Workshop material.

master
Gijs 4 years ago
commit 5bfea4421f

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@page {
/* width and height. In this case for an A5 */
size: 148.5mm 210mm;
/* OR */
/* size: A5 portrait; */
padding: 0;
marks: crop;
bleed: 5mm;
margin: 25mm;
/* Bigger bleed as weasyprint draws the cropmarks within the bleed*/
}
@page {
@bottom-center {
/**
On every page display the value of the page counter at the bottom center.
The page counter is a special counter created by weasyprint.
*/
content: counter(page);
}
}
@page:right {
/**
Use a pseudo-selector on the page to display page numbers on right pages
on the right.
*/
@bottom-right {
content: counter(page);
}
}
@page:left {
/**
Use a pseudo-selector on the page to display page numbers on left pages
on the left.
*/
@bottom-left {
content: counter(page);
}
}
@page:first {
/**
Selects the first page of the documents. Allows for example for hiding
the page numbers on the cover and / or different page margins there.
*/
}
@page:empty {
/**
According to the standards this selector should select empty pages.
In my experience it doesn't always work.
*/
}
/** Running headers */
h1 {
/**
When a header 1 is encoutered set the value of the string
running-header to the value of the header
*/
string-set: running-header content(text);
}
@page {
@bottom-center {
/**
On every page display the value of running-header at
that moment
*/
content: string(running-header);
}
}
#toc li a::after {
float: right;
content: target-counter(attr(href), page);
}

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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<title>Hello world</title>
</head>
<body>
<h1>
Hello world.
</h1>
<p>This document started as a website.</p>
</body>
</html>

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from weasyprint import HTML
# Let weasyprint deal with reading the files and give the filenames
HTML(filename='hello-world.html').write_pdf('hello-world.pdf')

Binary file not shown.

After

Width:  |  Height:  |  Size: 47 KiB

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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<meta http-equiv="X-UA-Compatible" content="IE=edge">
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<title>Presentation Session 1</title>
<link rel="stylesheet" href="static/slidy.css">
<style>
@font-face {
font-family: Belgika;
src: url(static/fonts/belgika/belgika-40th-webfont.ttf) format('truetype');
font-weight: 200;
font-style: normal;
}
@font-face {
font-family: Belgika;
src: url(static/fonts/belgika/belgika-16th-webfont.ttf) format('truetype');
font-weight: 400;
font-style: normal;
}
@font-face {
font-family: Belgika;
src: url(static/fonts/belgika/belgika-8th-webfont.ttf) format('truetype');
font-weight: 600;
font-style: normal;
}
@font-face {
font-family: Belgika;
src: url(static/fonts/belgika/belgika-5th-webfont.ttf) format('truetype');
font-weight: 800;
font-style: normal;
}
div.slide {
display: flex;
align-items: center;
justify-content: center;
line-height: 1.6;
}
div.slide img {
max-height: 100%;
}
div.slide.text {
display: block;
padding: 4vw;
}
body, html {
font-family: Belgika;
background-color: black;
color: white;
}
* {
font-weight: 600;
}
a, a:active, a:visited, a:hover, a:link {
color: currentColor;
text-decoration: underline;
}
a:hover {
text-decoration: none;
}
p, pre, ul, ol, blockquote, h2, h3, h4, h5, h6, dl, table {
margin-left: 0;
margin-right: 0;
}
</style>
</head>
<body>
<!-- <div class="slide">
<img src="../Tools-shapes-practice-shapes-tools-osp.png" />
</div> -->
<div class="slide text">
<h1>Html-to-print as a lay-out tool</h1>
<p>
Pad: <a href="https://pad.constantvzw.org/p/prado_workshop_weasyprint">pad.constantvzw.org/p/prado_workshop_weasyprint</a><br>
Repository: <a href="https://gitlab.constantvzw.org/algolit/prado-weasyprint-workshop">gitlab.constantvzw.org/algolit/prado-weasyprint-workshop</a>
</p>
</div>
<div class="slide text">
<h1>Anaïs Berck</h1>
<a href="https://www.anaisberck.be/">anaisberck.be</a>
</div>
<div class="slide text">
<h1>Open Source Publishing</h1>
<p>Graphic design collective using only Free/Libre Open Source Software.</p>
<a href="http://osp.kitchen">osp.kitchen</a>
</div>
<div class="slide">
<img src="images/Tools-shapes-practice-shapes-tools-osp.png" style="filter: invert(1);" />
</div>
<div class="slide text">
<h1>Algolit</h1>
<p>Research group exploring the potential of algorithmic literature.</p>
<a href="https://algolit.net">algolit.net</a>
</div>
<!-- Examples ? -->
<!--
Algoliterary encounter
PDF: https://gitlab.constantvzw.org/algolit/algolit/-/raw/master/algoliterary_encounter/catalog/pdf/catalog.en.pagenumbers.pdf
Repo: https://gitlab.constantvzw.org/algolit/algolit/-/tree/master/algoliterary_encounter/catalog
-->
<div class="slide text">
<h1>Algoliterary encounter</h1>
<a href="https://gitlab.constantvzw.org/algolit/algolit/-/raw/master/algoliterary_encounter/catalog/pdf/catalog.en.pagenumbers.pdf">PDF of the publication</a><br />
<a href="https://gitlab.constantvzw.org/algolit/algolit/-/tree/master/algoliterary_encounter/catalog">Git repository</a>
</div>
<!--
Dataworkers
Plain text to PDF
PDF: https://www.algolit.net/images/4/47/Data-workers.en.publication.pdf
Repo: https://git.vvvvvvaria.org/mb/data-workers-publication
-->
<div class="slide text">
<h1>Data Workers</h1>
<a href="https://www.algolit.net/images/4/47/Data-workers.en.publication.pdf">PDF of the publication</a><br />
<a href="https://git.vvvvvvaria.org/mb/data-workers-publication">Git repository</a>
</div>
<!--
DiVersions
Html 2 pdf
Web: https://diversions.constantvzw.org/
PDF: https://diversions.constantvzw.org/publication/diversions_v2.pdf
Web PDF Preview: https://diversions.constantvzw.org/wiki/index.php?title=PublicationUnfolded&paged=paged&etherstyles=etherstyles
Repo: https://gitlab.constantvzw.org/osp/work.diversions
-->
<div class="slide text">
<h1>Data Workers</h1>
<a href="https://diversions.constantvzw.org/">diversions.constantvzw.org</a><br />
<a href="https://diversions.constantvzw.org/publication/diversions_v2.pdf">PDF of the publication</a><br />
<a href="https://diversions.constantvzw.org/wiki/index.php?title=PublicationUnfolded&paged=paged&etherstyles=etherstyles">Run it online</a><br />
<a href="https://gitlab.constantvzw.org/osp/work.diversions">Git repository</a>
</div>
<!-- Graph with publishing flows -->
<!-- Directly from the browser? -->
<!-- Weasyprint -->
<div class="slide text">
<h1>Tools of today</h1>
<ul>
<li>HTML + CSS</li>
<li>Python</li>
<li>Terminal / shell / command line</li>
<li>Weasyprint</li>
<li>Code editor.<br />It's not F/LOSS, but I like Microsoft VS Code: <a href="https://code.visualstudio.com">code.visualstudio.com</a></li>
</ul>
</div>
<div class="slide text">
<h1>HTML + CSS</h1>
<p>A web browser!</p>
</div>
<div class="slide text">
<h1>Python</h1>
<p>Scripting language.</p>
<p>To see if it's installed: open a terminal and type:</p>
<code><pre>python3 --version</pre></code>
<p>Expected output, a number like: <code><pre>Python 3.6.9</pre></code></p>
<p>If you don't have python installed it might be: <code><pre>Command not found</pre></code></p>
<p>Download python: <a href="https://www.python.org/downloads/">https://www.python.org/downloads/</a></p>
</div>
<div class="slide text">
<h1>Weasyprint</h1>
<p>Python library to convert HTML + CSS to a PDF</p>
<p>Install through the terminal:</p>
<code><pre>pip3 install weasyprint</pre></code>
</div>
<!-- Possible to automate and better support for paged media -->
<div class="slide text">
<h1>Directly from commandline</h1>
<code><pre>weasyprint http://weasyprint.org weasyprint-website.pdf</pre></code>
</div>
<div class="slide text">
<h1>As library in a script</h1>
<code><pre>from weasyprint import HTML
HTML(filename=html_filename).write_pdf(output_pdf_filename)</pre></code>
</div>
<div class="slide text">
<h1>CSS: Control page size</h2>
<code>
<pre>@page {
/* width and height. In this case for an A5 */
size: 148.5mm 210mm;
/* OR */
/* size: A5 portrait; */
padding: 0;
marks: crop;
bleed: 5mm;
margin: 25mm;
/* Bigger bleed as weasyprint draws the cropmarks within the bleed*/
}</pre>
</code>
</div>
<!-- Specific problems with paged media? -->
<div class="slide text">
<h1>CSS: Page numbers</h2>
<code>
<pre>@page {
@bottom-center {
/**
On every page display the value of the page counter at the bottom center.
The page counter is a special counter created by weasyprint.
*/
content: counter(page);
}
}</pre>
</code>
</div>
<div class="slide text">
<h1>CSS: Fancy page numbers</h2>
<code>
<pre>@page:right {
/**
Use a pseudo-selector on the page to display page numbers on right pages
on the right.
*/
@bottom-right {
content: counter(page);
}
}
@page:left {
/**
Use a pseudo-selector on the page to display page numbers on left pages
on the left.
*/
@bottom-left {
content: counter(page);
}
}
</pre></code>
<div class="slide text">
<h1>CSS: Special pages</h2>
<code>
<pre>@page:first {
/**
Selects the first page of the documents. Allows for example for hiding
the page numbers on the cover and / or different page margins there.
*/
}
@page:empty {
/**
According to the standards this selector should select empty pages.
In my experience it doesn't always work.
*/
}</pre>
</code>
</div>
<div class="slide text">
<h1>CSS: Running headers</h2>
<code>
<pre>h1 {
/**
When a header 1 is encoutered set the value of the string
running-header to the value of the header
*/
string-set: running-header content(text);
}
@page {
@bottom-center {
/**
On every page display the value of running-header at
that moment
*/
content: string(running-header);
}
}</pre>
</code>
</div>
<script src="static/slidy.js"></script>
</body>
</html>

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All content of this directory are for reference only.
They are all owned by their specific right-holders.
You can watch them for inspiration as well but cannot re-use them without contacting the concerned persons.

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Basic Font Information
----------------------
osp.foundry.belgica-belgika
Stroke fonts with no contrast and capital letters only based on diverse pseudo-generic elements for multi-usages.
Content of the directory
------------------------
construction
shapes1.svg and shapes2.svg
- the svg vectors file with the first and several steps to produce two LGRU logos and most of the letters
belgica.svg
- the svg vectors file with all the base letters at the right size to be copy/pasted in a 1000×1000 font unit in FontForge
source
belgika-Stroke.sfd
- the base FontForge sfd file with stroked vectors
belgika-5th.sfd
belgika-8th.sfd
belgika-16th.sfd
belgika-40th.sfd
- the FontForge sfd with expanded and scaled contours at nth thickness ratio compared to 800 font unit, capital height of the font
http://fontforge.sourceforge.net/sfdformat.html
fonts
belgika-5th.otf
belgika-8th.otf
belgika-16th.otf
belgika-40th.otf
- otf fonts, able to be used in most software
belgika-Stroke-PS-type-3
- Type 3 fonts, just for the pleasure to be still able to generate it, reverse-archaeology.
documentation/
some specimens
ofl.txt: copyright notice header + license
ofl-faq.txt: Frequently Asked Questions about the license and its collaboration model
http://scripts.sil.org/OFL
Historical background
(see below, text in French to be translated)
--------------------------------------------
Context
-------
The Belgica cluster started without a name in parallel of the Belgika project. Multiples tracks questioning the relationships between writing (schrift), lettering and typography practices through digital tools are crossing.
The OSP caravan (Open Source Publishing - http://www.osp.kitchen) is following diverse tracks that insist on stroke fonts, and its very specificities. Some could be listed here by chronological order.
- Polish road signage W drogę is drawn collectively based on photos collected on the way to Libre Graphics Meeting in Wrocław in 2009. Three tactics are compared : by autotracing, by drawing the contour, and by geometrically drawing centerline.
http://ospublish.constantvzw.org/foundry/w-droge/
- After some research on the DIN schriften at the Institute itself in 2008, some versions are redrawn from 1932 plates as fonts with a modularity by blocks, grid based. The centerline version is still to investigate.
http://ospublish.constantvzw.org/foundry/osp-din/
- Starting around 2010, some refurbished Roland plotter are used to draw strokes using various pens. Ideally, text could be drawn with single lines letters. But regular fonts produces typically double strokes. Scribus page layout software could print manipulated Truetype fonts with open contours, and a hack prevent the automatic closing operation. Another more broad approach use the public domain Hershey typefaces as python script to simulate pseudo-fonts functions.
https://en.wikipedia.org/wiki/Hershey_font
- The Metafont format designed for TeX tend to describes characters by mathematical relationships. In 2013, OSP begins with Metadin to test out the modularity "by relationships" to design a revamped DIN family.
http://osp.kitchen/foundry/metadin/
- Starting with 2013 Relearn summer school, various experiments are using autotracing by the centerline to generate stroke lettering.
http://relearn.be/2013/r/worksessions::gesturing-paths::notes.html
- Alfphabet font is a redraw in the nineties by the stroke from the plates of the old Belgian road signage. With no constrast and strict geometry. Published by steps in 2012 and 2014.
http://ospublish.constantvzw.org/foundry/alfphabet/
- Vernacular lettering by ingeneers with quite no contrast, like in the Belgika roof on a postcard from the beginning of the century in then-Elisabethville (Congo), share some characteristics with lettering by conceptual artists from the sixties. Enough to start discussions on how these shapes can fit with works of Vincent Meessen.
- In 2012, Pinpin font is based by Harrisson on the Free Sans, a libre version able to replace the pseudo-neutral Helvetica, by hacking some endings to infect a copyrighted Belgian comic lettering spirit. That kind of neutrality or its post-version is not enough generic to generate a spiral design for the "shape makes practice makes shape makes" LGRU sticker. A basic set of geometric strokes are combined to produce two versions of each capital letter needed. The not-named-at-that-time Belgica is modular by strokes.
- Elected as most flexible generic font, Belgica is use as drawings for texts for Meessen posters, book in preparation, and its centerline no-weight specificity is more precisely used to design punchers to write three double letters in the copper OORRSS plate.
- Hershey Sans typeface is used to make a plotter write cartels for the forty differents signature spelling produced in the begining of the twentiest century by Congolese artist Thela Tenduo, for its exhibition in duo with Vincent Meessen in Gent in 2014.
http://www.kioskgallery.be/media/kiosk/ENG_Exhibition-text_kopie.pdf
- In 2014, its relative simplicity is made at work with Ludi Loiseau and by Pierre Marchand for a program to generate monograms for the made.in social media project. An extended version is quickly derived. Another pseudo-font format is made of json shapes dynamically intertwined on web canvas.
- After the manual composition of Belgica shapes by graphic designer Delphine Platteuw for 'Personne et les autres' proposal by Vincent Meessen and Katerina Gregos for Venice Biennial 2015, the need for a font family to be used by Stefano Cernuschi at Mousse publisher with regular layout software become clear. Belgika, with its friezed contour Opentype fonts ghosts, is the first occurrence of it.
Production
----------
- Drawn in Inkscape with two versions for nearly all letters
- Exported in Fontforge with a selection of one of the two shapes
- Stored as stroke font, some shapes optimised for better generation of contours
belgika-stroke.sfd
- Each contour version is generated with a width fraction of the capital height of the font, and scaled to get the total height (with the thickness of the stroke) into the 800 font unit height. The metrics has been scaled accordingly.
belgika-5th.sfd
belgika-8th.sfd
belgika-16th.sfd
belgika-40th.sfd
Known issues and future developments
------------------------------------
- The spacing needs kerning pairs.
- There is currently no Euro sign.
- Another future version can propose fonts without that scaling operation, to be able to superpose different weights.
- Of course, the switch between two or more shapes by glyph is a future must.
Coverage
--------
Belgika currently provides the following Unicode coverage:
Basic Latin: U+0020-U+007E - 95 glyphs on 95
Latin-1 Supplement: U+00a0-U+00FF - 95 glyphs on 96
Latin Extended-A U+0100-U+017F - 0 glyphs on 128
Information for Contributors
----------------------------
Belgica-Belgika is released under the OFL 1.1 -- http://scripts.sil.org/OFL
For information on what you're allowed to change or modify, consult the ofl.txt and ofl-faq.txt files. The ofl-faq also gives a very general rationale and various recommendations regarding why you would want to contribute to the project or make your own version of the font.
See the project website for the current trunk and the various branches:
http://ospublish.constantvzw.org/foundry/belgica-belgika
ChangeLog
---------
(This should list both major and minor changes, most recent first.)
2 January 2015 - Version 1.0
- Initial release of shapes "Belgica" and fonts "Belgika" (4 weights) by Pierre Huyghebaert
Acknowledgements
----------------
If you make modifications be sure to add your name (N), email (E), web-address
(W) and description (D). This list is sorted by last name in alphabetical order.
N: Pierre Huyghebaert
E: pierre@speculoos.com
W: http://www.speculoos.com
D: Typography, testing
Financial support by Speculoos.com and LGRU.net
Historical background
(text in French to be translated)
--------------------------------------------
Avant l'apparition de la typographie vers 1450 en Occident, l'expérience de l'écriture était en contraste une pratique extrêmement variée (entre la caroline rapide des scribes et la capitale gravée dans le marbre des romains) et unifiée autour du trait et de son ductus. Le poinçon qui a commencé à dessiner des caractères par leur bord (leur extérieur) dans des matières dures destinées à produire en série des lettres en plomb a introduit une manière indirecte de comprendre la lettre. Et ainsi, depuis plus de cinq siècles, la typographie a été industriellement tenue séparée de l'écriture. Depuis la genèse de la typographie digitale, cette séparation a organiquement été maintenue, en partie par la révérence de la loge des typographes se sentant dépositaires d'une très longue tradition, en partie par souci de commodité par les grands éditeurs logiciels par ailleurs aux prises avec l'effroyable chantier de la gestion encore non entièrement résolue des très nombreux systèmes d'écritures existant dans le monde.
Quelques initiatives séparées ont émaillé ce large mouvement majoritaire. Quatre cas particuliers semblent intéressants à décrire.
Un des premiers mouvements de reconstruction de l'Allemagne industrielle après la première guerre mondiale est de mettre en place un institut de normalisation, le Deutsches Institut für Normung (DIN). Et lorsqu'il s'agit, au milieu des années vingt de décrire un système d'écriture standardisé, c'est par le trait et sur une grille que les ingénieurs allemands tentent de rassembler d'une manière cohérente l'ethos de chaque lettre. Pour ces outilleurs, l'épaisseur du tracé est défini par l'outil qui trace, le trait par son centre, la typographie des bords produite est donc un artefact local, perpétuant ainsi trois millénaires d'écriture humaine. Ce standard se plie donc à toutes sortes de variations en fonction des besoins, plus ou moins décrites dans les planches du standard, et reste largement à déduire au cas par cas par le bon sens de ses utilisateurs.
Dans les années soixante, lorsqu'il semble que les machines à commande numériques commencent à être introduites au US Naval Weapons Laboratory, le DR. Hershey met en place une série d'instructions permettant la gravure de lettres simple pour le marquage industriel et les premiers affichages digitaux à base de vecteurs. Loin du contexte typographique, ce jeu d'instruction circule librement sans licence trop restrictive, et est progressivement implémentée dans nombre d'applications industrielles civiles. Un nombre incalculable de plaques nominatives d'ascenseur sont ainsi gravée avec des lettres dessinées par l'armée américaine.
À la fin des années septante, le mathématicien Donald Knuth est mécontent du traitement typographique réservé à l'édition de ses équations et décide de mettre en place un système de composition entier, TeX, pour publier ses ouvrages "The Art of Computer Programming" encore en écriture à l'heure actuelle. Confiant de pouvoir construire numériquement l'antédiluvien lien entre typographie et mathématiques, Knuth décrit de manière algorithmique le format Metafont destiné à être utilisé dans TeX. Et c'est principalement par le ductus central que Metafont trace ses lettres et signes. N'utilisant que du code sans support visuel direct, le format est craint ou boudé pendant longtemps par les typographes. Le monde scientifique et lui seul utilise depuis le système TeX avec majoritairement les seules fontes proposées par son créateur, et cela sans souci particulier...
À la fin des années quatre-vingt, Adobe, après avoir mis en place le standard typographique appelé Type 1 et encore à la base des standards actuels, s'aventure à introduire le Type 3. Ce format permet de stocker dans chaque glyphe (espace visuel décrivant une lettre dans une fonte) n'importe quel type d'objet. Y compris donc des traits simples ouverts ou non plutôt qu'un contour strictement fermé. Ce qui permet à certains typographes d'introduire des polices construites selon un principe de dessin vectoriel se rapprochant de l'écriture. Mais l'ouverture du format, autorisant l'inclusion de tout type d'objet, a tendance à saturer la mémoire encore très restreinte des unités de traitement des imprimantes de l'époque. Et une réputation d'insécurité fait rapidement retirer les Type 3 de la circulation par Adobe, qui ne veut prendre aucun risque de fiabilité des solutions proposées par elle au moment même où Apple et Microsoft l'attaquent avec le format Truetype concurrent du Type 1.
Hacking
En mélangeant sans hiérarchie précise ces quatre expériences, le collectif OSP (Open Souce Publishing) suit un sentier de traverse pour ramener cette question des 'stroke fonts' régulièrement au milieu de la table. Ainsi un alphabet double est tracé par éléments modulaires dans un logiciel de dessin, à distance des pratiques typographiques. Les lettres y prennent chacune deux formes différentes pour appuyer leur rapport avec l'écriture où l'aspect de chaque lettre peut est adapté en fonction de l'influence visuelle de ses voisines. Un visuel en spirale et récursif expérimente avec un autre type de déformation que ces formes produisent. Ailleurs, un hack modifie la fermeture automatique des fontes considérées par le logiciel de mise en page Scribus comme une erreur mais volontairement introduites pour produire des fontes au trait. Plus loin, le trait est utilisé à l'essence de sa non-épaisseur pour produire la lame sinueuse des poinçons qui frappent les lettres ORS sur des plaques de laiton. Ou encore ces projets de couverture d'ouvrages à paraître où le trait est démultiplié par l'épaisseur sur des lettres superposées. Le trait encore est interrompu par un algorithme pour permettre la création automatique de monogrammes pour un média social en préparation. Le trait toujours, lors de son apparition, gelé temporairement par efficacité pour une fonte à utiliser selon les standards par un tiers en Italie.
Retour au Belgika
Le propriétaire le demande, il faut un grand Belgika sur le toit de cette baraque, pour marquer le lieu. L'ingénieur trace les sept lettres sur une feuille et les dimensionne. Quelqu'un, ou peut-être étaient-ils deux, peint avec un certain soin chaque lettre. Un empattement est ajouté au G pour lui donner une sorte d'équilibre. La graisse de la barre centrale du B hésite et l'interlettrage est un peu trop mécanique mais le résultat ne manque pas d'élégance. Quand une carte postale immortalise l'alignement des vélos sous cet auvent d'Elisabethville quelques temps après, le contraste des lettres, même en angle, est bien marqué.
Comment plier ces sommes d'expériences pour les amener vers des formes à superposer.

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Copyright (c) 2014-2015, Pierre Huyghebaert (pierre@speculoos.com),
with Reserved Font Names Balgica and Balgika (see http://scripts.sil.org/cms/scripts/page.php?item_id=OFL_web_fonts_and_RFNs#14cbfd4a).
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with a FAQ at:
http://scripts.sil.org/OFL
-----------------------------------------------------------
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
-----------------------------------------------------------
PREAMBLE
The goals of the Open Font License (OFL) are to stimulate worldwide
development of collaborative font projects, to support the font creation
efforts of academic and linguistic communities, and to provide a free and
open framework in which fonts may be shared and improved in partnership
with others.
The OFL allows the licensed fonts to be used, studied, modified and
redistributed freely as long as they are not sold by themselves. The
fonts, including any derivative works, can be bundled, embedded,
redistributed and/or sold with any software provided that any reserved
names are not used by derivative works. The fonts and derivatives,
however, cannot be released under any other type of license. The
requirement for fonts to remain under this license does not apply
to any document created using the fonts or their derivatives.
DEFINITIONS
"Font Software" refers to the set of files released by the Copyright
Holder(s) under this license and clearly marked as such. This may
include source files, build scripts and documentation.
"Reserved Font Name" refers to any names specified as such after the
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"Original Version" refers to the collection of Font Software components as
distributed by the Copyright Holder(s).
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or substituting -- in part or in whole -- any of the components of the
Original Version, by changing formats or by porting the Font Software to a
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"Author" refers to any designer, engineer, programmer, technical
writer or other person who contributed to the Font Software.
PERMISSION & CONDITIONS
Permission is hereby granted, free of charge, to any person obtaining
a copy of the Font Software, to use, study, copy, merge, embed, modify,
redistribute, and sell modified and unmodified copies of the Font
Software, subject to the following conditions:
1) Neither the Font Software nor any of its individual components,
in Original or Modified Versions, may be sold by itself.
2) Original or Modified Versions of the Font Software may be bundled,
redistributed and/or sold with any software, provided that each copy
contains the above copyright notice and this license. These can be
included either as stand-alone text files, human-readable headers or
in the appropriate machine-readable metadata fields within text or
binary files as long as those fields can be easily viewed by the user.
3) No Modified Version of the Font Software may use the Reserved Font
Name(s) unless explicit written permission is granted by the corresponding
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4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
Software shall not be used to promote, endorse or advertise any
Modified Version, except to acknowledge the contribution(s) of the
Copyright Holder(s) and the Author(s) or with their explicit written
permission.
5) The Font Software, modified or unmodified, in part or in whole,
must be distributed entirely under this license, and must not be
distributed under any other license. The requirement for fonts to
remain under this license does not apply to any document created
using the Font Software.
TERMINATION
This license becomes null and void if any of the above conditions are
not met.
DISCLAIMER
THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
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COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
OTHER DEALINGS IN THE FONT SOFTWARE.

@ -0,0 +1,224 @@
# Belgica-Belgika
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/belgica.png)
Stroke fonts with no contrast and capital letters only based on diverse pseudo-generic elements for multi-usages.
Direct links to download the fonts:
* [belgika-5th-webfont.ttf](http://osp.kitchen/api/osp.foundry.belgica-belgika/ecfd91b1bb7800040d352413f27abb8cd3c92538/blob-data/belgika-5th-webfont.ttf)
* [belgika-8th-webfont.ttf](http://osp.kitchen/api/osp.foundry.belgica-belgika/d0c4a6eb6e0b3618b77ebe92743b8517f5368814/blob-data/belgika-8th-webfont.ttf)
* [belgika-16th-webfont.ttf](http://osp.kitchen/api/osp.foundry.belgica-belgika/5260b4052c63c359739ddd024428633bfbea3c4f/blob-data/belgika-16th-webfont.ttf)
* [belgika-40th-webfont.ttf](http://osp.kitchen/api/osp.foundry.belgica-belgika/772c8b28b82269ac022fceee3ec04fc8fb166c3c/blob-data/belgika-40th-webfont.ttf)
For the sources files and explanations about the production, browse below.
## Historical background (version française ci-dessous)
Before the appearance of typography around 1450 in the West, writing experience was in contrast an extremely varied practice (between the fast caroline of the scribes and the capital engraved in Roman marble) and unified around the line and its ductus. The punch that began to draw characters by their edge (their outside) in hard materials intended to produce lead letters in series introduced an indirect way of understanding the letter. And so, for over five centuries, typography has been kept industrially separate from writing. Since the genesis of digital typography, this separation has been maintained organically, partly by the reverence of the typographers' lodge, which feels itself to be the repository of a very long tradition, partly for the convenience of the major software publishers, who are also grappling with the appalling task of managing the still unresolved management of the many writing systems existing in the world.
This broad majority movement has been marked by a few separate initiatives. Four particular cases seem interesting to describe.
One of the first reconstruction movements in industrial Germany after the First World War was the establishment of the Deutsches Institut für Normung (DIN). And when, in the mid-twenties, it was a question of describing a standardized writing system, it was by means of a line and on a grid that the German engineers tried to put together the ethos of each letter in a coherent manner. For these toolmakers, the thickness of the line is defined by the tool which traces, the line by its center, the typography of the edges produced is thus a local artifact, thus perpetuating three millennia of human writing. This standard is therefore subject to all kinds of variations according to needs, more or less described in the standard plates, and remains largely to be deduced on a case-by-case basis by the common sense of its users.
In the 1960s, when it appeared that CNC machines were beginning to be introduced at the US Naval Weapons Laboratory, the DR. Hershey implements a series of instructions allowing simple letter engraving for industrial marking and the first vector-based digital displays. Far from the typographical context, this instruction game circulates freely without too restrictive license, and is progressively implemented in many civil industrial applications. An incalculable number of elevator name plates are engraved with letters drawn by the American army.
At the end of the seventies, mathematician Donald Knuth was dissatisfied with the typographical treatment of his equations and decided to set up an entire composition system, TeX, to publish his works "The Art of Computer Programming" still in writing today. Confident in being able to digitally construct the antediluvian link between typography and mathematics, Knuth describes algorithmically the Metafont format intended for use in TeX. And it is mainly through the central ductus that Metafont traces his letters and signs. Using only code without direct visual support, the format is feared or avoided for a long time by typographers. The scientific world and him alone uses since the TeX system with mainly the only fonts proposed by its creator, and that without particular concern...
At the end of the eighties, Adobe, after having set up the typographic standard called Type 1 and still at the base of the current standards, ventured to introduce Type 3. This format allows to store in each glyph (visual space describing a letter in a font) any type of object. This includes simple lines, open or not, rather than a strictly closed contour. This allows some typographers to introduce fonts built according to a vector drawing principle similar to writing. But the opening of the format, allowing the inclusion of any type of object, tends to saturate the still very limited memory of the processing units of the printers of the time. And a reputation of insecurity quickly removes Type 3 from circulation by Adobe, which does not want to take any risk of reliability of the solutions proposed by it at the very moment when Apple and Microsoft attack it with the Truetype format competitor of Type 1.
Hacking - By mixing these four experiences without any hierarchy, the OSP (Open Source Publishing) collective follows a traverse path to regularly bring this stroke fonts issue back to the middle of the table. Thus a double alphabet is drawn by modular elements in a drawing software, at a distance from typographical practices. The letters each take two different forms to support their relationship with the writing where the appearance of each letter can be adapted according to the visual influence of its neighbors. A spiral and recursive visual experiment with another type of deformation that these shapes produce. Elsewhere, a hack modifies the automatic closing of fonts considered by the Scribus layout software as an error but voluntarily introduced to produce line fonts. Further on, the line is used at the essence of its non-thickness to produce the sinuous blade of the punches that strike the letters ORS on brass plates. Or these projects of covering works to appear where the line is multiplied by the thickness on superimposed letters. The line is interrupted again by an algorithm to allow the automatic creation of monograms for a social media in preparation. The line always, at the time of its appearance, temporarily frozen by effectiveness for a font to be used according to standards by a third in Italy.
Return to Belgika - The owner asks for it, it takes a big Belgika on the roof of this barrack, to mark the place. The engineer traces the seven letters on a sheet of paper and dimensions them. Someone, or perhaps both, painted each letter with some care. A wheelbase is added to the G to give it a kind of balance. The grease of the central bar of the B hesitates and the spacing is a little too mechanical but the result does not lack elegance. When a postcard immortalizes the alignment of the bikes under this Elisabethville awning some time later, the contrast of the letters, even at an angle, is well marked.
How to fold these sums of experience to lead them to superimpose forms.
## Context
The Belgica cluster started without a name in parallel of the Belgika project. Multiples tracks questioning the relationships between writing (schrift), lettering and typography practices through digital tools are crossing. The OSP caravan (Open Source Publishing - http://www.osp.kitchen) is following diverse tracks that insist on stroke fonts, and its very specificities. Some could be listed here by chronological order.
* Polish road signage W drogę is drawn collectively based on photos collected on the way to Libre Graphics Meeting in Wrocław in 2009\. Three tactics are compared : by autotracing, by drawing the contour, and by geometrically drawing centerline.
http://ospublish.constantvzw.org/foundry/w-droge/
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/w-droge-workshop.jpg)
* After some research on the DIN schriften at the Institute itself in 2008, some versions are redrawn from 1932 plates as fonts with a modularity by blocks, grid based. The centerline version is still to investigate.
http://ospublish.constantvzw.org/foundry/osp-din/
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/din-archive.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/din-stroke.png)
* Starting around 2010, some refurbished Roland plotter are used to draw strokes using various pens. Ideally, text could be drawn with single lines letters. But regular fonts produces typically double strokes. Scribus page layout software could print manipulated Truetype fonts with open contours, and a hack prevent the automatic closing operation. Another more broad approach use the public domain Hershey typefaces as python script to simulate pseudo-fonts functions.
https://en.wikipedia.org/wiki/Hershey_font
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/plotter.jpg)
* The Metafont format designed for TeX tend to describes characters by mathematical relationships. In 2013, OSP begins with Metadin to test out the modularity "by relationships" to design a revamped DIN family.
http://osp.kitchen/foundry/metadin/
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/metadin-tests.png)
* Starting with 2013 Relearn summer school, various experiments are using autotracing by the centerline to generate stroke lettering.
http://relearn.be/2013/r/worksessions::gesturing-paths::notes.html
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/meta-hershey.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/din-stroke-showing.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/meta-hershey-relearn.pngg)
* Alfphabet font is a redraw in the nineties by the stroke from the plates of the old Belgian road signage. With no constrast and strict geometry. Published by steps in 2012 and 2014.
http://ospublish.constantvzw.org/foundry/alfphabet/
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/master/documentation/alfphabet-plate-sample.jpg)
* Vernacular lettering by ingeneers with quite no contrast, like in the Belgika roof on a postcard from the beginning of the century in then-Elisabethville (Congo), share some characteristics with lettering by conceptual artists from the sixties. Enough to start discussions on how these shapes can fit with works of Vincent Meessen.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/la-belgika-card.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/ferme-belgika.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/broodthaers-exclamation.jpg)
* In 2012, Pinpin font is based by Harrisson on the Free Sans, a libre version able to replace the pseudo-neutral Helvetica, by hacking some endings to infect a copyrighted Belgian comic lettering spirit. That kind of neutrality or its post-version is not enough generic to generate a spiral design for the "shape makes practice makes shape makes" LGRU sticker. A basic set of geometric strokes are combined to produce two versions of each capital letter needed. The not-named-at-that-time Belgica is modular by strokes.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/pinpin-post-pinpin.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/post-pinpin-on-circle.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/distorstions.png)
Distortions in weight and at the tip of each stroke.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/shapes-variation.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/sticker-shapes.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/sticker-on-mac-1600px.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/co-position.png)
* Drawn using only straight lines and arcs, without any complex bezier curves, and elected as most flexible generic font, Belgica is use as drawings for texts for Meessen posters, book in preparation, and its centerline no-weight specificity is more precisely used to design punchers to write three double letters in the copper OORRSS plate.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/vincent-meessen-ocelles-poster.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/vincent-meessen-punchers.jpg)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/vincent-meessen-oorrss.jpg)
* Hershey Sans typeface is used to make a plotter write cartels for dozen of differents signature spelling produced in the begining of the twentiest century by Congolese artist Thela Tenduo, for its exhibition in duo with Vincent Meessen in Gent in 2014.
http://www.kioskgallery.be/media/kiosk/ENG_Exhibition-text_kopie.pdf
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/vincent-meessen-cartel.jpg)
* In 2014, its relative simplicity is made at work with Ludi Loiseau and by Pierre Marchand for a program to generate monograms for the made.in social media project. An extended version is quickly derived. Another pseudo-font format is made of json shapes dynamically intertwined on web canvas.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/made.in-3-monograms.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/made.in-monograms-sizes.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/made.in-monograms-in-context.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/monogram-capture.png)
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/extended-for-monogram.png)
* After the manual composition of Belgica shapes by graphic designer Delphine Platteuw for 'Personne et les autres' proposal by Vincent Meessen and Katerina Gregos for Venice Biennial 2015, the need for a font family to be used by Stefano Cernuschi at Mousse publisher with regular layout software become clear. Belgika, with its friezed contour Opentype fonts ghosts, is the first occurrence of it.
![](http://osp.kitchen/api/osp.foundry.belgica-belgika/raw/documentation/images/belgika-4-sample-fontforge.png)
## Content of the directory
* fontlog.txt: the font design-oriented changelog
http://openfontlibrary.org/wiki/Fontlog
http://scripts.sil.org/OFL-FAQ_web#00e3bd04
* construction
* shapes1.svg and shapes2.svg - the svg vectors files with the first and several steps to produce two LGRU logos and most of the letters
* belgica.svg - the svg vectors file with all the base letters at the right size to be copy/pasted in a 1000×1000 font unit in FontForge
* extended-version - the separate files, alphabet, extended version
* source
* belgika-Stroke.sfd - the base FontForge sfd file with stroked vectors
* belgika-5th.sfd, belgika-8th.sfd, belgika-16th.sfd, belgika-40th.sfd - the FontForge sfd with expanded and scaled contours at nth thickness ratio compared to 800 font unit, capital height of the font
http://fontforge.sourceforge.net/sfdformat.html
* fonts
* belgika-5th.otf, belgika-8th.otf, belgika-16th.otf, belgika-40th.otf - otf fonts, able to be used in most software
* belgika-Stroke-PS-type-3 - Type 3 fonts, just for the pleasure to be still able to generate it, reverse-archaeology.
* documentation - some specimens
* ofl.txt: copyright notice header + license
* ofl-faq.txt: Frequently Asked Questions about the license and its collaboration model - http://scripts.sil.org/OFL
## Production
* Drawn in Inkscape with two versions for nearly all letters.
* Exported in Fontforge with a selection of one of the two shapes.
* Stored as stroke font, some shapes optimised for better generation of contours (belgika-stroke.sfd)
* Each contour version is generated with a width fraction of the capital height of the font, and scaled to get the total height (with the thickness of the stroke) into the 800 font unit height, the metrics has been scaled accordingly.
* belgika-5th.sfd
* belgika-8th.sfd
* belgika-16th.sfd
* belgika-40th.sfd
## Known issues and future developments
* The spacing needs kerning pairs.
* There is currently no Euro sign.
* Another future version can propose fonts without that scaling operation, to be able to superpose different weights.
* Of course, the switch between two or more shapes by glyph is a future must.
## Coverage
Belgika currently provides the following Unicode coverage:
* Basic Latin: U+0020-U+007E - 95 glyphs on 95
* Latin-1 Supplement: U+00a0-U+00FF - 95 glyphs on 96
* Latin Extended-A U+0100-U+017F - 0 glyphs on 128
## Information for Contributors
Belgica-Belgika is released under the OFL 1.1 -- http://scripts.sil.org/OFL For information on what you're allowed to change or modify, consult the ofl.txt and ofl-faq.txt files. The ofl-faq also gives a very general rationale and various recommendations regarding why you would want to contribute to the project or make your own version of the font. See the project website for the current trunk and the various branches: http://ospublish.constantvzw.org/foundry/belgica-belgika
## ChangeLog
(This should list both major and minor changes, most recent first.)
* 2 January 2015 - Version 1.0
- Initial release of shapes "Belgica" and fonts "Belgika" (4 weights) by Pierre Huyghebaert
## Acknowledgements
If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D). This list is sorted by last name in alphabetical order.
N: Pierre Huyghebaert
E: pierre@speculoos.com
W: http://www.speculoos.com
D: Typography Financial support by Speculoos.com and LGRU.net
## Contexte historique
Avant l'apparition de la typographie vers 1450 en Occident, l'expérience de l'écriture était en contraste une pratique extrêmement variée (entre la caroline rapide des scribes et la capitale gravée dans le marbre des romains) et unifiée autour du trait et de son ductus. Le poinçon qui a commencé à dessiner des caractères par leur bord (leur extérieur) dans des matières dures destinées à produire en série des lettres en plomb a introduit une manière indirecte de comprendre la lettre. Et ainsi, depuis plus de cinq siècles, la typographie a été industriellement tenue séparée de l'écriture. Depuis la genèse de la typographie digitale, cette séparation a organiquement été maintenue, en partie par la révérence de la loge des typographes se sentant dépositaires d'une très longue tradition, en partie par souci de commodité par les grands éditeurs logiciels par ailleurs aux prises avec l'effroyable chantier de la gestion encore non entièrement résolue des très nombreux systèmes d'écritures existant dans le monde.
Quelques initiatives séparées ont émaillé ce large mouvement majoritaire. Quatre cas particuliers semblent intéressants à décrire.
Un des premiers mouvements de reconstruction de l'Allemagne industrielle après la première guerre mondiale est de mettre en place un institut de normalisation, le Deutsches Institut für Normung (DIN). Et lorsqu'il s'agit, au milieu des années vingt de décrire un système d'écriture standardisé, c'est par le trait et sur une grille que les ingénieurs allemands tentent de rassembler d'une manière cohérente l'ethos de chaque lettre. Pour ces outilleurs, l'épaisseur du tracé est défini par l'outil qui trace, le trait par son centre, la typographie des bords produite est donc un artefact local, perpétuant ainsi trois millénaires d'écriture humaine. Ce standard se plie donc à toutes sortes de variations en fonction des besoins, plus ou moins décrites dans les planches du standard, et reste largement à déduire au cas par cas par le bon sens de ses utilisateurs.
Dans les années soixante, lorsqu'il semble que les machines à commande numériques commencent à être introduites au US Naval Weapons Laboratory, le DR. Hershey met en place une série d'instructions permettant la gravure de lettres simple pour le marquage industriel et les premiers affichages digitaux à base de vecteurs. Loin du contexte typographique, ce jeu d'instruction circule librement sans licence trop restrictive, et est progressivement implémentée dans nombre d'applications industrielles civiles. Un nombre incalculable de plaques nominatives d'ascenseur sont ainsi gravée avec des lettres dessinées par l'armée américaine.
À la fin des années septante, le mathématicien Donald Knuth est mécontent du traitement typographique réservé à l'édition de ses équations et décide de mettre en place un système de composition entier, TeX, pour publier ses ouvrages "The Art of Computer Programming" encore en écriture à l'heure actuelle. Confiant de pouvoir construire numériquement l'antédiluvien lien entre typographie et mathématiques, Knuth décrit de manière algorithmique le format Metafont destiné à être utilisé dans TeX. Et c'est principalement par le ductus central que Metafont trace ses lettres et signes. N'utilisant que du code sans support visuel direct, le format est craint ou boudé pendant longtemps par les typographes. Le monde scientifique et lui seul utilise depuis le système TeX avec majoritairement les seules fontes proposées par son créateur, et cela sans souci particulier...
À la fin des années quatre-vingt, Adobe, après avoir mis en place le standard typographique appelé Type 1 et encore à la base des standards actuels, s'aventure à introduire le Type 3. Ce format permet de stocker dans chaque glyphe (espace visuel décrivant une lettre dans une fonte) n'importe quel type d'objet. Y compris donc des traits simples ouverts ou non plutôt qu'un contour strictement fermé. Ce qui permet à certains typographes d'introduire des polices construites selon un principe de dessin vectoriel se rapprochant de l'écriture. Mais l'ouverture du format, autorisant l'inclusion de tout type d'objet, a tendance à saturer la mémoire encore très restreinte des unités de traitement des imprimantes de l'époque. Et une réputation d'insécurité fait rapidement retirer les Type 3 de la circulation par Adobe, qui ne veut prendre aucun risque de fiabilité des solutions proposées par elle au moment même où Apple et Microsoft l'attaquent avec le format Truetype concurrent du Type 1.
Hacking - En mélangeant sans hiérarchie précise ces quatre expériences, le collectif OSP (Open Source Publishing) suit un sentier de traverse pour ramener cette question des 'stroke fonts' régulièrement au milieu de la table. Ainsi un alphabet double est tracé par éléments modulaires dans un logiciel de dessin, à distance des pratiques typographiques. Les lettres y prennent chacune deux formes différentes pour appuyer leur rapport avec l'écriture où l'aspect de chaque lettre peut est adapté en fonction de l'influence visuelle de ses voisines. Un visuel en spirale et récursif expérimente avec un autre type de déformation que ces formes produisent. Ailleurs, un hack modifie la fermeture automatique des fontes considérées par le logiciel de mise en page Scribus comme une erreur mais volontairement introduites pour produire des fontes au trait. Plus loin, le trait est utilisé à l'essence de sa non-épaisseur pour produire la lame sinueuse des poinçons qui frappent les lettres ORS sur des plaques de laiton. Ou encore ces projets de couverture d'ouvrages à paraître où le trait est démultiplié par l'épaisseur sur des lettres superposées. Le trait encore est interrompu par un algorithme pour permettre la création automatique de monogrammes pour un média social en préparation. Le trait toujours, lors de son apparition, gelé temporairement par efficacité pour une fonte à utiliser selon les standards par un tiers en Italie.
Retour au Belgika - Le propriétaire le demande, il faut un grand Belgika sur le toit de cette baraque, pour marquer le lieu. L'ingénieur trace les sept lettres sur une feuille et les dimensionne. Quelqu'un, ou peut-être étaient-ils deux, peint avec un certain soin chaque lettre. Un empattement est ajouté au G pour lui donner une sorte d'équilibre. La graisse de la barre centrale du B hésite et l'interlettrage est un peu trop mécanique mais le résultat ne manque pas d'élégance. Quand une carte postale immortalise l'alignement des vélos sous cet auvent d'Elisabethville quelques temps après, le contraste des lettres, même en angle, est bien marqué.
Comment plier ces sommes d'expériences pour les amener vers des formes à superposer.

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z-index: 1000;
bottom: 1.2em;
width: 100%;
background-color: rgb(200,200,200);
opacity: 0.35;
background-color: rgba(200,200,200, 0.35);
cursor: pointer;
}
div.initial_prompt p.help {
text-align: center;
}
div.initial_prompt p.close {
text-align: right;
font-style: italic;
}
div.slidy_toc {
position: absolute;
z-index: 300;
width: 60%;
max-width: 30em;
height: 30em;
overflow: auto;
top: auto;
right: auto;
left: 4em;
bottom: 4em;
padding: 1em;
background: rgb(240,240,240);
border-style: solid;
border-width: 2px;
font-size: 60%;
}
div.slidy_toc .toc_heading {
text-align: center;
width: 100%;
margin: 0;
margin-bottom: 1em;
border-bottom-style: solid;
border-bottom-color: rgb(180,180,180);
border-bottom-width: 1px;
}
div.slide {
z-index: 20;
margin: 0 0 0 0;
padding-top: 0;
padding-bottom: 0;
padding-left: 20px;
padding-right: 20px;
border-width: 0;
clear: both;
top: 0;
bottom: 0;
left: 0;
right: 0;
line-height: 120%;
background-color: transparent;
}
div.background {
display: none;
}
div.handout {
margin-left: 20px;
margin-right: 20px;
}
div.slide.titlepage {
text-align: center;
}
div.slide.titlepage h1 {
padding-top: 10%;
margin-right: 0;
}
div.slide h1 {
padding-left: 0;
padding-right: 20pt;
padding-top: 4pt;
padding-bottom: 4pt;
margin-top: 0;
margin-left: 0;
margin-right: 60pt;
margin-bottom: 0.5em;
display: block;
font-size: 160%;
line-height: 1.2em;
background: transparent;
}
@media screen and (max-device-width: 1024px)
{
div.slide { font-size: 100%; }
}
@media screen and (max-device-width: 800px)
{
div.slide { font-size: 200%; }
div.slidy_toc {
top: 1em;
left: 1em;
right: auto;
width: 80%;
font-size: 180%;
}
}
div.toc-heading {
width: 100%;
border-bottom: solid 1px rgb(180,180,180);
margin-bottom: 1em;
text-align: center;
}
img {
image-rendering: optimize-quality;
}
pre {
font-size: 80%;
font-weight: bold;
line-height: 120%;
padding-top: 0.2em;
padding-bottom: 0.2em;
padding-left: 1em;
padding-right: 1em;
border-style: solid;
border-left-width: 1em;
border-top-width: thin;
border-right-width: thin;
border-bottom-width: thin;
border-color: #95ABD0;
color: #00428C;
background-color: #E4E5E7;
}
li pre { margin-left: 0; }
blockquote { font-style: italic }
img { background-color: transparent }
p.copyright { font-size: smaller }
.center { text-align: center }
.footnote { font-size: smaller; margin-left: 2em; }
a img { border-width: 0; border-style: none }
a:visited { color: navy }
a:link { color: navy }
a:hover { color: red; text-decoration: underline }
a:active { color: red; text-decoration: underline }
a {text-decoration: none}
.toolbar a:link {color: blue}
.toolbar a:visited {color: blue}
.toolbar a:active {color: red}
.toolbar a:hover {color: red}
ul { list-style-type: square; }
ul ul { list-style-type: disc; }
ul ul ul { list-style-type: circle; }
ul ul ul ul { list-style-type: disc; }
li { margin-left: 0.5em; margin-top: 0.5em; }
li li { font-size: 85%; font-style: italic }
li li li { font-size: 85%; font-style: normal }
div dt
{
margin-left: 0;
margin-top: 1em;
margin-bottom: 0.5em;
font-weight: bold;
}
div dd
{
margin-left: 2em;
margin-bottom: 0.5em;
}
p,pre,ul,ol,blockquote,h2,h3,h4,h5,h6,dl,table {
margin-left: 1em;
margin-right: 1em;
}
p.subhead { font-weight: bold; margin-top: 2em; }
.smaller { font-size: smaller }
.bigger { font-size: 130% }
td,th { padding: 0.2em }
ul {
margin: 0.5em 1.5em 0.5em 1.5em;
padding: 0;
}
ol {
margin: 0.5em 1.5em 0.5em 1.5em;
padding: 0;
}
ul { list-style-type: square; }
ul ul { list-style-type: disc; }
ul ul ul { list-style-type: circle; }
ul ul ul ul { list-style-type: disc; }
ul li {
list-style: square;
margin: 0.1em 0em 0.6em 0;
padding: 0 0 0 0;
line-height: 140%;
}
ol li {
margin: 0.1em 0em 0.6em 1.5em;
padding: 0 0 0 0px;
line-height: 140%;
list-style-type: decimal;
}
li ul li {
font-size: 85%;
font-style: italic;
list-style-type: disc;
background: transparent;
padding: 0 0 0 0;
}
li li ul li {
font-size: 85%;
font-style: normal;
list-style-type: circle;
background: transparent;
padding: 0 0 0 0;
}
li li li ul li {
list-style-type: disc;
background: transparent;
padding: 0 0 0 0;
}
li ol li {
list-style-type: decimal;
}
li li ol li {
list-style-type: decimal;
}
/*
setting class="outline on ol or ul makes it behave as an
ouline list where blocklevel content in li elements is
hidden by default and can be expanded or collapsed with
mouse click. Set class="expand" on li to override default
*/
ol.outline li:hover { cursor: pointer }
ol.outline li.nofold:hover { cursor: default }
ul.outline li:hover { cursor: pointer }
ul.outline li.nofold:hover { cursor: default }
ol.outline { list-style:decimal; }
ol.outline ol { list-style-type:lower-alpha }
ol.outline li.nofold {
padding: 0 0 0 20px;
background: transparent url(../graphics/nofold-dim.gif) no-repeat 0px 0.5em;
}
ol.outline li.unfolded {
padding: 0 0 0 20px;
background: transparent url(../graphics/fold-dim.gif) no-repeat 0px 0.5em;
}
ol.outline li.folded {
padding: 0 0 0 20px;
background: transparent url(../graphics/unfold-dim.gif) no-repeat 0px 0.5em;
}
ol.outline li.unfolded:hover {
padding: 0 0 0 20px;
background: transparent url(../graphics/fold.gif) no-repeat 0px 0.5em;
}
ol.outline li.folded:hover {
padding: 0 0 0 20px;
background: transparent url(../graphics/unfold.gif) no-repeat 0px 0.5em;
}
ul.outline li.nofold {
padding: 0 0 0 20px;
background: transparent url(../graphics/nofold-dim.gif) no-repeat 0px 0.5em;
}
ul.outline li.unfolded {
padding: 0 0 0 20px;
background: transparent url(../graphics/fold-dim.gif) no-repeat 0px 0.5em;
}
ul.outline li.folded {
padding: 0 0 0 20px;
background: transparent url(../graphics/unfold-dim.gif) no-repeat 0px 0.5em;
}
ul.outline li.unfolded:hover {
padding: 0 0 0 20px;
background: transparent url(../graphics/fold.gif) no-repeat 0px 0.5em;
}
ul.outline li.folded:hover {
padding: 0 0 0 20px;
background: transparent url(../graphics/unfold.gif) no-repeat 0px 0.5em;
}
/* for slides with class "title" in table of contents */
a.titleslide { font-weight: bold; font-style: italic }
/*
hide images for work around for save as bug
where browsers fail to save images used by CSS
*/
img.hidden { display: none; visibility: hidden }
div.initial_prompt { display: none; visibility: hidden }
div.slide {
visibility: visible;
position: inherit;
}
div.handout {
border-top-style: solid;
border-top-width: thin;
border-top-color: black;
}
@media screen {
.hidden { display: none; visibility: visible }
div.slide.hidden { display: block; visibility: visible }
div.handout.hidden { display: block; visibility: visible }
div.background { display: none; visibility: hidden }
body.single_slide div.initial_prompt { display: block; visibility: visible }
body.single_slide div.background { display: block; visibility: visible }
body.single_slide div.background.hidden { display: none; visibility: hidden }
body.single_slide .invisible { visibility: hidden }
body.single_slide .hidden { display: none; visibility: hidden }
body.single_slide div.slide { position: absolute }
body.single_slide div.handout { display: none; visibility: hidden }
}
@media print {
.hidden { display: block; visibility: visible }
div.slide pre { font-size: 60%; padding-left: 0.5em; }
div.toolbar { display: none; visibility: hidden; }
div.slidy_toc { display: none; visibility: hidden; }
div.background { display: none; visibility: hidden; }
div.slide { page-break-before: always }
/* :first-child isn't reliable for print media */
div.slide.first-slide { page-break-before: avoid }
}

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