Presentations

Selected participants must structure their presentation in a 15-slide deck, auto-temporized, with 20 seconds each. Using images, graphics, text, videos, or animations. Each slide 20 seconds for a total of 5 minutes.

Make sure to convert your designs into images/outlines to avoid font compatibility issues. Consider using the following PowerPoint template (donwload the powerpoint file here).

Format: 15 slides, 20 seconds per slide (auto-timed) (max = 5-minute presentation)
Goal: Fast-paced, visually rich presentations with strong narrative focus

Design Guidelines:

• Use large images, diagrams, process graphics, sketches, or visual notes — keep text to a minimum.
• All text must be embedded in images (no system fonts!) to ensure compatibility across devices.
• Use your own layout and design style, but prioritize legibility, contrast, and visual rhythm.
• Provide the bibliographic/visual references and credits inside each slide (lower corner or integrated).
• Slides may include the speaker notes/comments in the powerpoint file for a more efficient presentation delivery.

If approved, send your presentation via email to , until Monday 14 July.

Who Should Attend?

This call is mainly geared toward students and researchers in Graphic Design, but we also encourage proposals from fields such as Literature and Book Studies, Digital Humanities, Artistic Practice and Research, Education and Computation , as long as they reflect on human-written, typed, or printed language forms and their implications within society and culture.

Why Participate?

Even if you are not planning on submitting a presentation, come and join a vibrant international community of young and senior researchers. Through lectures, presentations, and practical workshops, you'll gain:

• Critical feedback and academic mentorship
• Publication opportunities in post-event proceedings
• A certificate of participation or attendance
• New perspectives on interdisciplinary design and cultural expression

Reach out to us at or visit https://ligatures.fba.up.pt for more details and subscribe to our mailing list. Let’s connect through language, design, and discuss design legacies in an open, accessible, and inclusive contemporary setting.

Program

The provisional program includes one day dedicated to hands-on workshops. And a second day dedicated to presentations and discussions.

• Day one, 16 July Workshop A
  Explore the different materializations of written and typographic letterforms with the professional type designer and lettering artist Julien Priez (FR) as the lead instructor. Details about the program, fees and registration .

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• Day two, 17 July Workshop(s)
  Discover the power and creativity hidden within computational design through a playful and engaging introduction to Python with Maurice Meilleur (USA), geared specifically for graphic designers, typographers, and researchers eager to explore visual language through code. Details about the program, fees and registration.
  

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• Day three, 18 July, Morning Presentations
  Presentations from junior researchers (resulting from a call for participation)
  
  Round table discussions
  Join the morning presenters and the senior researchers in a round table discussion sessions focused on exploring techniques and approaches for integrating computational design into the practices of recovering, interpreting, and promoting cultural design heritage.
  
  See the schedule below.
  Afternoon
  Keynote Speaker: Maurice Meilleur (USA)
  

  Make sure to attend Maurice Meilleur’s keynote on (re)constructing Schrofer’s legacy—where coding meets archival research to unlock new insights into script design, algorithmic creativity, and the speculative futures of typographic heritage.

  Attendance to the main event's communications sessions and keynote presentation is free, but requires registration. See details below

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Keynote

(Re)constructing Schrofer’s legacy: code and archival conversation

When:

Friday 18 July 2025 15:00 WET

Where:

Faculty of Fine Arts of the University of Porto
PS01 Room (South Building Auditorium)
(in-person event)

When Maurice Meilleur visited the archives of the Dutch designer Jurriaan Schrofer for the first time, he quickly realized he had a problem. Schrofer was, among other things, a prolific and imaginative designer of constructed scripts, and Maurice had come with the hope of cataloging them. But the amount of relevant material in the archives was overwhelming, and included many variations of the designs Schrofer made while he tested the parameters of his ideas. Maurice saw that a traditional catalog of the designs was impossible—and might miss the significance of Schrofer’s work in the first place, even if it wasn’t.

Gradually, Maurice realized another kind of conversation with Schrofer’s archives was possible—one that addressed not just the products of Schrofer’s work, but also his methods and process. Maurice saw that he could use code to recreate and demonstrate what the archives were showing him about the logic and choices behind Schrofer’s script designs—to better understand the designs, to explain the directions Schrofer followed or rejected, and to explore directions Schrofer hadn’t explored or perhaps even considered. The result could be something like a speculative catalog raisonné of Schrofer’s constructed scripts, centered on the mechanisms and potential of his designs, and thus unlike any other catalog of a designer’s work Maurice had encountered.

In his keynote, Maurice will share the work he’s done so far on reinterpreting and reconstructing Schrofer’s constructed scripts and the projects that Schrofer used them for. He’ll talk about what Schrofer’s methods can teach us about the possibilities of computational and algorithmic creativity, and about script design and writing more generally. He’ll also talk about the potential of coding as a research tool, and the potential of archives for designers as catalysts for creativity and critical reflection—not just inspirational repositories of the past.

About Maurice Meilleur

Maurice Meilleur is a recovering political theorist turned graphic designer and design researcher and writer. He completed a PhD in political theory from Indiana University Bloomington in 2004, and earned his MFA in graphic design from the University of Illinois at Urbana-Champaign in 2015. He’s an assistant professor of graphic design at Iowa State University in Ames, Iowa, where he teaches and studies typography and computational design, and design ethics and theory. He has contributed numerous type and book reviews to Typographica and Fonts in Use. He’s writing books on Jurriaan Schrofer’s script designss and on constructed scripts generally, and he’s presented his research at Robothon, ATypI, TypeCon, the Cooper Union, the Letterform Archive, and Automatic. Maurice explores digital drawing and animation using Python and Drawbot as part of a larger investigation into typographic representation and algorithmically-defined formal systems; basically, he codes to learn.

See more of Maurice’s work and research at:
https://mauricemeilleur.net/
https://www.instagram.com/mjmeilleur/
https://typo.social/@MauriceMeilleur

Code of conduct

The keynote will be held in person, and in English. We don’t have translation, but the FBAUP community is warm and welcoming — so feel free to ask some help from our students and staff if you have any language issues.. Participants are required to follow inclusive and constructive ethics and code of conduct, namely to follow the University’s Standards (for academic members and staff), and/or the Berlin Code of Conduct (for external participants and the general public)

Registration

The keynote is a free-to-attend event, but registration is required (for logistic purposes). Lunch, or coffee-breaks are not included

Registration will be managed exclusively through the online form:

Keynote & Communications Registration

If more participants than available slots are interested, a waiting list will be set up. We ask participants who are unable to attend to cancel their registration in order to allow those on the waiting list to register and attend.

Workshop B, 17 July, FBAUP

What, how long, and when: basic coding concepts with Python and DrawBot

A hands-on introduction-level computational design workshop using Drawbot for Visual Thinkers

When:

Thursday 17 July 2025 10:00–17:00 WET

Where:

Faculty of Fine Arts of the University of Porto
PS13a Room (South Building Classroom)
(in-person event)

Discover the power and creativity of computational design through a playful and engaging introduction to coding concepts and the Python programming language using the free application DrawBot. This hands-on workshop, led by Maurice Meilleur, is designed specifically for graphic designers, typographers, and researchers eager to explore visual language through code. Participants will learn about three foundational coding concepts—variables, for-loops, and conditionals—and use them to reconstruct one of the Dutch designer Jurriaan Schrofer’s constructed scripts and set type with a variable font using code. By blending algorithmic thinking with traditional design methods, attendees will quickly realize the expressive potential of computational tools to reinterpret and expand their visual vocabularies.

Workshop Program (breakdown)

Morning session

• A quick introduction to Python and DrawBot
• Using and naming variables in code
• Iteration and variation: the power of for-loops
• If this, then that: controlling code with conditionals

Coffee / Lunch

Afternoon session

• Simple shapes in DrawBot, and saving your work
• Drawing a constructed script on a grid (and changing parameters)
• Setting type with code: variable fonts in DrawBot
• Share-out and discussion

About the Workshop Instructor

Maurice Meilleur is a recovering political theorist turned graphic designer and design researcher and writer. He completed a PhD in political theory from Indiana University Bloomington in 2004, and earned his MFA in graphic design from the University of Illinois at Urbana-Champaign in 2015. He’s an assistant professor of graphic design at Iowa State University in Ames, Iowa, where he teaches and studies typography and computational design, and design ethics and theory. He has contributed numerous type and book reviews to Typographica and Fonts in Use. He’s writing books on Jurriaan Schrofer’s script designss and on constructed scripts generally, and he’s presented his research at Robothon, ATypI, TypeCon, the Cooper Union, the Letterform Archive, and Automatic. Maurice explores digital drawing and animation using Python and Drawbot as part of a larger investigation into typographic representation and algorithmically-defined formal systems; basically, he codes to learn.

See more of Maurice’s work and research at:
https://mauricemeilleur.net/
https://www.instagram.com/mjmeilleur/
https://typo.social/@MauriceMeilleur

Requirements

Participants must have access to a personal Apple computer running MacOS 10.12+ in order to download and run the DrawBot IDE. The software is free and available for download at: https://www.drawbot.com/

There is no coding requirement. This workshop is ideal for individuals with foundational knowledge in graphic and editorial design, an interest in computational systems, and the desire to explore code as a medium to expand their graphic design practice.

Code of conduct

The workshop will be held in person, and English language. Participants are required to follow inclusive and constructive ethics and code of conduct, namely to follow the University’s Standards (for academic members and staff), and/or the Berlin Code of Conduct (for external participants and the general public)

Registration

Please note that each workshop includes a registration fee, which helps cover essential logistics. We are committed to keeping the Ligatures Summer School accessible and inclusive, so we’ve set the fee as low as possible while ensuring a high-quality experience. If you register for both workshops, you will receive a discounted rate as a way to support and encourage full participation. Thank you for your understanding and support! Lunch, or coffee-breaks are not included.

Registration will be managed exclusively through the online form:

Workshop(s) Registration

Due to logistics, the workshop registration is limited to a maximum of 20 external participants.

If more participants than available slots are interested, a waiting list will be set up. We ask participants who are unable to attend to cancel their registration in order to allow those on the waiting list to register and attend.

Workshop A, 16 July, FIMS

Letters in Motion

Reimagining Cultural Scripts at Scale with Julien Priez

When:

Wednesday 16 July 2025 10:00–17:00 WET

Where:

Marques da Silva Foundation (in-person)
(in-person event)

Join Julien Priez, renowned for his expressive calligraphy and innovative type design, in a hands-on workshop that bridges traditional scripts with modern artistic expression. Participants will explore historical letterforms, drawing inspiration from diverse cultural scripts, and reinterpret them through small-to-large-scale, gestural lettering. Emphasizing the concept that "legibility is a spectrum," the workshop encourages attendees to view letters as both communicative symbols and visual art.

Through guided exercises, attendees will delve into the anatomy of classic alphabets, understanding their cultural contexts and aesthetic nuances. Building upon this foundation, participants will experiment with scale, movement, and medium, creating expansive letterforms that resonate with contemporary sensibilities while honoring their origins. The workshop culminates in the creation of a collaborative mural, showcasing the fusion of tradition and innovation.

Materials

The organization will have the following list of materials. Participants are welcomed to bring their own (complmentary or alternative)

• Flat brush (synthetic fiber) 2cm width (or between 1cm and 3cm widths)
• Black Indian Ink
• Sketching paper (A3 and A4)
• Pencil, erasers, rulers, scissors, tape, glue
• Blanco corrector
• Watercolor paper A3 140lb

About the Workshop Instructor

Julien Priez born in 1986 in Montreuil, France, is a multifaceted artist whose work spans calligraphy, type design, and graphic arts. Educated at Lycée Eugénie Cotton and École Estienne in Paris, he discovered a passion for calligraphy that would become central to his creative identity.

Operating under the moniker @boogypaper—a name inspired by a fictional magazine he created during his student years and a nod to French hip-hop group NTM—Priez infuses his work with rhythmic energy and expressive forms. His approach, often described as "typexpressionism," challenges traditional notions of legibility, treating letters as both communicative symbols and visual art.

Priez's career is marked by notable collaborations and achievements. In 2015, he joined the High on Type collective. The following year, he and Michel Derre earned the Bronze Prize in the Latin category at the Morisawa Type Design Competition for their Abelha script typeface. His dynamic murals at Nike’s World Headquarters in Oregon, created with WeShouldDoItAll in 2019, showcase his large-scale calligraphic prowess. In 2020, he co-designed the Boogy Brut typeface with Yoann Minet, blending expressive display styles with functional text cuts.

Beyond design, Priez is an educator, teaching at institutions like ECV, Duperré, and Eugénie Cotton in Paris. In 2023, his solo exhibition "The Boogy Show" at the Centre du Graphisme in Échirolles highlighted his innovative approach to typography. Now affiliated with Commercial Type, Priez continues to explore the spectrum of legibility, bridging the gap between text and image in contemporary design.

More info about Juline Priez:
https://www.instagram.com/boogypaper/
https://linktr.ee/boogypaper

Requirements

There is particular design or calligraphy requirements. This workshop is ideal for individuals with foundational knowledge graphic and editorial design, and interest in letterform design, lettering, calligraphy or simply want to explore and expand their drawing and graphic design practice.

Code of conduct

The workshop will be held in person, and English language. Participants are required to follow inclusive and constructive ethics and code of conduct, namely to follow the University’s Standards (for academic members and staff), and/or the Berlin Code of Conduct (for external participants and the general public)

Registration

Please note that each workshop includes a registration fee, which helps cover essential logistics. We are committed to keeping the Ligatures Summer School accessible and inclusive, so we’ve set the fee as low as possible while ensuring a high-quality experience. If you register for both workshops, you will receive a discounted rate as a way to support and encourage full participation. Thank you for your understanding and support! Lunch, or coffee-breaks are not included.

Registration will be managed exclusively through the online form:

Workshop(s) Registration

Due to logistics, the workshop registration is limited to a maximum of 20 external participants.

If more participants than available slots are interested, a waiting list will be set up. We ask participants who are unable to attend to cancel their registration in order to allow those on the waiting list to register and attend.

Junior Research Presentations & Roundtable Discussions

Friday, July 18

10:00

Junior Research Presentation(s) Session A @ FBAUP PS13A

Content and form in editorial design: Dialogues of materiality: Book, Designer and Reader

Carolina Antunes (Universidade de Aveiro)

Unediting in practice: Reading manuscript surfaces and writing instruments

Elizama Almeida (Universidade de Coimbra)

Zincography in the Post-digital era: Alternatives to zincography at FBAUP

Francisca Rebelo (Faculdade de Belas Artes da Universidade do Porto)

Meaningless and Inhuman Gestures: Computational explorations in asemic writing

Fábio Duarte martins (o.itemzero)

 

30 mins Roundtable Discussions

11:00

Junior Research Presentation(s) Session B @ FBAUP PS13A

Heuristics of the Letter: Typographic Modularity as a Pedagogical Practice Author:

Ângelo Gonçalves (ESMAD, Polytechnic of Porto) Álvaro Sousa (University of Aveiro, Aveiro, Portugal) Vitor Quelhas (ID+, ESMAD, Polytechnic of Porto)

Rehabilitation and Enhancement of the FBAUP's Typography Workshop: Research, Inventory, and Promotion of Pedagogical Activities

Rita Melo (Faculdade de Belas Artes da Universidade do Porto)

Tipografia Ocidental: The Book Ecosystem in 19th-Century Porto Through the Lens of One of the City's Most Reputable Printing Houses

João Janeiro (Faculdade de Belas Artes da Universidade do Porto)

 

30 mins Roundtable Discussions

 

Short Break

12:00

Junior Research Presentation(s) Session C @ FBAUP PS13A

Brutneuve Typeface

Maria Craveiro, Olga Marinho, & Sofia Paiva (FBAUP)

Designing Khmer Letterforms as an Outsider: From a 1,400‑Year Letterform Archive to a Contemporary Typeface

Bastian Steinhauer (Stuttgart State Academy of Fine Arts)

Reading Complex Forms: Exploring the impact of visual complexity and perceptual engagement in reading Arabic ligatures

Niaz Mirmobini (READSEARCH) (online presentation)

Writing Love, Designing Type

Anne-Sophie Avril

 

 

30 mins Roundtable Discussions

 

 

Acknowledgements

This keynote presentation is made possible through the generous support of grants from the FLAD—Luso-American Foundation for Development—and a research grant from Iowa State University.

The event also supported by the U.Porto Cooperation Protocol - CGD.