The Crystal Cider Bowl

The following article summarises the research programme conducted by type designer Jeanne Saliou at the Atelier national de recherche typographique (ANRT, Nancy) between September 2023 and May 2025. The reflections on languages and their “typographic container” shared here form the theoretical basis for the design of Bilzig, a typeface initiated at the ANRT and developed with Skritur.

Writer Jeanne Saliou
Editors Thomas Huot-Marchand, Yoann De Roeck
Drawings Maïlis Michel

Typography is a relevant tool in the representation and transmission of minority languages. Breton, a Brittonic Celtic tongue, clearly illustrates the contemporary challenges related to the preservation of these languages. During the 20th century, it experienced a rapid decline linked to the weakening of its intergenerational transmission and a long-standing unfavorable institutional context. However, for the past few decades, a revitalization movement has been gaining momentum. Bilingual education, publications, artistic creation, translation of digital interfaces and software: these initiatives are all contributing to restoring visibility and legitimacy to the language. This revitalization is also accompanied by debates surrounding the desire for unification and respect for dialectal diversity, the affirmation of identity, and adaptation to contemporary usage.

This research project, which examines the role of typography in the preservation and evolution of minority languages, takes as its starting point the observation of text behavior in Breton. How can a typeface contribute to the readability, vitality, and recognition of Breton? Designed to cover and support the wide range of uses of written Breton as precisely as possible, this typeface aims to promote extended reading while incorporating current concerns such as inclusive writing and digital practices. Through this lens, the research also explores the responsibility of designers in the face of the symbolic weight of typographic forms and the cultural narratives they convey.

For Béatrice Warde, in her essay “The Crystal Goblet, or Printing Should Be Invisible,” typography, by its very nature, should efface itself behind the content. Yet, in a context of geographically situated creation, where typefaces participate in asserting a linguistic presence, how can we negotiate this tension between invisibility and expression? Why and how can we conceive of typography that is simultaneously a functional tool, a political gesture, and an affirmation of linguistic presence? To what extent do designers intervene in this context—in creation, mediation, or translation? And, more broadly, what role can typography play in processes of linguistic revitalization?

1. “The Crystal Goblet, or Printing Should Be Invisible” — Béatrice Warde, in a folkloric Breton bowl.

Contemporary Graphic and Typographic Practices in Brittany
Breton is a Brythonic Celtic language, closely related to Welsh, transcribed using the Latin alphabet, with its earliest written traces dating back to the Middle Ages. From the 18th century onward, the Jesuits, faced with the monolingual Breton-speaking population of Lower Brittany, undertook the writing of grammars and teaching methods. These writings established, for the first time, certain rules and notations, notably those of consonant mutations, which were now transcribed in writing.

In the 19th century, spellings diverged from region to region. The classical orthography developed by the Jesuits became the standard in the Breton of Cornouaille, Léon, and Trégor (KLT), while another developed for the Vannes dialect. Jean-François Le Gonidec then profoundly reformed the written language: he introduced a phonetic spelling, free from the French model, generalizing in particular the use of k and g. His reform, then its dissemination in Troude's dictionary, laid the foundations of modern Breton.

2. Map of countries of Brittany, we distinguish between lower Brittany, with a Breton-speaking majority, and upper Brittany, with a Gallo-speaking majority.

The standardization of the 20th century saw the emergence of peurunvan, a “unified”, “perfectly finished”, or “neo-Breton” orthography, depending on the nicknames given to it. This system, dominant today, coexists with other variants, such as skolveurieg (academic) and etrerannyezhel (interdialectal), creating a degree of graphic heterogeneity. Breton is visually distinguished by the abundance of digraphs (zh, ou, ch, gn) and a compact textual structure marked by elisions and short words. Typographically, the frequency of the letters k, v, w, and y accentuates the presence of slanted strokes. Consonants strongly structure the text, while endings in -où, -ed, or -ek create repetitive patterns. At the heart of this graphic and identity-based diversity lies a more recent approach, at the crossroads of linguistic and social issues: inclusive writing in Breton..

A Fortuitous and Fortunate Encounter
Inclusive writing in Breton, like that developed in French, responds to a need for representation. These initiatives, rooted in broader social struggles, are part of a collective effort to modernize and revitalize the language.

The community of practice surrounding this inclusive writing is composed primarily of young speakers, feminist and queer activists, teachers, and linguists. Their goal is to evolve the language while respecting its grammar, its musicality, and its specific characteristics. By making the language more inclusive, these actors also contribute to its transmission and its appeal to new generations. This dynamic is part of a broader movement to revitalize Breton.

3. 3· Examples of French/Breton melted inclusive ligatures, composed in Bilzig.

In this context, the integration of consonant mutations* following a logic similar to inclusive ligature, a new experimental field opens up. These mutations, central elements of Breton grammar, reflect a linguistic flexibility that typographic design can highlight. For years, in Breton publishing, the problem of consonantal mutation in proper nouns was addressed using hyphens or slashes. The proposal of a blended ligature makes writing more fluid and adds another element to compositional choices. By making these variations visible through graphic devices, it becomes possible to articulate learning, aesthetics, and inclusion. This approach makes Breton a living, malleable language, capable of engaging with contemporary issues and fully expressing itself through typographic creation.

This reflection on the graphic plasticity of Breton naturally leads to an examination of the history of its typographic forms, whose evolution accompanies and reflects the construction of the language's own identity.

4. Examples of melted ligatures “consonantal mutation”, compound in Bilzig.

* Consonant mutation is a phonetic modification in which the consonant of a word changes according to its morphological or syntactic environment.

Hypotheses for a Breton Script
The history of Breton typography is intimately linked to the construction of the region's identity. Over the centuries, certain letterforms have become established as symbols of "Bretonness" (uncial script, typefaces inspired by the Seiz Breur). Typography actively participates in the representation of the territory and the collective narrative of its identity.

From the 18th century onward, a visual symbol emerged: uncial script. Of Irish origin, this medieval calligraphy with its rounded capitals gradually became a recognized script, perceived as Breton. Typefaces like Libra, created by the Dutchman Sjoerd Hendrik de Roos, or Vulcain, inspired by Art Deco, were progressively integrated into the local visual imagination. Their "Bretonness" is not "original," but rather acquired through use: it is their repeated appropriation within a regional context that confers this identity upon them.

In the 1920s and 1930s, this appropriation was part of a broader context: the first Breton cultural revival. The interwar period saw the emergence of an artistic and activist renewal fueled by Pan-Celticism (an ideology aiming to link Brittany to its "Celtic sisters": Ireland, Scotland, Wales, and Galicia). This movement, both cultural and political, sought to reaffirm Breton distinctiveness in the face of French assimilation. It was in this climate that the Ar Seiz Breur movement emerged, a collective founded in 1923 by Jeanne Malivel and René-Yves Creston. By integrating traditional motifs and modern influences (Art Deco, Arts & Crafts), they invented a contemporary Breton aesthetic. Their work laid the foundations for a modern Breton graphic identity, which could almost be considered a cliché today, given the abundance of references to it in the field of contemporary Breton design.

The second revival, in the 1970s, unfolded within a different context: the folk revival and social struggles. For music, the Lorient Interceltic Festival, and the resurgence of the fest-noz (traditional Breton dance party) contributed to a renewed sense of belonging. This movement was accompanied by a flourishing of graphic design: handcrafted posters, Celtic-inspired typography, interlacing patterns, spirals, and Irish motifs. These forms, sometimes stereotypical, reflect a sincere desire for cultural reappropriation, but also reveal the limitations of an identity-based style frozen in ornamentation.

5.
• Gilles Servat, Georges Catho, 1985, musée département Breton.
• Mouez ar Mor, non signé, 1975, musée de Bretagne.
• Tri Yann, non signé, 1970, musée département Breton.
• Festival Folk Fest-Noz, non signé, 1978, IDBE.
• Glenmor, Loïc Tréhin, vers 1980, musée de Bretagne.
• Sant Pol pedit evidomp, Pierre Péron, 1935, galerie Saluden.

Today, redefining Breton typography cannot be limited to citing old forms or reproducing inherited codes. It is less about imitation than about understanding the intentions, the contexts, and the uses. A nuanced knowledge of this graphic heritage is essential, not to submit to it, but to draw lucid inspiration from it. Readability, clarity of form, and appropriateness of tone must take precedence over the pursuit of an immediate sense of identity. Contemporary design must be grounded in intuition, sensitivity, and functionality in order to extend this heritage without resorting to pastiche. These contemporary experiments, by reconnecting with the visual and expressive dimension of Breton, extend a longer history in which typography played a central role in representing linguistic and cultural identity.

6.
• Logo of the Brittany region using the eponymous typeface. Here, in Breton, French, and Gallo versions.
• Excerpt from the specimen of Brito Tri, Skritur, 2013.
• Catholicon, anonymous, 1499. PDF available at Catholicon.net.

What are the implications for typographic design in a context of regional linguistic plurality (French/Breton/Gallo)?
In a context of regional linguistic plurality like that of Brittany, where French, Breton, and Gallo coexist, typographic design faces specific challenges. Each language possesses its own graphic, phonetic, and sociocultural characteristics, directly influencing the design and use of typefaces. The case of Gallo is particularly delicate. A language with a poorly developed written tradition, it suffers from a lack of orthographic standardization. Currently, no fewer than five standardization proposals exist, none of which has achieved consensus. This fragmentation makes typographic design difficult: how to choose appropriate typefaces when orthographic conventions vary from one corpus to another? Gallo has long suffered from a form of internalized Gallophobia, often relegated to the status of a "patois" and undervalued by its own speakers. Paradoxically, the recent interest of Breton-speaking communities in this previously neglected language could foster a new dynamic of visibility and legitimacy, including in the field of typography. While the lack of standardization may seem like an obstacle, it can also be seen as an opportunity: the chance to invent hybrid typefaces capable of meeting the needs of linguistic diversity without rigidifying practices. Typography has a role to play in the recognition and dissemination of Gallo, just as it does for Breton. The challenge then becomes designing graphic tools that accompany the evolution of usage, rather than prematurely freezing it.

Textual Behavior as a Starting Point
One might question how to translate the linguistic dynamics of Breton and Gallo into typographic forms. How to assert an identity without sacrificing readability, how to integrate cultural references while avoiding clichés. The design of the letters becomes a space for negotiating expression and functionality, particularly in a multilingual context (French, Breton, Gallo).

The slanted strokes of the letters k, v, w, y, and z structure the visual rhythm of Breton. Emphasizing them energizes the text but risks compromising readability, while softening them ensures stability and clarity. Working with the tilde and the digraphs ch/c’h extends this reflection: merging the letters or adjusting the diacritics allows for a unified text without clutter. These typographic choices oscillate between readability and asserting identity. Finally, contextual alternates inspired by Celtic manuscripts offer a measured way of experimenting, introducing rhythm and visual musicality without compromising the coherence of the text.

7. K diagonal stroke et G diagonal stroke, lowercase and uppercase.

Designing a typeface for Brittonic languages requires respecting their specific orthographic and graphic features. Breton, with its ñ, ù, its digraphs ch/c’h, and its distinctive symbols (such as the diagonal stroke k and g), illustrates the need for precise adjustments to guarantee legibility and consistency. Gallo, the Oïl language of Upper Brittany, suffers from a lack of a written standard (although the ABCD spelling seems to be gaining ground) and low recognition, which could hinder the emergence of a distinct typographic identity. In comparison, Welsh incorporates its digraphs as fully-fledged letters, and the Gaelic languages perpetuate a unique graphic tradition with their insular alphabet.

The approach favors restrained expressiveness: certain glyphs, such as G, g, or Q, become spaces for experimentation. This balancing act is also evident in the management of contrast, curves, and proportions. A low contrast, robust and welcoming forms seek to reconcile solidity and conviviality. Each choice stems from a compromise between historical accuracy, structural coherence, and readability, avoiding both a purely decorative effect and empty neutrality.

Finally, the question of a "regional" typographic aesthetic is approached with critical distance. Contributing to the visibility of written Breton implies embracing a degree of cultural identity, without freezing the aesthetic into a folkloric vision. The project is therefore based on observation and adaptation: drawing on Breton graphic culture to nourish contemporary creation, without instrumentalizing it. It is not about claiming a fixed typographic identity, but about experimenting with the possible forms of a grounded, coherent, and vibrant visual language.

This project explores typography as a space for articulation between culture, language, and politics. By designing a typeface adapted to Breton, he explores how symbols, diacritics, and ligatures can convey linguistic and social issues. Far from a rigid regionalism, the approach aims to reconcile local roots with contemporary usage, while also raising the question of typography's role in revitalizing minority languages. While typography alone cannot guarantee their survival, it contributes to their visibility and thus their symbolic recognition. The project's future lies in its openness: expansion to other Celtic languages, further research on legibility, and exploration of digital uses. The creation of a typeface for Breton illustrates how typography can be both a functional tool and a vehicle for cultural vitality.

8. Bilzig, a typeface for contemporary Breton, drawing by Maïlis Michel, 2025.

Bilzig, a typeface for contemporary Breton
Bilzig originated from a large-scale research project conducted at the National Atelier for Typographic Research (ANRT) in Nancy by Jeanne Saliou. This typeface builds upon typographic and linguistic observations made regarding the behavior of text in Breton, and hypotheses formulated on the plasticity of forms in a multilingual context. Designed as both a functional and experimental tool, Bilzig meets the specific needs of Breton while integrating contemporary issues related to inclusive writing, consonant shifts, and digital reading. It is published by Skritur, a Breton type foundry committed to exploring contemporary typefaces for Celtic languages.

Its design, conceived to facilitate extended reading, covers a wide range of uses: French, Breton, Gallo, Welsh, and more broadly, all European languages. Bilzig incorporates several stylistic sets that can be activated depending on the language: Brezhoneg for Breton, Gallo for Gallo, Cymraeg for Welsh, and Uncial alternates to evoke the island tradition. Each of these sets adapts the shapes of the glyphs, ligatures, and diacritics to the corresponding linguistic needs, rounding the oblique letters of Welsh, adapting the digraphs of Breton, or introducing ligatures specific to the frequent pairs in Gallo.

The typographic treatment of consonant mutations, a grammatical peculiarity of Breton, is one of the key aspects of the project. Where editorial practice simply uses dashes or slashes to indicate the mutation of proper nouns, Bilzig proposes a system of blended ligatures, unifying the original letter and its mutated form in a single sign. This innovative system makes reading more fluid while highlighting a major linguistic specificity.

Finally, Bilzig extends this logic to inclusive writing: inserting a midpoint between two letters automatically creates a mixed ligature that is both legible and harmonious. This process, designed for both French and Breton, further explores the representation of gender diversity in typography.

Thus, Bilzig demonstrates how typographic research can contribute to the vitality of minority languages by providing them with appropriate tools for expression.

Jeanne Saliou, november 2025

Links
This article is also published on the ANRT website, which can be viewed here
There is also a recording of the project defence before the jury, which can be viewed here

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