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\centerline{\bf DIDOT}
\centerline{\bf European project for training}
\centerline{\bf  in
numerical typography}  
\smallskip
\noindent
The Laboratory of Peripheral Systems of the Polytechnic of Lausanne is
preparing a project for continual training in digital typography.  This 
project seeks to establish a European system for training for typographers 
and artists with a view to enabling them to use new creative tools and for 
computer experts in order to make them competent to create these new tools.  
This training therefore would be carried out by mixing the two groups in 
shared seminars.  In fact, the purposes the project are several:

\item{\blt}To prepare a curriculum which would define the type of training
which
	would be carried out;
\item{\blt}To define tools, especially computer-assisted, for this instruction;
\item{\blt}To organise short duration courses to validate these methods;
\item{\blt}To anticipate the training of instructors in professional schools.
\smallskip
\leftline{\sl Objectives of the project Didot}
\noindent 
The object of project {\sc Didot} (`Digitalisation and Design of
Typefaces') is to conceive, to equip and to evaluate a European programme of
instruction in digital typography for computer experts and graphical arts
specialists.  This area includes not just the creation and use of fonts (and
more generally logos, drawings, etc.) in printing or for laser printers, but
also for all sorts of displays, computers, television, etc.,
tele-distribution, (of which fax. is just a first sketch) their storage
(CD-ROM, for example) etc.  In other words, this sector is an important one,
even though this is not always recognised. 
\smallskip
\leftline{\sl Reasons for the project and its origin}
\noindent 
While the great typographical inventors 
	(Gutenberg,  Baskerville, Mergenthaler, Higgonnet and Moyroud, Karow,
B\'ezier, etc) are European in origin, the market in typefaces has for a
number of years been	in the hands of some American firms. (ITC, Bitstream,
Adobe, Allied,	etc).  By a market we mean the market of the artistic creation
of the	font and its `giving it a number' and finally its distribution.  The
	recent font-war (choice of a standard) proves that very adequately.
	Europe could be better placed in this market thanks to a better
	knowledge of the new technologies, hence the need for a formation which
	is `state-of-the-art' and mixed (computer specialists and
	graphical specialists). 
  Didot is also the
name of a whole French dynasty of font-engravers, founders, printers or
booksellers, whose activity spans more than three centuries.  The most famous
are probably Fran\c coise Ambroise Didot (1704--1804) who gave his name to the
Didot point, a typographical unit still used in most European countries 
and his son Firmin Didot, (1765--1836) who drew `Le Didot'.

The state-of-the-art technology have reached a certain maturity.  On
	the other hand, training in this area remains very localised  and
	Europe remains thus dependent on countries which do not necessarily
	share its culture. 

The modern display interfaces (NeWS, Display \PS) and programs on
	page printers are based upon derivatives of the page descripion language
	\PS.  It is essential that European industrialists should be
	capable of developing their own controllers for displays, printers and
	phototypesetters based upon such a language. 

Very soon, all computer and office systems will incorporate extensive
	typographic possibilities/facilities; it is therefore essential to bring
	together European typographers, computer specialists and industrialists.
	This training will permit the exchange of information between teachers
	and students from diverse industrial academic and artistic backgrounds.
	It ought to be possible to obtain a very significant synergistic result.



\smallskip
\leftline{\sl Types of activities and training be undertaken}
\noindent 
The principal activities of project {\sc Didot} therefore concern the
preparation of a curriculum and associated tools.  At the same time, training
will be  carried out with a view to validating this program of instruction. 
The types of training to be carried out concern, for example, 

\item{\blt}For typographers who create fonts, how to use the new computer
	  tools

\item{\blt}For computer specialists of PME, the bases of classic typography,
	  the computer-based techniques of rasterisation, etc., 

\item{\blt}For specialists in office equipment, (distance distribution,
	  storing CD-ROM, etc) standards and servers for fonts.

\item{\blt}For researchers in typography, how these new technologies 
	  enable new developments in typography.

\smallskip
\leftline{\sl Proposals}
\noindent
Project {\sc Didot} therefore proposes: 
\item{\blt}To prepare in collaboration with the PME who are concerned and
	   with typographers and computer experts and researchers who are
	   computer experts in this domain a curriculum; that is to say,
	   to conceive a programme of courses in digital typography
\item{\blt}To develop tools for this training both CAI tools for teaching
	   in groups and for individuals
\item{\blt}To validate these tools in training sessions.
\item{\blt}To train the instructors on the relevant professional courses,
	   e.g art school, high school of graphic art and printing, so
	   that they can instruct their pupils in the new technologies.

\noindent The organisers have already been involved in attempts at training of
this kind -- the INRIA school `Typography and Computer at Rennes, 1985', and
Aussois, 1987 `colloquium on digital typography at Sophia-Antipolis (1987)'
`Raster Imaging and Digital Typography at Lausanne, 1989'.  Conference on
Electronic Publishing at Nice, 1988; as well as many courses of a more
academic nature at EPFL Lausanne  and at the University of Rennes. 
These have always been successful both with PME and with researchers.


\smallskip
\leftline{\sl Results to be obtained}
\noindent
\item{\blt}To introduce font designers and logo designers to the new
	   technology, and notably to the use of computer-based systems

\item{\blt}To initiate computer experts in the problems of traditional
	  or digital typography

\item{\blt}To enable European industrialists to acquire the knowlege
	  necessary to develop an \PS-like interpreter and to
	  follow the work of international groups working on standardisation

\item{\blt}To bring about, through the contact of these groups and 
	  through the presence of motivated instructors a symbiosis
	  whose indirect fallout ought to be the creation of new tools
	  adapted to meet the true needs of creators and users.
\smallskip
\leftline{\sl  Input required}
\noindent
This project will be presented at the end of February 1990, under the title
`{\sc Didot}' within the auspices of the Comet-2 programme to the European
Community.

In order to give it weight, we wish to demonstrate that this indeed
coresponds to a need both of typopgraphers and of industrialists and
researchers.  We would therefore like to hear from your institution
telling us what you think of this project.  We are at your disposal for
further information.

\rightline{\sl 		Jacques Andr\'e \&amp;		Roger Hersch}
\rightline{\sl (translated by Malcolm Smith)}
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