Antoine Abi Aad (Ph.D. and MA University of Tsukuba in Japan, DES Académie Libanaise des Beaux-Arts in Lebanon) is an educator, visual communicator, and researcher. He is also a frequent guest lecturer and has given talks and workshops at numerous institutions, including the Universidade de Brasilia (Brazil), International Design School (Jakarta), Institute of Business and Design (Moscow), Hong Kong Design Institute, IIT Bombay, Greenside Design Center College of Design (Johannesburg), Nara University of Education (Japan), Boston University and Yale University (New Haven).
Having taught 1600 students since 2004, Antoine’s true dedicating is for research and experimentations. His passion is for letters: typography, calligraphy and handwriting. The different scripts he writes (Arabic, Latin and Japanese) led him to have special interests in the directions of writing, leftward, rightward and downward, and how these directions affect visual communication and advertising, or even more, motion graphics and animation.
Having participated in 56 exhibitions (31 cities, 19 countries), lectured in 46 universities (21 countries) and taught 2057 students since 2004, Antoine’s true dedicating is for research and experimentations. His passion is for letters: typography, calligraphy and handwriting. The different scripts he writes (Arabic, Latin and Japanese) led him to have special interests in the directions of writing, leftward, rightward, and downward, and how these directions affect visual communication and advertising, or even more, motion graphics and animation.
Antoine was the Chairperson of Typoday Amman 2020, Head of Department of Graphic Design and Visual Communication at the Lebanese University, and he also served as a vice-president of i-cod (formerly Icograda) from 2015 to 2017.
Poosapati Parameshwar Raju has a BFA from the Government School of Art Aurangabad and an MFA in Applied Art from Babasaheb Ambedkar Marathwada University, Aurangabad. Based on his research in Indian Iconography, he has creatively experimented and explored calligraphy to represent the sacred. He is highly skilled and the forms are minimal and both contemporary as well as traditional. His works has been exhibited in Delhi, Bangalore, Baroda, Hyderabad, Kochi, Kolkata, Mumbai, and Beijing. His works have been published and has conducted several workshops with students at events and colleges in India. He lives and works in Hyderabad.
Ashok Gopal Parab is a Communication designer by profession and has done extensive research in the field of Indian Scripts spanning a period of over 12 years. His core work involves documenting, referencing and creating awareness about the legacy and heritage of various Indian languages and the evolution of both ancient and modern Indian scripts. He is known for informative and interesting presentations, lectures and workshops on ancient and modern Indian scripts and subjects like Design and Typography. He also has numerous National and International Awards to his credit.
26th, 27th and 28th October 2023,
at Department of Applied Arts, Faculty of Visual Arts Banaras Hindu University, Varanasi (BHU Varanasi) .......Click to Google Map
The Kolam Point Lattice for playful typographic systems
Anika Sarin, California State University Los Angeles, US
From Sacred to the Possibility of Re-visioning: Arabic Simplification Proposals as Educational Typefaces in Learning Books
Fahad A. Dhawi, American University of Kuwait, Kuwait
The Charitra of a Character: The Ramayana as a Typeface. How can a font provide insights into one of the most significant epics in the world?
Ishan Khosla, UPES, Dehradun, India
Vital role of Jain Manuscripts paintings in sacred typography of India
Radha Ambekar, L.S.Raheja School of Art, Worli , India
Scratching beneath the surface: Devotion and graffiti in Canterbury Cathedral
Jack Coulson, Anne Sørensen, Dr Sara Andersdotter, University for the Creative Arts, Canterbury, UK
Sacred Conventions: Stereotypical use of Typography for Devotional Films
M.L. Anand Rao, College of Fine Arts, Jawaharlal Nehru Architecture and Fine Arts University , India
Introducing Sacred Geometrical Devanagari
Apurva Milind Vaidya, VIVA Institute of Art and Design, India
Sketching, Shaping and Proofing Fonts
Muthu Nedumaran, Murasu Systems Sdn Bhd, Malaysia
Modernizing Parametric Type Design: Case Study of Nupuram Typeface
Santhosh Thottingal, Swathanthra Malayalam Computing, India
Malayalam Calligraphy through the ages - A Case Study
Narayana Bhattathiri, Kachatathapa Foundation , India
MONEY TALKS Innovative Applications of Typography on Banknotes
Rukmini Dahanukar, Money Talks, India
The 1001 Names of Ahura Mazda: An Avestan Calligraphic First
Perin Pudumjee Coyaji, Avestan Calligrapher, India
Designing a Devanagari typeface for Sanskrit
Purvi Kothari, Ek Type, India
Designing a Faux Devanagari Latin Font Based on a Calligraphic Devanagari Typeface
Taresh Vohra, Ek Type, India
Malayalam Type Design Inspired from Samkshepavedartham* for the Contemporary Setting
*the first printed book in Malayalam script
Raniya Jalal, School of Planning and Architecture, Bhopal, India
The Multiplicity of Canons in Typographic Education
Natalie F. Smith, Zhi Lo, Lisa Mercer, The University of Illinois, Urbana-Champaign , US
A Case Study on the Tulu-Tigalari Script
Anjana Salian, IIT Hyderabad, India
Glory to Modular Typefaces. From a historical survey to a digital and analog revival
Elettra Scotucci, Daniele Capo, Andrea Vendetti, Sapienza University of Rome, Italy
"Beyond Words" a sacred exploration of marathi ghazal in typography
Aishwarya Nitin, Sir.J.J. Institute of Applied Arts, India
Sorath - A display typeface for Saurashtra Script
Jay Dasadia, Inst. of Design, Nirma University, India
Kaustav Pratim, National Institute of Design, Jorhat, India