education is indicated in this article, which are all rooted in specific national-historical-political contexte. This paper introduces the challenges and suggestions of diverse alternatives of multilingual education in Kazakhstani higher education institutions.

[NOTE: The captions of fig 6 and 7 have images of fig 7 and fig 6]

Internet necessitates and Unicode facilitates multilingual typography on a scale never seen before. As a result, multilingual typesetting, something that used to be an obscure academic specialism, suddenly sprung to the limelight. Since printing with movable type originated in Europe in a Latin-scripted environment, other scripts still tend to be treated as a complement to Latin script and their measurements normalized accordingly. The challenge that designers are facing is to create computer typography that does justice to all scripts and cultures, according to their own standards. This makes it all the more relevant to come to terms with Arabic.

Arabic and English manual for the first computer naskh typeface with variations. The typeface was not driven by smart font technology, but static. For this reason it consisted of 31 fonts, each with a fixed selection of variation features . Inside the fonts, the smallest number of glyphs was used, while each glyph was made with the smallest number of points, so that all 31 fonts files plus the instructions fitted on a single 1.4 MB floppy disk.
The text was set using Microsoft Word for Windows, with the very DecoType Professional Naskh font set that it describes. This font introduced novel features like variation and stretch that raised the level of ambition and interest in classic features throughout the design world.

“In the global economy, the brand is lightly marketed in numerous regions throughout many cultures – where a myriad of different languages are spoken.” (Fiorella, 2011)

The main focus of this thesis is multilingual packaging design with a focus on packaging for food within Cyprus. The hypothesis states that packaging design encourages companies to venture into business dimensions to develop and improve brand loyalty on a domestic scale. The research will place an emphasis on effective multilingual packaging design, which is “Design translated, culturally adapted, approved, printed and ultimately prepared for packaging for physical products.” (Lang, no date)

The ultimate objective of this thesis is to establish recommendations for domestic businesses to incorporate and utilize the development of multilingual packaging. Packaging design has become the cornerstone in modern day consumerism where aesthetics in relation to form and function of a product have become an integral aspect of our society. The mass production of consumables in modern day living has created the competitive market where the discipline of creating containing graphics has become ever increasingly necessary. In societies of multiple cultures and languages, multilingual packaging designs are seldom used to necessary effect (Lang, no date). Furthermore, the research will attempt to explore different aspects of multilingual packaging by looking into “Text Lengths, text styling, Typographic Pans, Typeface Selection for the Web, Character Encoding for the Web” (Smith, 2008) and how multilingual packaging can be more effective according to consumers.

This paper will investigate the current state of multilingual packaging in terms of effective application to domestic and global society. In order to reach this objective, a number of different sources such as books, reports, academic journals, survey,  marketing  re-­‐search and  web  re-­‐search  were  incorporated  when  carrying out the research process. Before attempting to explore this specific aim, a general overview of packaging design, multilingual society, packaging in Cyprus, case studies, marketing research and survey report will be presented. In conclusion, a packing design, which incorporates effective multilingual design elements, will be proposed based on the hypothetical research and its objectives.

The globalization is affecting the work of designers more than ever. On the one hand Asian designers have to address international target groups and on the other hand Western designers have to provide designs for Asian markets. This can lead to weird and stereotypical ways of choosing images – but is in particular visible in the details and quality of typographic design. Today, Western designers are confronted with design tasks where they have to indicate Chinese text versions. At the same time Western typeface designers are designing non-Latin typefaces, including Chinese fonts. From my understanding, a fundamental knowledge about the structure of the writing system and characters is important to be able to handle Chinese typography. This paper aims to analyse and explore a method to bridge between Western (Alphabet based) and Chinese perception of typography. By drawing a comparison between the Latin Alphabet and complex Chinese characters, this paper will not only help Western designers to understand Chinese typography, but will also provide Chinese designers a close-up of Latin characters (micro typography). One leading question is: how is it possible to convey knowledge about aesthetic principles of typography without teaching a language?

You never know where a story might lead you or what questions it may leave unanswered. Take for example a story we did in January about a campaign to make the dumpling emoji a reality. Jennifer 8. Lee told us that emojis have to be approved by something called the Unicode Consortium. They're the group that creates the standards that enable people around the world to use computers in any language. She mentioned their membership includes not just tech companies like Apple, Google and Facebook -- but countries, such Oman.

And that made us wonder what this one Middle Eastern country was doing there with all of those tech giants! That led us to Thomas Milo, a pioneer of computer typography and encoding. He's a partner with DecoType in the Netherlands, a company that's long been working with Arabic script technology. He also happens to be Oman's primary representative at the Unicode Consortium.

As soon as we visualise language in a written form we make use of typographic methods, wittingly or unwittingly. It starts by selecting a typeface, setting the font size, putting a text block on a page and arranging it in a layout.
In a bilingual city, like Hong Kong, the typographic landscape consists of a colourful mashup of two writing systems, which are regarded as “world-historical opponents” as the linguist Stetter phrases it: Chinese characters and Latin letters.
Thanks to globalisation, international visual designers, typeface designers as well as laymen nowadays need to deal with the two writing systems. Observing this development, being a  graphic designer, researcher and assistant professor, I have started a research project in 2011 to bridge the two “contrary” writing systems by typographic means. This project concentrates on micro-typography and on applying English typographic terms on Chinese characters.

The project starts with a description of the writing system itself and the derivation of Hanzi and Alphabet. One aspect is the demystification by visual explanation of Chinese characters, as they are often simplified as pictograms and pictures of existing objects. The detailed description and naming of body parts of the characters and letters is another major topic. It becomes rather specific when it come to the area of micro-typography. In this sense, the outer shape, the fitting (vertical and horizontal expansion), the structure of typeface families are thematised. Another comprehensive topic is an approach to summarise Chinese (or even Japanese) and Latin typefaces in one classification system. Last but not least the demonstration of the differences in shape between traditional Chinese characters (used in Hong Kong and Taiwan), simplified Chinese characters (common in China and Singapore) and the Sino-Japanese Kanji is one important topic, while dealing with Hanzi.

In her well known essay "The cristal Globet"", Beatrice Warde defended the need for printing to be invisible to ensure absolute transparency of text and comprehension of message. As a tool in the service of visual communication, however, typography transcends this utilitarian vision and furnishes the value and attributes thet result in the personality or character of a brand, a product or service.

Islamic calligraphy, whether written with a reed, painted with a brush, or laid as a mosaic, is of outstanding importance for Islam and for Muslim religious life and experience. Despite the fact that Arabic script conveys fundamental meaning, instant legibility is not at the centre of Islamic calligraphy. Rather, the calligraphy causes problems to the reader, whether learned or lay: It is hard to read. Sometimes it is barely legible. What is the point of a writing that can- not be read?, literary scholar Akane Kawakami asks, alluding to a quote from Roland Barthes. The latter’s answer would most likely be that with illegibility materiality comes to the fore (Kawakami 2011, 388). Materiality is undoubtedly of great importance when thinking about scripts. At least until the dawn of the digital age, writing always happened on something and was done with some- thing.1 Arabic script has a particularly close connection to materiality and things, given its fundamental role in Islamic art and applied writing of various kinds. This philosophical photo essay argues that, even so, the quasi illegibility of writing in Arabic does not shift attention away from what is written, nor does it focus merely on materiality. It holds that the hindered readability is neither a coincidence nor simply a result of artistic playfulness or pure love of fanciful ornamentation. By graphically coding the obvious way of reading, it opens up different forms of legibility, a legibility beyond words. And this would not be possible without one quintessential graphic element that determines Arabic script’s ability to be coded: the line.

In this paper Dr De Baerdemaeker analyses the graphic notation system of Tibetan music, which symbolically visualizes the chant lines, rhythm patterns, and arrangements of the instruments.

The striking originality of the Tibetan musical scores consists of notations that differ depending on whether it refers to voices or to musical instruments. Moreover, the in- strumental notation is written differently for each instrument, and does not indicate the pitch or durations of the notes. This particular form of notation, read from left to write, has developed several distinct graphic styles with great variations across the monastic traditions of the four main Tibetan Buddhist schools.

The vocal notation system usually consists of curves with varying undulations written in black ink, and in some occasions with the addition of red and yellow ink. The waves are accompanied by Tibetan syllables which form the words of the text, however, although the graphic notation does not indicate the pitch of the notes nor their duration, it sometimes represent some of the melodic changes that affect the notes.

The above also applies to the instrumental notation, which consists either of graphic indications that accompany the vocal notation (or the text of the prayers to be recited), or of annotation independent of a text. Conventionally, a complete Tibetan monastic orchestra consists of two conch shell horns (dung kar), two short trumpets of bone or metal (kangling), two longhorns (radong), two oboe-like instruments (gyaling), two dif- ferent kinds of large cymbals (rolmo, tingsha), drums (chos rnga) , a hand-bell (dril-bu) and a hand drum (damaru). The instrumental notation applies not to all instruments of a Tibetan orchestra at once, but only to some of them, and each has its own unique graphic indications.

The chief function of Tibetan musical notation is mnemonic, serving as a didactic tool in relation to an oral tradition with no reference to fixed tonal scales, which explains its few descriptive aspects. Since all the monks are expected to know the rituals and the music associated with them by heart, the manuscripts containing the Tibetan musical notation are never used during the ceremonies.

The presentation will be abundantly illustrated with different original and unique examples of Tibetan, Bhutanese and Mongolian manuscripts which he proofed in situ, in archives and library collections during his study visits in Bhutan, Tibet, Mongolia, Nepal, India, and from his personal collection.

This study is part of De Baerdemaeker’s practice-based research project, in which he aims to find typographic solutions to integrate this unique visualization system of Tibet- an music in the design and development of a digital typeface that can be used for printed works as well as on screen.

"... present intention is to meet this want, by offering to the public a book which may serve as a pattern to the printer and as a document to the student; a book which may help to renew the beauty of typography by collecting by trustworthy methods of reproduction examples of the founts, ornaments and vignettes which adorned the most highly prized ancient books."

A collection of facsimile illustrations of pages from early printed books, initials, borders, title-pages, printers' marks, art bindings, etc., with short introductions by Carlo Castellani (p. 9-[20]) on Venetian printing, printers' marks, water-marks and music printing; also a note on bindings (p. 217-218)

Master's Dissertation, University of Reading, UK.  Defining a framework and gathering historical and ongoing research, for guidance for documentation and labeling of ISO-certified medical devices released in multiple languages. Application of examples in English, Chinese and German.

In her well known essay The Crystal Goblet, Beatrice Warde
defended the need for printing to be invisible to ensure
absolute transparency of text and comprehension of message.
As a tool in the service of visual communication, however,
typography transcends this utilitarian vision and furnishes the
values and attributes that result in the personality or character
of a brand, a product or service.

This paper will provide a glimpse into my on-going doctoral research on the contribution of multilingual and multi-scriptural typography in urban spaces to identity creation and social recognition in the era of globalisation. A particular focus at this state of the research is the co-application of Latin and Arabic scripts. The research is part of the interdisciplinary research project “Signs of the Metropolises –
Visual Multilingualism in the Ruhr Area” at the University of Duisburg-Essen and Ruhr-University Bochum in Germany and draws from the fields of linguistics, sociology and typography.

As per American author Mark Twin – ‘Kashi is older than History, older than tradition, older even than legend and looks twice as old as all of them put together’. This proverb proves that still Kashi or Banaras or Varanasi has something extra in comparison to other places of the world. For that reason in the element of Graphic Design Typography Art of Kashi have a widely scope for search of inner aspects of traditional and modern culture of Humanity. Writing and Language in a form of Typography plays most important role and its impact on tradition with culture. Language and especially local language plays a major role for the transformation of culture with Graphic Design and its element with this, typography still sustainable. Still Kashi has its unique tradition through the representation of different aspects of typography including Local Languages, hand writing, wall painters, banner painters, die cut artisans, metal cut artisans, calligraphers, trained graphic artist, untrained graphic artist and modern technology. Kashi is situated the banks of river Ganga (Maa Ganga), near the banks of Ganga more than 80 Ghats are represented life of Kashi. It is solely depend on that Ghats. Near the Ghats peoples live and still follow the cultural tradition of India. Its impact on his/ her language and its also transfer through Typography. This scenario presents a Typographical extravaganza in the field of Graphic Design, Design and all other aspects of Human design. The streets of Kashi especially near the Ghats still representing different aspects of Typography through Doors of Houses, Entrance of Temples, Inside of Temples, Architecture of Houses, Temples
and streets, Wall and Road side of walls presenting variety of typography in different way and alive. With this research paper I’ll show how still tradition and culture is plays a major role for the transformation of old to new. Kashi is also alive in a form of mini India and this is the very important point to see and feel the magical extravaganza of Display Typography of Kashi in modern and global perspective.  My research paper is under the theme ‘Display Typography design within Local context’.

This paper aims to identify the appropriateness of various parameters identified previously to define legibility in the context of Latin script done for the context of Indic typefaces like Bengali and Devanagari. The analysis is based on anatomical features, gridlines, letter binding, letter support, direction of stroke, stroke density, and variance. The paper also discusses various challenges of Indic scripts in terms of letter identification with respect to visibility and familiarity. Finally, various design parameters for identification are proposed for measurement of legibility of Bengali and Devanagari. The insight of the paper is to make type designers and researchers aware of effective design parameters that are necessary to understand during the design of Indic typeface.

Typographic mimicry is the wrapping of writing in a “foreign dress,” i.e. the use of typefaces in which one’s script (e.g. Latin) is made to visually resemble a different script (e.g. Chinese) with the goal of evoking associations with a “foreign” culture. First, this paper addresses the formal aspects of this practice, specifically the choice of visual features to be mimicked. The core part then focuses on typographic mimicry as a social practice and includes a discussion of both the typographic knowledge that different actors – both lay and expert producers and recipients – must apply to establish and recognise the associated cultural indexicality and the typographic ideologies (i.e. beliefs and attitudes) these actors hold. The central question being investigated is how typographic mimicry is discursively negotiated. An exemplary metapragmatic discourse analysis of online reactions to a food ad and comments to two articles covering the topic catered at readers with different knowledge backgrounds highlights that typographic mimicry is not a “neutral” practice. It shows that central aspects being debated are the (re)appropriation of cultural stereotypes by users both outside and within the respective cultures and the related question of whether using typographic mimicry is generally (in)appropriate (or even racist).

A linguistic landscape signifies language used within a physical or virtual public space, in which communication is presented in typographic form, portraying a message to an audience. Within the state of Israel, the linguistic landscape presents a unique situation in which it is common to view municipal and commercial multilingual signs that are designed using Hebrew, English, and Arabic letterforms. By studying the diverse linguistic landscape within Israeli urban environments, this article offers perspectives on the use of multilingual visual language, based on discussions with five Israeli designers in the summer of 2015.

In ‘multinational states’ such as the former Soviet Union and contemporary Russian Federation, minority language media have been developed for diverse ends. This article examines the changing roles of minority language news media over a century of language shift in the Lake Baikal region, where generations of Buryat speakers have been shifting to Russian. Drawing on archival materials and ethnographic research with media personnel and audiences, I show how linguists, journalists, and policymakers have directed minority language media practices in response to their own shifting conceptions of an existing, emergent, or contracting Buryat language public—and of media’s ideal or actual relationship to it.

This dissertation examines the emerging free font movement, a small part of the larger free software and free culture movements.

Part A provides an overview of key concepts in the free software and culture movements. It starts by describing the hacker culture of the 1970s, the origins of Richard Stallman’s GNU project, and his ethical basis for free software. Business and copyright practices are examined, and the cultural values of projects are described.

This is followed by an account of Stallman’s theory of culture, and the Wikipedia and Creative Commons projects that are associated with this theory. Debates within the movement are explored, such as how Wikipedia develops, the role of non-commercial licensings, and the definition of ‘free culture.’

Part B explores the implications of the principles of free culture for typeface design, attempting to answer whether typeface designs and fonts ought to be free. To do this it examines what typefaces are, who the users of typefaces are, and how type connects to Stallman’s theory of culture.

It then discusses the relation of typefaces to font software, the different forms of digital type, and how font software connects to Stallman’s theory. The legal status of typefaces and fonts is also considered.

Part C looks at what it means for fonts to be free, such as what font source code is. It examines how fonts are made free. The effects of various licensing practices and the ways font freedom is exercised are explored, such as collaborative community development processes.

A business model for sustainable commercial typeface design within the free culture movement is suggested, and a motivation for non-commercial typeface design activity is posed. Finally, areas for further research are suggested.

Le standard d’usage couramment appelé Unicode, basé sur la norme ISO/CEI 10646 permet de traiter de façon unifiée les écritures codées sur deux octets, notamment les écritures idéographiques, un temps méprisées, Unihan, base d’idéogrammes, et le code de conversion UTF permettent l’échange d’information entre pays du monde sinisé mais aussi
avec les autres zones culturelles. Le japonais représente un cas particulier, par la conjonction d’une histoire complexe de l’écriture et d’un savoir-faire technologique de pointe. L’intégration d’Unicode permet l’accès à des ressources documentaires de toute origine, indépendamment du codage, ainsi que leur traitement et stockage informatique. Une aubaine pour le Japon, qui cultive l’ouverture au monde.

Tasmeem (Arabic both for "design" and "sense of purpose") adds to Adobe InDesign a series of functions that are essential for Arabic typesetting and publishing. It takes the form of a user interface to handle DecoType's Advanced Composition Engine or ACE (previously known as Arabic Calligraphic Engine) and any font that is compatible with it. Tasmeem returns to the sources of the Arabic script traditions, to liberate the new generation of high-tech savvy designers and offer them a real Arabic-friendly environment.
Tasmeem-based typography and typefaces feature in New York University's seminal Library of Arabic Literature.
http://www.thenational.ae/arts-culture/books/book-review-the-new-library-of-arabic-literature-is-a-monument-of-state-of-the-art-scholarship

Introductio utilissima hebraice discere cupientibus /
Aldus [Manutius, d. Ä.][Venetiis]: [Aldus Manutius, 1501]. -
Bibliogr. ISTC, im00226600; Schwab, Moise: Les incunables orientaux, No. 93; Mark: B hebr. 1516 01 Vinculado [a: Sefer Tehillîm. Basileae, 1516.]
An 1501. Introductio utilissima hebraice discere cupientibus. S. 1. n. d. [Venise, vers 1501], petit in-8 (16 ff.), impr. de droite à gauche.
Préface d'Alde Manuce. V. St., "Manuale", nº 110.
On retrouve aussi cette pièce sous ce titre un peu modifiè: "Introductio perbrevis ad linguam hebraicam", dans la "Grammatica latina d"Alde, à partir de l'an 1501.
Le titre bien plus développé de l'edition suivante donne, de plus, le contenu:

A linguistic landscape signifies language used within a physical or virtual public space, in which communication is presented in typographic form, portraying a message to an audience. Within the state of Israel, the linguistic landscape presents a unique situation in which it is common to view municipal and commercial multilingual signs that are designed using Hebrew, English, and Arabic letterforms. By studying the diverse linguistic landscape within Israeli urban environments, this article offers perspectives on the use of multilingual visual language, based on discussions with five Israeli designers in the summer of 2015.

India is a multilingual multi-script country. In every state of India there are two languages one is state local language and the other is English. For example in Andhra Pradesh, a state in India, the document may contain text words in English and Telugu script. For Optical Character Recognition (OCR) of such a bilingual document, it is necessary to identify the script before feeding the text words to the OCRs of individual scripts. In this paper, we are introducing a simple and efficient technique of script identification for Kannada, English and Hindi text words of a printed document. The proposed approach is based on the horizontal and vertical projection profile for the discrimination of the three scripts. The feature extraction is done based on the horizontal projection profile of each text words. We analysed 700 different words of Kannada, English and Hindi in order to extract the discrimination features and for the development of knowledge base. We use the horizontal projection profile of each text word and based on the horizontal projection profile we extract the appropriate features. The proposed system is tested on 100 different document images containing more than 1000 text words of each script and a classification rate of 98.25%, 99.25% and 98.87% is achieved for Kannada, English and Hindi respectively.

The general intention of this paper is to provide insight into a problematic area, that of visual application respectful of cultural diversity, and to demonstrate the relevance of graphic design research in a societal environment. The paper presents methods and results from two completed research projects in the field of intercultural visual communication. The key findings of Research Project 1 are methods of multilingual typography communicated by type specimens and text samples, annotations on books, visual examples from Chinese designers and texts. The most important results of Research Project 2 are visually communicated by 120 newly drawn infographics. In addition, a new research plan will be discussed, namely the development of visual identities for public institutions that implement cultural and social diversity policies. The proposed design methods in all three projects respond to the complexity of changing social requirements and forms of communication. They have been developed through visual applications of design that focus on the approach called “research through design.” The fundamental research goal is to practice sovereign interaction, also with visual differences, and thus counters the tendency of globalization and commercialization to equalize differences.

Turkish language politics of the 1930's in the light of contemporary historical and hysterical linguistic theory.
In passing, this document pioneers multilingual typesetting with the IBM Selectric typewriter and two dozen different text grenades.

This essay explores the historical and practical context of Gefigureerde Javaansch, the nineteenth century ornamental display fount created for the Javanese script at Johannes Enschedé & Zonen, the renowned Dutch typefoundry and printing house in Haarlem.

La uniformización del pensamiento de cualquier tipo, ya sea político o tipográfico, supone una imposición ideológica cuyo fin básico es el de desautorizar la disparidad. La simple aceptación de un sistema de clasificación como el tipográfico de Vox-ATypI es por tanto admitir de facto el sometimiento a una posición cultural determinada que, fundamentalmente, descarta cualquier otra clasificación posible que no esté sometida a sus criterios. En este caso, todos los modelos tipográficos que no se correspondan con el sistema alfabético latino han pasado en el mejor de los casos a formar parte del grupo marginal, a modo de cajón de sastre, de los tipos «no latinos». El propósito original de Maximilien Vox era además el de «unificar los signos lingüísticos» con el fin de crear una herramienta de comunicación tipográfica exclusiva —en todos los sentidos—, basada únicamente en el alfabeto latino, anulando así cualquier diferencia cultural. Este hecho revela de esta manera una posición de poder hegemónico occidentalocéntrico con respecto al amplísimo abanico mundial de escrituras, que la Association Typographique Internationale (ATypI) sigue sin corregir a fecha de hoy en lo que a clasificaciones tipográficas se refiere, a pesar de que los teóricos postcoloniales y de la multiculturalidad ya hace décadas que han revelado un panorama sociocultural que reclama dichos cambios. En el contexto social actual de la aldea global en la que vivimos, la tipografía debe servir como elemento de integración cultural y la redefinición de los sistemas clasificatorios es uno de esos mecanismos.

Palabras clave: typefaces classification, Vox-ATypI, postcolonial theories, multiculturalism

David Mabb
‘Announcer’
Printed newspaper, produced in an edition 2000
This publication was produced to accompany David Mabb's exhibition 'Announcer', Focal Point Gallery, 12 April to 12 July 2014.
ISBN 978-1-907185-17-5
Free
http://www.focalpoint.org.uk/printed_matter/publications/
"This exhibition marks the culmination of Mabb’s work which, for over fifteen years, has investigated the utopian socialist concerns in Morris’ designs by contrasting them with other forms of modernist and utopian production. The main gallery space was dominated by a new installation of paintings entitled Announcer. Composed of thirty large canvases, the work covers three walls of the space and surrounds the audience. Each canvas is pasted with pages from facsimile editions of the Kelmscott Chaucer, a collection of works by Geoffrey Chaucer published by the Kelmscott Press [1896], which Morris founded and worked on as a typographer and designer. Onto this surface are painted enlarged recreations of El Lissitzky’s Constructivist illustrations from Vladimir Mayakovsky’s book of revolutionary poems For the Voice [1923]. In this work, the publications cease to be objects that can be held and digested, instead becoming an environment. Rather than simply combining the designs, Announcer interweaves and juxtaposes them. Sections of the Kelmscott Chaucer are left unpainted to disrupt the geometric Lissitzky designs. A dialogue is created between the two, which are simultaneously frozen, but never fixed, unable to fully merge or separate".
See also https://www.academia.edu/11592255/Announcer
https://www.academia.edu/15684201/The_Background_Speaks_David_Mabbs_Announcer_and_the_Emergence_of_Information

Wie lässt sich Stille mit Mitteln der Typografie darstellen? Lässt sie sich durch einfaches Weg­lassen, durch das Wahren eines großen Weißraumes visualisieren oder kann zu viel Weiß auch wie das Gegenteil von Stille wirken?  Es gibt verschiedene Möglichkeiten, mit gestalterischen und insbesondere typografischen Mitteln Stille zu visualisieren. Zu diesen gehören etwa die gezielte Auswahl von Schriften, die Definition der Farbstimmung oder das Bestimmen von Größenverhältnissen. Wie aber können Ansätze aussehen, in denen Stille mit Hilfe eines Notationssystem oder eines Zeichensatzes verschriftlicht wird?