Why new typefaces? -- The nature of sanserif and the significance of Univers (E. Ruder) -- Why Univers was designed and how it developed -- New possibilities for designers -- Typefaces and printing techniques: Meridien -- Constructivism in type design: on Serifa (E. Ruder) -- On the planning of a typeface: Serifa as example -- New techniques, new craftmanship -- Type as a worldwide means of communication -- The graphology of the centuries -- Specific phototype faces for offset and gravure -- Typewriter composition as a new possibility: Univers on the IBM Composer -- Type recognised by the computer -- OCR-B: a typeface for the automatic (optical) reading of texts -- The computer as aid to drawing -- The limits of the automatic modification of typefaces -- Typefaces and their legibility -- Type in the environment and in architectue -- Letteringfor the Paris Metro -- The EDF-GDF alphabet -- Lettring system for Paris (Charles de Gaulle) Airport -- Digital typeface design for movable indicators -- Script of foreign cultures -- Can the sacred script of India be modernised? -- Work on the Devanagari script -- Work on the Tamil Script -- Logotypes -- How a logtype is designed -- From logotype to company image -- Signs and symbols -- Signs for the Air France timetable -- Non-figurative vignettes for the Koran -- Symbolic pictures or pictorial symbols -- Symbolic expression through the transformation of a sign -- Developments -- Symbolic vignettes -- Symbolic interpretations of the theme of love, life and death -- Symbols of western dualism -- Artistic creation with matter and light -- On free graphic representations (Maurice Besset) -- Woodcut sequence: "Genesis" -- "Urgarten": a marble relief -- Concrete letteringat the railway station of Roissy (H.R. Schneebeli).