L'alphabet Tifinaghe-IRCAM est composé de trente trois caractères. Le Centre des Etudes Informatiques, des Systèmes d'Information et de Communication a. Tifinagh & the IRCAM, Explorations in Cursiveness and Bicamelarism in the Tifinagh . 9 In the 19th century, the Latin script was also spread in North Africa by .. Original size: 15 x 23 cm. b) Collection of diferent logotypes showing a free use. Clavier Tamazight (Agraghlan) sur le site web de l'HCA (Algérie) TIFINAGH - latin (adaptation internationale du clavier tifinagh de l'IRCAM, Maroc).

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See Section 5. Bicameralism and cursiveness: Its most important contribution was probably to make the ircam aware of the problems and needs involved in this complex ty- pographical development. Up to 22 additions can be found in the extended set for dialectal variants. Its Internet presence is also increasing since new digital fonts have been adapted and encoded for the web. The ircam embraced this challenge and as a result the irst set of stylistic variants for Tii- nagh were released in , showing early explorations in lower- case designs that reveal the concern about the readability problems of Tiinagh in long texts. It is a stylistic exercise that only supericially addresses the issues of readability and cursive- ness.

Download proposal for writing Berber/Tuareg, in Latin/Tifinagh scripts, with Unicode TIFINAGH - Latin (international adaptation of IRCAM's Tifinagh keyboard, Morocco) These free demonstration fonts are all based on Hapax Berbère from. TÉLÉCHARGER TIFINAGH LATIN IRCAM - In any case, a Transformations resulting from cursive general trend to preserve the key structural elements is. Free tifinagh ircam download software at UpdateStar - telecharger ircam font tifinagh;» installer tifinagh latin ircam;» download tifinagh unicode;» télécharger .

Aghali-Zakara reports that numbers are plete the letters of the Tiinagh block. Their usage is rather limited literally written, and a common use of numerical symbols among the different though. In any case, the diacritic marks are shared with the Latin Amazigh dialects does not seem to exist. Pichler b: The fact that more than 40 authors had devoted their attention to this subject since the middle of the 19th century illustrates, besides the great interest it raises, the dificulty it poses.

The origins proposed range from Norway, Greece, or the south of 3. Suggested ancestors are, among others, markable diversity of theories, referring to the Ugaritic cuneiform scripts or the Runic inscriptions.

As for its M.


Slaouti Taklit , who suggests that the Phoenician script — and subsequently emergence dates, they range from 30,—16, years bc to ad Most scholars seem to gather mainly around 4. Differences in the proposed dates of in- three possibilities: South-Semitic origin Arabian scripts. Achieving 2. Independent invention with Phoenician inluence. The theory of the script being an independent invention is more common among native scholars.

They claim that the reported dates for some inscriptions would suggest that they are older than the Phoenician script. Hence the Tiinagh script is regarded as the natural evolution of the pictorial geometric signs used in ancient rock art. However, the fact that the Tiinagh was originally a consonan- tal system, the double coincidence in sign and phoneme with a few letters of the old Phoenician alphabet, and the absence of any previ- ous pictographic or syllabic stages, draws a clear link to the second proposition Bouhjar Hence those coincident letters would be derived from the old Phoenician alphabet whereas other signs would have been added to complete an innovative writing system Pichler b: One of the few facts beyond discussion is the irst dated inscription found: This, and other Punic- Libyan inscriptions at the same site, not only attest the use of the script at the time, but are also instrumental in deciphering the Liby- co-Berber characters Figure 2.

Some scholars propose four loosely deined historical periods: Nabti These changes affect not only the design of the characters but also the underlying principles of the writing system —like the addition of vowels for instance — and could be deined as systemic Salomon As a general rule, these modiied alphabets are referred to as Neotiinagh. In this context, most design decisions are driven by linguistic priorities. From the mid twenties of the last century, vocalisation start- ed to be perceived as a need in order to overcome the rigidity of a system originally consonantal Aghali-Zakara It had great inluence and a wide diffu- sion, giving rise to further revisions aimed at improving some im- perfections of the irst design Ameur et al.

The term Neo- tiinagh is commonly used for these enhanced Tiinagh alphabets see Section 3. While not identical, all of them have in common the introduction of four new signs for vowels while retaining, to dif- ferent degrees, the most common letters of the Tuareg scripts. In , the ircam undertook an ambitious standardisation plan with the twofold purpose of maintaining as far as possible the graphemes in the different Tiinagh variants — ancient and current — while adapting the new alphabet to the structures of the standard Amazigh.

Four main principles were observed in order to accom- plish this double goal: The resulting alpha- bet is referred to as Tiinagh Ircam see Figure 2. It has been the core of the code range for Tiinagh since version 4.

Alphabet tifinaghe

The Unicode Standard is the universal character-en- coding standard used for representation of text for computer pro- cessing. Being recognised and incorporated within Unicode is the irst step for a script to enable its use in computer-based devices.

Since the Tiinagh script has been included in the Unicode Standard v. Of these, 21 are reserved code points.


The encoding con- sists of four Tiinagh character subsets: There have been later additions in recent years. Two further characters were added in code 6. Unicode 6. Most of the Tiinagh letters it perfectly in this grid.

Figure 2. Class 2 1. Vertical segments 2. Horizontal segments Class 3 3. Diagonal segments 4. Orthogonal segments 5. All directions Class 4 6. Class 6 Oulamara and Duvernoy It is easily distinguishable from any other script in use to- day because of the strong geometry of its basic shapes. A master frame Pichler b: It is the combination of four elementary signs: More than differ- ent signs can be created within this basic structure. Notably, most of the characters that form the Tiinagh script — ancient and cur- rent — it into this grid Figure 2.

In this respect, it is signiicant that the exceptions to this principle are more likely to happen as the temporal distance from the origin of the script increases.

Although it is dificult to determine the exact rationale behind this system, a matter of economics when it comes to carving on stone with rudimentary tools might have been at play in the irst stages of the script. In fact, this is a common feature in early scripts produced with this technique.

Interestingly, this characteristic hap- pens to be helpful today in a ield where advanced technologies are applied, namely, automatic character recognition Figure 2. The consequences of this peculiar feature as well as other typog- raphy-related issues will be explained in the following sections. The analysis will focus on the characters currently included in Unicode. Proportions Regarding the vertical axis, no ascenders and descenders are used in the Tiinagh script.

This, along with its geometric appearance, sug- gests it is a capital alphabet see Section 5. Comparisons made in typefaces that include Latin and Tiinagh scripts show that the height of the Tiinagh characters is usually the same or slightly shorter than the cap-height in the Latin letters Figure 2. Used in short texts, as in the traditional epigraphic forms, this is not a problem.

However, when it comes to long texts, it presents the same readability drawbacks monotony, poor word shapes and lack of rhythm as other scripts when they are set all in capitals. However, this does not help achieve a sat- isfactory rhythm, as the variance in shapes — especially concerning the diagonal characters — makes it dificult. Tifinagh Ircam Unicode. Counters and inter-letter space The peculiar shapes of the Tiinagh letters result in a profusion of diverse counters and inter-letter spaces.

The same variety can be observed in the inter-letter spaces, with combinations that are not always possible to ix satisfactorily with kerning Figure 2. This is a common problem when using capital letters that is usually counterbalanced by increasing the inter-letter space. However, in the case of long texts set in Tiinagh, this ap- proach is far from ideal, as readability would be seriously compro- mised Figure 2.

According to some scholars, representations of weapons of Bronze Age II date at the same site suggest that the inscription belongs to the same period, hence prior to the Fenician script, which would support the hypothesis of the independent invention see Section 2. It comprises two friezes, one written in Punic left and the other in Libyco-Berber right.

Original sizes: British Museum. Figure 3. British Library. Thousands of in- scriptions engraved, scratched or painted on stone can be found all over the north of Africa, from Egypt to the Canary Islands.

As seen in Section 2. Some scholars propose four loosely deined historic periods: Archaic, represented by the most ancient inscriptions found in the western Maghreb Figure 3.

tifinagh ircam

Classic, regarded as the oficial script of the Numidian king- doms. The technique used is carving or scratching in- stead of pecking, and some curved shapes become complete- ly angular. This period witnesses signiicant changes. The most noticeable is the gradual use of dots to replace signs made of parallel lines. As long as the meaning of the words engraved has become clearer for the Tuareg people, they are no longer re- ported as transitional, which makes the demarcation be- tween these two periods rather vague Figure 3.

The reported changes over these periods seem to be related to replacements of old shapes by new ones rather than stylistic in- novations. An upwards writing orientation — extremely rare among the writing systems of the world — is very common in these inscrip- tions. Nevertheless, changes in writing direction are very recurrent and do not seem to be a feature of any period in particular. The let- terforms remain highly geometrical in all the stages and there is a common pattern in their construction that has been preserved almost unchanged up to the present day see Section 2.

Both the tendency towards geometry and the low degree of innovation are common in other examples of early epigraphy, probably because of the technique and substrates involved. Deinition from the Cambridge Advanced book written by hand in the time before printing was invented. Tiinagh manuscripts is that either they do not exist or they have not been found yet. This is certainly a striking statement, whose consequences will be examined in Chapter 5.

Galand Original size: Several interviews conducted during the ield trip to Morocco substantiated this fact: The lack of manuscripts is partly explained by the fact that the script was never used to write literary or oficial documents.

By contrast, manuscripts written in Amazigh language using the Ara- bic script are not uncommon. According to van den Boogert and Stromer the irst examples in Morocco date back to the 16th century, and in Al-Andalus Muslim Spain they go as far back as the 10th century cited in El Aissati They are exclusively written in the Arabic script.

Colonisation or methods of domination are proposed as explanations for this Fouad conference How- ever, the Tiinagh script seems to have also been disregarded during the Amazigh dynasties. Four Amazigh dynasties, Almoravids, Al- other factors at play that presumably had to do with the perceived mohads, Marinids and Wattasids, ruled the statuses of both the Arabic and the Tiinagh script at the time and, country from the 11th to the 16th century.

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Foucauld, Charles, vicomte de, —, the area — with the Arabic script Lguensat interview French priest and missionary in the Sa- Several examples of handwritten documents can be found in re- hara.

The collection of letters sent to Charles E. He settled near the by his Tuareg friends around — is probably the earliest and small village of Tamanrasset, where he pro- one of the most interesting instances of this kind.

These letters are duced his studies of Tuareg language and particularly notable as they allow the study of different hands on literature The Columbia Encyclopedia They certainly are not examples of a scribal tradition but might be helpful for seeing the inluence of handwriting on the letterforms.

Further preserved examples of hand writing in Tiinagh are not found until the s. The most signiicant ones are the transla- tions of the Gospel into the Tamachek language by the National Bi- ble Society of Scotland, and the transcription of the Little Prince also in the Tamachek language Fouad In this respect, the case of the Tiinagh script is, once again, quite a peculiar one.

There is neither a long typographical tradition nor a variety of type styles that could form the basis for any further designs. Moreover, printing types are extremely dificult to ind, which might be the reason why the books mentioned in section 3.

The alphabet is consonan- tal and written from right to left using Tuareg letters from the Azger and Ahaggar territories South Algeria. Punches were cut in by Bertrand Loeulliet un- der the direction of Hanoteau himself Imprimerie Nationale Apart from this and later books related to the Amazigh language printed in the Imprimerie Nationale, the only evi- dence found of the use of Tiinagh metal type is a small calendar book printed in Hamburg in as a specimen of exotic types for the J.

Overall, these few instances replicate the geometrical style of early engravings since no calligraphic tradition could be used as a model. In spite of that, the types are consistently built and look good in scattered words or sentences in grammar books or diction- aries their irst uses.

However, it is when set in long texts that the problems of monotony and uniformity begin to be observable for the irst time. Initially aimed at ofice work, they later became a convenient choice for many associations to produce cheap and short print-runs of their magazines or bulle- tins. In the case of the Tiinagh, the scarcity of printing types would have made that choice even more attractive. The irst example of a typewriter being used to produce the Tii- nagh script took place in During a period of growing inter- est in the Amazigh culture initiated in the s, some intellectu- als who gathered around the Amazigh magazine decided to create a typewriting machine Amazigh This was the irst typewriter capable of writing the Tiinagh script.

In this case the char- acters have a novel design by Hawad himself Figure 3. Date and original size unknown.

Being a unicase alphabet was probably another advantage to bear in mind. In any case, these machines were quickly superseded by the irst digital fonts available a few years later. The need for distinctive and striking posters and signs encouraged designers and sign-writers to experiment with new styles which, if not always suitable as text faces, certainly inluenced the taste of their times and subsequently the work of printers and typeface designers.

In the case of the Tiinagh script, the prevalence of the Latin and Arabic scripts — even today — makes it hard to ind good examples of lettering prior to the irst digital fonts.

The few cases encountered are low-quality reproductions of ephemera, posters and magazine headlines. Nonetheless, one of the most interesting aspects of these examples is that they give us the opportunity to observe how these three totally unrelated scripts are harmonised in different ways Figure 3. A unique type of ephemera — in the most extreme meaning of that word one could imagine — is the Tuareg custom of writing on the sand.

This technique is used mainly by women to teach the script to their children. Paradoxically, the ease and the availability of this highly ephemeral medium is probably the reason why the Tiinagh script has survived to this day in the Saharan territories. The design movements involved in this technique produce softer and more organic shapes — in opposition to the highly geometric engravings — that have not been suficiently explored in modern fonts so far Figure 3.


Some signs that would be lengthy to write with a pen — like multiple lines or dots — are easily traced in one single movement using two or three ingers. A separate case is the use of Tiinagh as a central or ornamental element on pictorial works — probably following the Amazigh tradi- tion of using these alphabetical signs for tattoos, pottery, jewellery and textiles.

Although beyond of the scope of typography, it high- lights the strong aesthetic and symbolic values of this alphabet as well as its common use as an identity signiier Figure 3. This fea- ture might also explain the profusion of Tiinagh display fonts avail- able nowadays see Appendix 3. Fouad The irst examples of Neotiinagh alphabets came into existence at a time when the standardisation of the script was still under- way see Section 2.

Based on the Tuareg alphabet from the Ahaggar, it excluded the lesser-used characters and added four new characters for vowels. It was used until in the Imazighen maga- zine. The irst known case of a system to write with the Tiinagh script on a computer dates back to Areski Nait-Abdallah, pro- fessor at the University of Western Ontario, devised a basic word processor called Awal Amazigh that allowed the Tiinagh characters to be written through an Amazigh interface.

In , the computer science professor Yannis Haralambous devel- oped two digital typefaces, Tii and Tiis, using tex and Metafont technologies. This remarkable project comprised not only two variants of the Tii- nagh script — for writing either from left to right or from right to left — but also the Arabic and the Latin scripts, allowing the writing of the Amazigh language in any of the three scripts. In the Paris-based systems engineer Arezqi Buzefran de- signed the fonts Massensen and Jugurthen.

The same year, the soft- ware company Arabia Ware Benelux conducted — in a joint initiative with linguists from different universities — a new attempt at stand- ardisation that resulted in the issue of the digital font Tawiza usu- ally referred to as Arabia Ware Benelux or awb in With the exception of the display font Jugurthen and the modu- lation trial presumably computer-assisted of Afus deg Wfus 2, nei- ther Agraw Imazighen nor the rest of its aforementioned sequels are as much typographic explorations as they are proposals to meet the need of a systematised alphabet.

The designs are not dissimi- lar in style — mostly geometric and monolinear. The differences are mainly due to linguistic concerns resulting in additions, substitu- tions or transformations of signs rather than a diversity of graphic styles Figure 3. The irst decade of the 21st century is probably the most inlu- ential regarding the development of digital fonts for Tiinagh and its consolidation as the script for the Amazigh language. The work of the ircam as well as other relevant projects that took place at the time will be dealt with in next chapter.

Figure 4. Related cases, either by chronology or the kind of problems addressed, are also studied and compared. Tifinagh Ircam Unicode: It had been developed by the Center for Infor- matics Studies, Information Systems and Communication ceisic in collaboration with other centres of the ircam, especially the Center for Language Planning cal , which reveals that it was not just a ty- pographic project, but a proposal for a deinitive standard alphabet for Amazigh.

According to the director of the ceisic Mr. Youssef Ait Ouguenguay interview May , standardisation was the priority, hence the adoption of the traditional geometric style — much the same as its predecessors — without a deep relection on aesthetic or stylistic questions.

Some of the problems derived from this approach were already pointed out in Section 2. Overall, its pecu- liar morphology — no stroke contrast, pure geometric forms, sharp pointed corners — recalls the most extreme examples of geometric sans serifs of the 20th century Futura, Avant Garde, etc.

The font was irst used in the magazine Proloc in , and today is common in school books published in Amazigh. It has become the current model for a Tiinagh standard. Remarkably, in spite of the drawbacks mentioned and the current availability of new fonts, many authors and publishers still prefer Tiinagh Ircam Unicode for Amazigh texts Lguensat interview. Meetei Mayek The case of Meetei Mayek — a script used in the Indian state of Ma- nipur to write the Meeteilon language — replicates the pattern of Tiinagh as a writing system that falls into disuse because it is re- placed by another one, and that is later claimed as an autochtho- nous cultural asset and eventually reintroduced.

However, three differences might be outlined between them: These additions are encoded within the Pri- vate Use Areas of Unicode, a range of unassigned code points whose deinition is left to private agree- ment. Texture in long texts is still uneven. The geometry of the shapes is more consistent and the smallest counters have been enlarged improving readability and eveness.

Probably based on Tamalout Figure 4. The work of several committees resulted eventually in the oficial approval of an alphabet of 27 letters in the s Figure 4. It was not until , however, that it became a part of the academic cur- riculum. In it was included in the Unicode system. Regarding their design, the irst digital fonts for Meetei Mayek are also monolinear, as that is how letters had been written or in- scribed in the past.

Later releases explore new styles using modu- lation or adding weights as a way to enlarge the graphic repertoire of the script. A parallel development is observed in Tiinagh see Section 4. Both scripts, Tiinagh and Meetei Mayek, face similar challenges as they pursue their acceptance and adoption as autochthonous writing systems in contexts in which the foreign scripts that re- placed them have become common.

These contexts are particu- larly interesting since they allow the study of revivals of little-used scripts and their transformation into modern usable writing sys- tems, as well as the monitoring of the social, political and techno- logical implications of these systemic changes almost in real time.

How these two related processes unfold in the near future is an intriguing question, but what is apparent is that both could beneit from the lessons learned by the other. Related contemporary fonts Source: Kshetrimayum The irst decade of the 21st century witnesses a profusion of new Tiinagh fonts. Most of them adhere to the ircam Unicode standard although new developments address the Tiinagh question from different points of view.

In its char- acter set, the standard Tiinagh is properly encoded but, besides that, it includes an extraordinary amount of alternate characters and ligatures that allow setting text in most Amazigh variants.

These additions, however, cannot be encoded within the standard Unicode allocation for Tiinagh, which limits its use in computer-as- sisted devices or websites Figure 4. Alternatively, Ebrima Microsoft was designed to support a large number of African languages.

Apart from the standard Tii- nagh, it comprises the Nko, Vai, and Osmanya writing systems as well as a Latin set with additional diacritical marks used in lan- guages throughout Africa including Latin for Amazigh. All the scripts are consistently designed in a sans serif style and, conse- quently, Tiinagh retains its characteristic monolinear geometric shapes. It was released as part of the Windows operating system, versions 7 and 8 Figure 4.

A similar but wider endeavour drives Deja Vu — a multilingual collaborative open source development based on Bitstream Vera Its latest update v.

Although three styles are available — sans, serif and mono — only the sans version includes Tiinagh Figure 4. Less sharp and more consistent than its predecessor Tifinagh Ircam Unicode. It has bigger counters and more even proportions.

Standard 24pt. First trials wtih modulated strokes. First trials with serifs in a false monospaced design. Display fonts inspired by Impact. Standard 36pt. Noufouss 36pt.

Sans serif high-contrast display fonts. Calligraphic copperplate-style display font. They are mostly dis- play fonts that do not address the speciic problems of the Tiinagh script in long texts — namely readability and style uniformity. It was originally introduced to Mac users in Mac OS 9.

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Rip audio CDs and convert music files. More Spotify 1. Spotify is a new way to enjoy music. Inthe ircam undertook an ambitious standardisation plan with the twofold purpose of maintaining as far as possible the graphemes in the different Tiinagh variants — ancient and current — while adapting the new alphabet to the structures of the standard Amazigh.

But, most forms in other alphabets — like Greek, Latin or Cyrillic — in which the capital letters signiicantly, these interactions beyond the scope of the writing sys- have related or even identical shapes. This also may lrcam why epigraphic styles, like the was such a profusion lahin experimental type- Roman capitals or the Tiinagh script itself, have not tiifinagh to the faces. Publier les commentaires Atom. Degrees of complexity, stroke continuity Reduction by omission of details and types of combinations in complicated characters were studied Parts preserved with a twofold purpose: Aghali-Zakara reports that numbers are plete the letters of the Tiinagh block.

The same year, the soft- ware company Arabia Ware Altin ricam — in a joint initiative with linguists from different universities — a new attempt at stand- ardisation that resulted in the issue of the digital font Tawiza usu- ally referred to as Arabia Ware Benelux or awb in That means that every language using a bicameral script has a set of rules for capitalisation that, as likely as not, differ from each other.

It is a stylistic exercise that only tifinaagh addresses the issues of readability and cursive- ness. As a result, its use for writing Amazigh is still scarce and far behind the latinn of the tifinagu two prevalent writing systems in North Africa today, namely Arabic and Latin. It is worth noting that up to this point there was no reference to any writing tool. Roubaix France Knight, Stan. The lack of manuscripts is partly explained by the fact that the script was never used to write literary or oficial documents.

Finally, some examples of the Tii- nagh script obtained during the ield trip tifinxgh shown in their context. In some ways, the lowercase Roman letters inherited characteristics from both the capital and the cursive alphabets Figure 5.