The TypeLab at Typographics 2023 will host a series of informal work­shops, demos, inter­views, experiments, and more.

TypeLab is an informal, multi-day, typographic hackathon coordinated by Petr van Blokland to complement to the main Typographics conference and workshops. Like the original TypeLab events in the 1990s, it is a place for people to meet and talk about type and design with an informal structure that allows more spontaneity and interaction than typical mainstage conference events.

This year’s TypeLab will be a hybrid schedule, with a combination of in-person events in New York and online events around the globe, with hosts and participants livestreaming on three parallel channels over three separate days.

Attending TypeLab

TypeLab Americas

Hosted by Dual Type.

TypeLab Europe

Hosted by Petr van Blokland with Maarten Renckens

TypeLab Asia

Hosted by Universal Thirst, Sirin Gunkloy, Jo Malinis, and Yingtong Tan

Day 1

June 13*
All events will be hosted online but a viewing headquarters and streaming command center will be open to the public at Cooper Union with free registration. All events will be hosted online. Registration is free.

Day 2

June 15*
All events will be hosted in-person at Cooper Union, with livestream available online. Open to the public with free registration.

Day 3

June 20*
Same setup as Day 1.

*The dates above are based on the time zone for NYC. See the detailed schedule below for dates and times adjusted to your current local time zone.

Register for free to attend TypeLab online or in person
  • In-person TypeLab events and a viewing headquarters for streaming events will be free and open to the public at 41 Cooper Square in NYC, just across the street from the Great Hall where the main Typographics conference will be taking place.

  • All TypeLab channels will be streaming on Zoom. Each of our 3 international hosts will manage their own separate Zoom meetings.

  • TypeLab participants are subject to our Code of Conduct & Policies. If you do not agree to these conditions, do not register or attend any TypeLab events.

  • TypeLab registration is separate from the main Typographics conference and workshops. You must register for those events separately.

More details about the schedule and attending TypeLab will be posted in coming weeks. For updates and announce­ments, join the Typographics mailing list and follow Typographics on Mastodon, Twitter, and Instagram.

Propose an Event

Have an idea for an event to include in the TypeLab program? Fill out the submission form with the details and the TypeLab organizing team will consider it for the schedule.

Submit a proposal

TypeLab Schedule

TypeLab events will proceed around the clock for three separate days.

The TypeLab schedule is always very much subject to change at any time, without notice. Event programming will constantly evolve until the final event has ended, allowing for spontaneous alterations and additions as space and time allow. Feel free to submit a proposal for an event to include in the TypeLab program.

For updates and announce­ments, join the Typographics mailing list and follow Typographics on Mastodon, Twitter, and Instagram.

TypeLab Day 1

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

This lecture traces the last five years of curriculum development in the three-year BA(Hons) in Communication Design programme at the LASALLE College of the Arts with regards to teaching typography as a system. Presented through the lens of two lecturers (Gideon Kong, Vikas Kailankaje), we hope to provide a survey of workshops, projects, practitioners and highlight some outcomes from the last five years (2018–23). An appreciation for raster (grid), construction of letterforms and production is cultivated by understanding typography in relation to the page, visual narratives, media, and branding. The systems-based approach is embedded in components, whether outcomes harness computational methods, are prepared for print or composed with motion in mind. The list of fellow practitioners who have made significant contributions include Andreas Schlegel, Darius Ou, Mark De Winne, Melvin Tan, Randy Yeo, and Tan Ying Tong.

A work-in-progress typeface is designed to visualize the long-standing cultural practices in the Philippines.

TypeChat started in 2015, and is the very first Mandarin podcast on typography. During its seven years, it has produced over 17,000 minutes of interesting typographic knowledge and stories, interviews of type designers and all kind of trends and news of the type world.

As its producer and co-host, Eric will explain why and how TypeChat is produced, and the passion behind it. He will also present the award-winning monthly journal that the program provides to paid subscribers, which make this creative activity more healthily community-supported. These experiences may give us some ideas or inspirations for building type community.

What happens when a Type Designer living in Chennai city, Tamil Nadu, India is flooded with pop, traditional, handwritten, printed, wall painted and stylish tamil typography everywhere? She stops everywhere to document all typography around her. Join in to this session where Prapanja, a Tamil Type designer shares Archiena’s typo world from Chennai City, India.

Fight for Kindness is a non-profit campaign based on community participation that aims to use typography as a medium to spread messages of positivity. TypeCampus, an educational platform by Zetafonts, has launched an open call for all designers world-wide to submit typographic artworks that communicate the importance and need for kindness and empathy in today’s world.

In honour of World Kindness Day (November 13th), this is a project that aims to unite the design communities, enhancing the typographic content in all its potential. Starting in 2022, designers from all over the world were invited to create typographic messages that would spread the theme of kindness in all its facets: from empathy to peace, encompassing attitudes of altruism and inspiring a positive change in the community.

Over 150 submissions were received from designers originating from 20+ different nationalities, enthusiastically embracing the cause, creating typographic works for the 2022 campaign. Powered and proudly developed by an all female team, part of Ligature Srl, consisting of Shrishti Vajpai, Isabella Ahmadzadeh, Sofia Bandini, Veronica Iodice led by Debora Manetti for the design strategy, the “Fight for Kindness” campaign utilises words and their meaning for good. TypeCampus concluded the 2022 edition with a multi-location exhibition, simultaneously exhibited in several countries around the world in the week leading to November 13: France, Spain, Bulgaria, United States and Italy.

After the success of the 2022 edition, Fight for Kindness is now open for entries for the 2023 edition!

Vinyl stickers that adorn vehicles are an imperative part of the visual landscape of Bangalore, these images-in-motion go beyond decorating the bare automotive panels they reside on, to provide an insight into collective identities, belongings, aspirations and desires. These stickers are manifested as appropriated imagery, brand marks, custom type and many other facets of graphic design. This project involved an obsessive study into these stickers, chronicling their taxonomy, production and ecosystems they inhabit. These stickers are dismantled and geometrically reconstructed to understand their mechanics, all the while injecting and acknowledging a deeper sense of purpose, power and worth. I’ll be sharing my experience and work revolving around these stickers, which was part of my thesis project

Street Type Archive is an ongoing photo art project documenting vernacular typography of cities from around the world. I will present a short photo presentation of the work made from a selection of cities, spanning a decade.

An existing talk that I give talking about how I got started, my process and some projects.

Translation in Type design is usually referred as localization. Logos, movie titles, book covers are often being designed in multiple versions in different languages: think about netflix movies in all the different countries they being broadcasted. Same with books and their titles. But what is it look like when an entire comic book packed with hand drawn letterings and text based graphics being translated to another language? “Space Dumplings”: the lettering localization process of 100+ pages and hundreds of panels to the smallest detail from the cover title through neon storefront signages to the tattoos of their characters…

Peppertown Types is a project of mine where i analysed Malayalam and Hebrew Scripts on various signages. I will share my findings and awesome pretty Signs from my last typewalk workshops. For this I’m taking the signs from the heritage city, Mattancherry, Kochi, India. Also this city is famous of trading of Pepper in large scale with the Portugese people. This city have a great connection with Jews and Portugese including Vasco Da Gama, etc. So I have few Signages on Hebrew, Malayalam, Dutch style etc

Opening of the day. The full day of July, 13th, can also be followed via this livestream: https://www.youtube.com/watch?v=JlftLi71-B0. This stream will start working at the moment that the hosts are online.

We’ll offer a walking tour of Tipoteca Italiana, Italy’s premier printing and typography museum. In addition to their outstanding collection of Art Nouveau and Art Deco typefaces we’ll also feature the work of learners while they’re participating in TipoItalia`23, a letterpress and type design workshop taking place in the museum on June 13: http://www.tipoteca.it/en/evento/tipoitalia23/

Hiragana is a group of phonograms that evolved from Kanji characters. In this video our expert type designer shows how the letterforms of Hiragana transformed from Kanji by drawing all 46 characters.

Introducing the Syrian Design Archive: an inspiring non-profit documentary project initiated by a trio of talented Syrian designers named Kinda, Hala, and Sally. This remarkable archive serves as a testament to the extraordinary heritage of Syrian design, particularly in a time characterized by rapid technological advancements. It meticulously captures and showcases an array of diverse design elements, including vintage street shop signage, captivating movie and series titles, intricate stamps, captivating books, eye-catching flyers, and numerous other intriguing forms of printed and non-printed materials. The Syrian Design Archive stands as a celebratory homage to the rich design traditions of Syria.

Cuneiform is a multilingual script. Even though introduced to Unicode long ago, scholars in Ancient Oriental Studies are well aware of the fact that a bit more may actually be needed to let it really make sense in the context of modern-day media. Now, a new font family is produced, aimed at rendering complex sign lists by taking into account the different stages of development as well as a small universe of language variants. In close exchange with people active in the field, a web-based multilingual input method is under development, improving and widening the visual display of Cuneiform signs in a digital surrounding while keeping up the typographic standards of Roman transliteration systems used in science today. The project, requiring both a basic knowledge of Cuneiform writing, history, and the necessities of its present-day usage, no less than skills in typeface design, typography, and coding. It represents an individual answer to the question what a typeface designer could actually do for science.

Inspired by the sculptural works of Luis Ortiz Monasterio, informed by a dive into brush lettering, and driven by an uncovered nostalgia. Monasterio was Habib Placencia’s thesis project under the online Type West program of 2021. This presentation hopes to recover, document, and walkthrough the process—including the honest mistakes, the aha moments, and the at-a-distance-post-program realizations—behind the project.

In my personal practice of lettering/calligraphy, I have always experimented with styles/techniques/treatments that add more meaning to the word/phrase itself. My presentation will focus on many such examples and my process on how I try to achieve this layer of emotion/meaning.

To understand the reading process and to optimise type designs for reading, I did experiments on brain activity and eye movements. I am sharing the findings of this first exploratory research which I did a long time ago.

In this talk, Héctor Mangas and Kevin King will present the research-based, community-centred approach taken at Typotheque towards identifying local typographic preferences and requirements in North American Indigenous language communities, and how these preferences can be supported in resulting typefaces tailored specifically for individual communities. Through this approach, Typotheque not only focuses on delivering localized typefaces for users, but also towards helping communities make informed, self-determined decisions towards maintaining future stability for their language’s support and how they wish their typography to appear and function in digital text spaces.

Embarking on an exploration of typographical expression, I found a richness in typography in the three dimensions that is vastly overlooked. Through this talk, I want to show some of my experiments and discoveries about developing letterforms driven by expression, movement, and behaviours using non-traditional 3D tools. A latent beauty concealed in typography can be revealed by making dynamic systems where letters can react and pulsate to changes in input (like music), much like the turning of a volume knob. This talk will highlight the process behind creating typography in AR that reacts to music and automating expressive typography that can drive branding.


The students will present their graduation projects.

Hello! I’m Mel, an independent designer, illustrator, and art director with a particular interest in typography.

I’d like to share with you a bit of development process for my second typeface, Anthea. It is inspired by the simplified botanical forms created by the women working in the Arts and Crafts movement. I want to create something that feels modern and is quite usable, while encapsulating a bit historic ephemeral beauty. Anthea began as one thing, took a deep dive, did a bit of pivoting, and is now in a place I’m excited to continue to build out!

This presentation chronicles the ideation and research process, eventually landing in typeface creation.

Discover the art of crafting compact posters and cover arts with an eclectic flair while harnessing the power of artificial intelligence tools like Midjourney. By incorporating these tools into your creative workflow, you can expedite the process and enhance your ability to visualize ideas more rapidly.

In 2012, I made a film about the Linotype which only scratched the surface of its impact on society, communication, and journalism. Now, I’m writing a book to share all of the amazing things I’ve learned & discovered since.

This book will be both a historical study of untold Linotype stories and a beautiful coffee-table book filled with amazing images from the world’s best collections of Linotype ephemera.

Buy WHY write a book and WHY now?


What is the workshop about? Italics and drawing italics.

How to approach it? By drawing. The workshop is open for everyone who has a little bit of experience in sketching type on paper. If you’re currently working on a type project it will be an opportunity to sketch the italic for it. You can also participate without anything in mind to try your hand at drawing italics.

What exactly are we going to do? To kick things off, we’ll begin with a brief lecture about the role of italic style in type families and overview of different historical styles. We will clarify terminology and define the parameters of “cursiveness”. The second part is practical. We will make a series of one word sketches, based on the different italic parameters. Alternating the interactive feedback sessions with drawing we will modify the parameters of italic from sketch to sketch, experiment and explore the richness of italic styles. The goal of the workshop is to see that the italics are not only a formal additional style for the roman, but they have a lot of potential and typographic freedom. Join us to unlock the creative potential of italics!

Participate by just watching if you are not able or willing to draw.

To make the workshop enjoyable and useful I would recommend preparing your working environment and some materials. Working environment: You will need to have a comfortable space for drawing, light on the table, some device with a camera to take photos of your sketches and a video during the workshop. Materials: - a bunch of A3 pages for drawing - your favorite black markers (better to have big and small size markers) - a trusty white corrector - ruler - pencil and eraser

Typography is a form of language, so why not talk to it? In this talk, I’ll show some experiments I’ve done using voice control methods to create designs using variable fonts.

From the end of telegraphy until the 1990s, long strips of paper “punch tape” were used to store data for communications, computers, and machine control. I’ve been using this terribly obsolete and highly constrained technology as a media for exploring some simple bitmap typography. I’ll explain what the format was designed for, how it can be used for type, and show off some machinery I use along with some physical results.

Take a peek at my process of 3D lettering in clay. I’ll start with a blank vase form, for which I will select a phrase and lettering style. Then I will sketch and fit the phrase onto the form, and begin layering the lettering on. Things WILL get messy.

Un camino, desde lo convencional a lo no convencional. Una mirada, sobre la generación de tipografía variable y sus posibilidades. Una charla, sobre, ante todo, pensar, explorar y proyectar. Una exposición, acerca de cómo utilizar de forma «desafortunada» una herramienta que cambia la manera de entender, a mi entender, la construcción de concepto en torno a las letras.

Una recorrida por diversas experimentaciones y múltiples ensayos en donde la tecnología, como recurso, permite fortalecer la conceptualización de proyectos de diseño tipográfico. Ya sea para rotulación o creación de familias tipográficas, la interpolación habilita a proyectar más allá de su función principal o, al menos, ser utilizada como parte fundacional de una idea o concepto.

Protest art refers to the artistic works created by activists and social movements. It is a traditional means of communication used by a cross-section of collectives and the state to inform and persuade citizens. The slogans of the revolution, movement, or demonstration are written on walls and buildings while the writer is in distress. This usually occurs at night in the cover of darkness. The scribe is not worried about letterform correction or aesthetics, they aim only to express themselves by writing their thoughts on the surface and informing the public. But their action surpasses this; they are creating art. They represent a specific cause or message from furious people that need to be heard. Protest art is an essential technique for increasing social awareness and developing networks. It has long been a powerful platform for conveying ideas to the masses, as it can promote conversation and highlight social, political, and environmental issues.

Protest art has always had an impact on me, and I began to express my rage over the death of Mahsa using my medium of type. I propagated “woman, life, freedom” through my feed, a phrase the movement was popularising to spread the message. The outcome was unexpected: people worldwide adopted my design, going as far as to print it on T-shirts without knowing the author. Online media now has the power to spread the message of movements far more rapidly than the traditional way of writing on the walls and can have a greater impact on affecting change in political situations.

My “writing on the wall” of my Instagram page is a form of modern protest.

The websites we make are nothing less than multi-dimensional objects: the size and shape of them change with every device and browser they are viewed on. We have lots of new tooling to develop layouts for this multi-dimensional landscape, but one crucial element seems to have resisted our attempts at tooling: our typography. How does our typography both maintain meaningful structure while flexing across our dynamic website space? In this talk, we’ll explore that problem. We will make a map of how text and typography behave in our website landscape, and then take these maps and apply them using CSS animations. In this way, we’ll drive dynamic interpolations across our websites’ multiple dimensions.

In this short demo, I am covering a brief introduction to script lettering using a Pentel brush pen. I’ll talk about the alphabet DNA including ratio, slant, width as well as different tools to obtain contrast through writing. On the second part of this talk, I’ll move to pencil sketches, followed by a variety of digital outcomes —pixel based, vector outlines, vector strokes and animation— which are the main focus of my personal and commercial work.

I estimate I’ll need around 30 minutes for the whole demo + presentation.

Floral art employs plant materials and flowers to create a visually appealing composition or display. The earliest known flower arrangement dates back to ancient Egypt. Egyptians decorated with flowers as early as 2,500 BCE. The Gutenberg Bible in the 1450s is the earliest major book printed using mass-produced movable metal type in Europe. It adopted illustrated flowers to value the printed book’s high aesthetic and artistic quality. In the modern era, Floral typography is a technique that combines typography, calligraphy, and lettering to create dynamic, “flourishing” designs. Floral TYPE + CODE reinterprets traditional floral design into generative typographic dialects. It employs mathematical expressions, computer algorithms, and libraries. It is a new visual language integrating computational floral arrangements, illustration, textile design, type, and typography, with augmented and mixed reality. It expresses floral illustration and typography using multi-lingual visual styles. Floral Typography + AR allows the audience to experience immersive floral images using sound, and computer vision. This narrative conveys diversified visual messages of healing through arts and exploring philosophical and religious interpretations regarding life, death, and love. Floral TYPE + CODE suggests a new trans-disciplinary floral design integrating floral elements and creative coding with diverse computer algorithms and multi-lingual typographic dialects.

This presentation is an introduction to CEDARS+ which is a set of type descriptors that can describe any typeface in any script based on its formal qualities. The system aims to expand the ways in which we talk about typefaces and allows for a more expansive and variable view of our design space. While these descriptors dive deep into the craft of type design, the focus of the talk is to link type design variables to the emotional impact and functional utility of type.

Forming an essence and mood around the alphabet is endlessly fascinating. This slow practice brings hand, heart, and mind into harmony. Within this realm I give form to text and ornamental typefaces, often where visual culture, heritage, and language intersect. Some of my work has taken inspiration from Italy and it’s position historically as a cultural crossroads, while other work has emerged from pure imagination.

Presentation of the “Choreo” Collection and its process. Choreo is Viktor Zumegen’s graduation project from the postgraduate course in type design “EsadType” (2021-2023) in France.

Closing the day

TypeLab Day 2

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Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

While one of the roles for an engineering person in the industry is about problem solving, it’s always important for us to keep an eye on what’s available in the community to avoid reinventing the wheel – if you can’t find anything online, then you are eligible to be the first person in the world to solve the puzzle. In this session, we’ll have a glance at some of the plugins and the tools that happened to be invented during our real-world CJK (and non-CJK) typeface development and discuss in what aspect publishing such products as OSS is imporant and beneficial. I’ll also share our initiatives to encourage such open source contribution within relatively large-sized foundries. In short: watch this session and grab some free Glyphs plugins.

A suggested minimum character set to support Filipino (Latin-based) languages

This presentation will share the ethos and student outcomes from a course that ran in Fall 2022. “Abecedarium: A Cabinet of Lettering, Type Design and Typographic Curiosities” is a an elective course developed to delve deep into type. We explore the back shelves of used bookstores, visit museums and archives, and learn about how language has been set forth to be read, seen, felt and heard. Through a series of prompts, the participants in the course learn the fundamentals of typography supported by highlights from design histories and contemporary practices, experience a variety of forms of calligraphy/lettering, and learn for strategies drawing letterforms, and integrate design systems thinking and type design practices into their work large and small.

We will be presenting our recently completed display type design project that spans three scripts: Tamil, Gurmukhi and Latin. The typeface was targeted at children, especially when used in educational games on tablets and computers. The games are expected to run in three languages, written in these scripts.

Besides adding fun elements to the design that can make it children-friendly, harmony across the three was also a key design goal.

Although Tamil and Gurmukhi are descendants of the Brahmi script, their current forms and writing styles are distinctly different. The challenge was to find commonalities that can be used to realise a harmonious design. This got even more interesting when we added Latin, which comes from a different region altogether. We will share the design decisions and show interesting elements in the final outcome.

Valenlim Studio is a small graphic studio team comprised of Valen Lim (MY) and Hammam Hidayat (IDN), with physical premises in Kuala Lumpur, Malaysia. We work with brands to create custom types that fit their purposes, from exhibition posters for small art galleries to corporate collaterals for global companies. In each of our projects, we try to inject the brand/client’s unique personality into the type, making it totally one of a kind. We have custom-drawn types in Chinese and Latin script.

We met online and have worked together completely remotely for two years. For our talk, we propose to talk about how we work remotely across two different countries (Malaysia and Indonesia), which might be a timely topic relevant to the state of work in the 21st century.

We will share our works, sketches, archive, everyday practices, and works in progress. We will speak on selected projects including: Event identity for Peszta and Konnichiwa Zhongshan festivals, Branding for Studio Guai, and Corporate Collaterals for OCBC bank.

A virtual studio tour with Yao Yu at his TYPESETTINGSG studio, view the studio collection on Singapore printing heritage and understand the printing history in Singapore.

Diving deep into Singapore’s print history, Straits Sans is a typeface derived from a designer’s inquiry into ‘local’ type design history— in a country whose local narrative intertwines with its history as a former British colony.

Through Straits Sans, we introduce our findings from Singapore’s print archives, alongside our design process for this typeface revival. With this project, we propose new ways of approaching our craft as local type designers, despite the inevitable traces of colonialism in our design history.

Phum Viphurit’s new album, The Greng Jai Piece, introduces ‘Thainess’ through his mellow, up-beat music. As a letterer and graphic designer, we will walk you through cultural influences and design process behind the visual of The Greng Jai Piece. The lettering challenges a balance between being a Latin script with the soul of Thai culture. As the vinyl record plays, Thai temple fair inspired graphic elements were designed to visualize the traditional yet contemporary approach of ‘Thainess’. (Case Study)

In each era from the past to present, the appearance of Thai script varied in each era due to technological limitations. From writing tools to dry transfer typefaces before the boom of the printing era, each transition affected the script’s distinctiveness. Despite evolving technology, character styles from the past persevered. As script styles traverse time, they must adapt to constraints. This discussion aims to introduce the story of Thai script, exploring the connection between knowledge and technology in the past through multiple case studies. Through the expertise of Thai type designers, historical scripts are revitalised as fonts, flowing once again on modern platforms.

The Indian scripts have undergone many changes in the characters due to the variety of writing materials such as rocks, pillars, gold-plates, silver-plates, copper-plates, palm-leaves, birch-bark, cloth, and paper. The ethos of the particular place and the school also impacted particular styles in writing. Writing on stone or metal probably involved a team of experts that included an expert of language, a person with good handwriting who ‘wrote the text on the surface and a scribe who inscribed it. In manuscript writing, various surfaces were used in various areas. The method of preparation of the surface was different everywhere. The ink, the writing tool etc. also equally impacted the writing styles. It is necessary to study the writing tools as well as the medium for writing as they have a direct influence on the writing style and development of the script. Preparation of inks, various types of inkpots, methods of nib preparation, preparation of writing materials and other allied aspects studied and proposed to share on this platform. Dr. Manohar collected more than 250 (Two hundred Fifty) ink pots, 40+ manuscripts, various types of old writing traditional tools and writing related materials from various parts of India. The reach heritage of Indian writing instrument in the form of Visual presentation along with lecture is the plan to use for this presentation.

The universe of typography is abundant and holds so many different nuances between different mediums and the way it is expressed and digested by the creator as well as the audience. Having been exposed to typography and calligraphy in art school my journey in this universe almost began almost a decade ago. Since then I have been on many different paths and seen Type play a dynamic role in every aspect of my practice.

Between the Lines is my journey in typography as a graphic designer and illustrator trying to balance all these aspects together through personal as well as professional projects as I discover myself experimenting with shapes and narratives in 2D and 3D.

Over the last decade, and through our studio practice, we have been merging our love of experimenting with type and pushing its boundary across commercial, cultural and self initiated projects. Our body of work has won several awards including graphis, communication arts, kyoorius and oneshow.

We would like to narrate the story of creation for a few projects that would include Paddy Fields, Thanjavur, Print and Perpetuity, Amnex, Shellwin, 2 Degrees of separation and a few more. Woven together through the nuances of type creation and expression, we would like to delve into the delicate choices of material, technology, tactility and experience. The ups and downs of indulgence and restraint. The ever emerging beauty of chance and malleability.

And the undiscovered wonders that rise from the spirit of experimentation.

Almost a year after sending the first issue of her newsletter, I Spy with my Typographic Eye, Pooja takes stock of months of researching and writing regularly about type and design curiosities that catch her attention, and the whys and hows behind this undertaking. She’ll share a closer look at the materials from her collection that she has showcased so far and the out-takes that didn’t make it, and daydream with fellow TypeLab Asia participants about the kinds of design writing we would like to see coming out of this corner of the world.

How to bring funk into your letterforms and how to push their forms until they break. Requirements: Your favourite drawing tool (Procreate, Illustrator, Photoshop, or just plain old pencil and paper, anything works!)

🥁🥁🥁 Ek Type presents, ✨ Naatak! ✨ Starring a diverse cast of scripts, and inspired by real book covers, street lettering and comics. This impromptu display project has been one of our quickest so far. It started out in the two weeks the team spent together in our Mumbai studio, where most of us met in person for the first time! Join us for an insider’s look at the rough cut of Naatak, and a glimpse of our process behind it.

Coming soon from EkType is a beachy new display typeface for Tamil and Latin. Find some shade, grab a drink, lean back and enjoy a chill look at what went into its brewing.

From the rigid structure of a modernist grid to the fluid and responsive grids made of screen pixels, designers have continually experimented with the grid to manipulate form. But what if we don’t remain confined within the orthogonal structure of the grid to play with form? Typefolk design is thrilled to present an experimental type design workshop introducing the Kolam point lattice—a framework of points used to structure form—derived from a 5,000-year-old art of making geometric floor drawings, practiced by the Dravidian women of South India. In this hands-on workshop, participants will use the Kolam point lattice to develop a concept for a new typeface on Adobe Illustrator. Participants will structure letters by using a lattice formed by a regularly spaced array of points and a line that circumnavigates, ropes in, or—at times—connects the points. What happens when we redefine the conditions with which we construct typefaces and how does that influence its body, posture, counter form, scale, contrast, weight, and proportion? Let’s change the rules of play and explore a whole alternate universe of typographic possibilities that are not apparent when designers work with a series of constraining straight lines in a grid.

What is left behind and how it is devoured, utilised, or transferred is as important as the value of the owner who had it or brought it. In this conversation, about the Gujarati metal type collection Greg has obtained from a collector in India answers many questions about the style, point size, and foundry it was cast at. The presentation will showcase the entire metal type collection he had obtained, along with the types specimens which I have collected from local Gujarati newspaper. It will also highlight the connection and remnants of the local foundry where the metal type would have casted and locally printed in the publishing houses.

I’m a Graphic Designer for Film & TV specializing in period productions. As part of creating authentic graphics like signage, food packaging, newspapers, etc., I create my own typefaces from old type samplers, photographs, and ephemera. This results in typography that is historically accurate, quick to produce, and legally cleared. See how this most recently went into Season 5 of The Marvelous Mrs. Maisel.

Opening the day

With dozens of hand-lettered sketchbooks and old pairs of jeans covered in paint splatters, Aprajita Chowdhury’s decade-spanning lettering practice has been a playground for silent observation and unabashed expression. She deeply appreciates the freedom, lack of rules, and focus on the process that lettering provides.

In her talk, she will share her wide-ranging journey and experiences from beginning with sketching on card stock to painting a 20-foot wall mural in a foreign country, along with several other projects that lie between those lines. She wants to illustrate that anyone with an interest in drawing letters can embark on their own exploration.

To join remotely, go to https://cooper.zoom.us/j/92945492787?pwd=MVhxRkJYTk1UM21ZYmEwM1dRRWJKQT09

What does the coding process look like for creating typography? Where do strong ideas come from? And how does the designer confidently overcome technical hurdles to make the design a reality?

In this fun, immersive coding demo, participants will code something typographic all together… from scratch! With the guidance of the moderator, the audience will come up with a strong coding concept, and strategize a technical plan for its execution. After witnessing a method for set-up, participants will build the project together from start to finish, collectively problem-solving how to carry out the coding strategy, offering suggestions for improvements and overcoming technical hurdles along the way. Once the final product is reached, the group will offer methods for documenting and presenting the work to make it camera-ready. Throughout the process, participants will be challenged to think about what degree of control is possible over the experimental medium, and how that impacts the role of the designer.

In 1972 Aldo Novarese left the Nebiolo foundry, where he had worked for over thirty years, and started a freelance career that included collaborations with ITC, Visual Graphics Corporation, Berthold and Tigra, as well as the Art Direction for Italian rub transfer brand R41.

The work by Novarese for Photolettering and rub down transfers is far less well known than his more widespread Nebiolo types, and includes some oddballs like the reverse contrast “Stadio” or the sans serif “Nova Gotica” as well as the Greek scripts “Alfa Beta” and “Olympia”.

In 2020, Zetafonts Foundry started a collaboration with R41 to revive these forgotten designs and expand them, with the desire to honor and spread the legacy of Novarese, whose eclectic designs have become milestones in the Italian typographic landscape.

Our 20 minutes presentation will include the story of these forgotten types and will focus on Stadio, whose release project - awarded a 2021 TDC certificate of excellence - included the organization of a digital football poster design tournament.

The presentation explores the far-reaching typographic legacy of Peter Behrens, an influential figure in modern typography. We’ll cover his full range of typeface designs, from the revolutionary to the lesser-known, each of which showcases his unique ability to blend aesthetics and functionality. By examining Behrens’ holistic approach and his enduring influence, we aim to illuminate his invaluable contributions to the world of design and the ongoing relevance of his work in contemporary typography.

As our interfaces expand beyond their familiar boundaries in augmented and virtual realities, what new conceptual and expressive opportunities will emerge for written communication? Visions for “extended realities” are too often defined and constrained by big tech, with typography relegated to “clean” interfaces and chat boxes. This heavily illustrated talk draws on diverse sources—from avant-garde art and design histories to sci-fi and activist movements—to explore the affordances, unruly glitches, and collaborative potential of digital type beyond the rectangle.

I would like to share insights from my recent master thesis research “Letterform Shift: Experiments and Self-expression through Type Design in Times of Uncertainty” (Bauhaus Dessau, 2022). My work gives an overview on a contemporary shift in type design marked by an ever-growing number of examples in type design, in which letterform construction serves as a method of artistic self-exploration and self-expression, rather than an embodiment of a technical thought or a result of work for a particular purpose or client. The research aims to contribute to understanding the reasons for that shift - has type design become more experimental and expressive due to the consequences of what we experience living in the (Post) Anthropocene? Addressing topics such as the climate crisis, social and political issues, I will show changes in the type design field, such as, for example, the use of type as an activist tool and will share insights from interviews with graphic and type designers: Awista Montagne, Morgane VanTorre, Peter Roeleveld, Sergio Lairisa and Akshita Chandra. Thank you!

Alphabettes Variety Show is back for its 6th edition of a live hour of interviews, interactive activities and other surprises. For more info about past Variety Shows, visit: https://www.alphabettes.org/tag/variety-show/

In this presentation, I will share my process of creating a variable font that is native to Augmented Reality (AR). I will discuss the details of the making of the font, what motivated me to pursue this project, and the challenges I faced during the development process.

I will also talk a little about the intersection between typography and AR, and the opportunities that arise when these two fields are combined. I will share how I incorporated the principles of legibility and readability by allowing for real-time adjustments to the font style and weight, depending on the context and environment.

Overall, this presentation aims to inspire designers to explore the potential and drawbacks of AR as a platform for typography, and to encourage them to experiment with new and innovative ways of integrating typefaces into AR experiences.

Fine-tuning microtypography used to be – and largely still is – only possible in print, and often remains a labor-intensive manual process. Variable fonts in the browser allows web typography to achieve and surpass this level of finesse. Based on his experience building the Notion.com site, Peiran will demonstrate a state-of-the-art web typography system. For maximum reading comfort and optical consistency, this system stores a giant map of size- & weight-specific axis and tracking values, which are queried by other React components across the entire site. These typography components also feature carefully considered defaults and in many cases require no additional prop to pass in, which drastically reduce manual coding and enormously improves the developer experience. Instead of treating variable fonts as mainly size-saving or decorative, this approach opens the door to precise, programmatic, and automatic tuning of text appearance at a much larger scale, hinting at new typographic possibilities never fathomed before.

Zines are a fun creative outlet for designers to share experiences, knowledge, and more without committing to a full-on magazine or publication. In this workshop, designers will get the chance to engage with type and zines in a fun way while also engaging with other designers’ work. Students will get the chance to create many zine “sketches” or spend time on one zine to completion. Students will experiment with type, learn new zine folding techniques, learn the basics of printing, play with collage, illustration, and more while also connecting their voices with their designs. At the end of the workshop, everyone will be able to print their zine and bring it home with them. Bring your laptops to participate. We’ll have a printer and supplies for you to use.

Do you get designers block and struggle to come up with ideas for a typeface? I’ll share with you my creative process, how to develop a Book of Seeds, and a quick way to prototype a multi-style typeface.

Do you know about the COLRv1 font format?

Learn a basic intro of Color Font formats, and hear Sophia share her experiences working on one of the first COLRv1 fonts: Foldit. This is a project which made the creation of COLRv1 fonts accessible to everyday designers. But what was it like to make a variable color font with built-in gradients before support for the COLRv1 font format existed?

Foldit is now available on Google Fonts.

For a list of resources and guidance on using COLRv1 fonts contact Sophia directly as this will not be covered in the presentation.

Name Sans includes a variable weight axis that ranges from 1–1000: extremely hairline to extra heavy. It also includes an optical size range from 8–72, with both upright and italic variants. To ensure desired glyph shaping and contrast through this range, I’ve employed multiple partial sources as supports. In this talk, I’ll share a few of the challenges and strategies in making this system work.


Cake4Freaks is a work-in-progress typeface for an experimental micro-bakery in Northampton, MA. It’s also a love letter to the Noordzij sketching technique, a reflection on Bea’s experience in the T@C program, and a personal investigation into optical size, color, and fidelity.

The Menstrual Cycle and its four phases is a universal, evergreen and ongoing system and the reality of half of the world population ever born throughout humankind. In this lecture/workshop I will discuss the background and the design process of the numerical design outcome for each phase of the Menstrual Cycle; the first ever numerical design dedicated to the recurring sensations, physical and emotional fluctuations.

The journey of Tlayuda typeface and how naiveness led me to have a 64 instances variable font, and still counting…

Typefaces are the result of the process of matching parameters and their infinite combination. What happens when comes into play an unconventional parameter? Non conventional typography can be a teaching method to introduce beginners to the field of type design.

It is best to see for yourself the correct solutions to a type designer’s work. The session will show concrete examples of good, unknown or hilariously-awful diacritical marks, that are part of the author’s long-standing collection. In doing so, it will naturally introduce the basic principles of character construction, explaining the context of the linguistic support of Latin scripts. The short meeting will include a mini-workshop/type crit, those who bring their own diacritical designs in their fonts, and we can improve them together. Radek Sidun is a type designer and is the author of the recently seen book The Manual of Diacritics. This engagement is thus a logical extension of an ongoing effort to make it easier for type designers to string diacritics around the world. It is intended for the general public, beginners and advanced.

Nontraditional influences can be just powerful in shaping design as conventional methods. In my typeface project “Federico,” which is named and modeled after my grandfather’s practice of sign-making, I explore ideological expression while questioning contemporary trends and the underlying hegemony that constrains our making. Through the crude and scrappy act of sharing his ideals with electrical tape and plywood, I’ve built a playful typeface that relies on such humble materials and a relational history of manifesting abundance from poverty as a form of portraiture.

Our creative industry is a whirlwind of boundary-pushing, inspiration-sparking, and norm-challenging awesomeness. But you know what often flies under the radar when it comes to achieving those goals? Asking for help. Yet, vulnerability is a tough pill to swallow, and we tend to resist it. Maybe we want to be self-reliant, maybe we fear rejection. Maybe we’ve been burned in the past, but here’s the secret: it’s through these very moments of vulnerability that we find our greatest opportunities for growth. It’s like unlocking a hidden superpower. So let’s shatter those fears, discard the barriers, and fully embrace the art of asking for help. Trust me, it’s the ultimate game-changer. Get ready to level up and conquer the creative world like never before!

Letterstorm is at the same time a drawing and observation game, a way to learn about letters, a playful and creative workshop to emerge unexpected ideas and letterforms. It’s a time for fun, a time to draw, accessible wether you’re a beginner in the letter’s world or an advanced type designer. Letterstorm is a collaborative and collective workshop that can be played in person and online. For a Type Lab short session we’ll play the solo version of Letterstorm which is a new way to push your creativity and surprise yourself!

To participate you’re welcome to prepare some basic material : - 1-2 sheets of A4 (or comparable size) paper - a black marker or any other tool you like to draw with - scissors or cutter + a ruler + a pencil

Optional but useful: - white out - a device to take photos to share and show the drawings

The Biennial Tipos Latinos is Latin America’s biggest typographic showcase. Henrique Nardi will give a brief illustrated overview of the Biennial’s 18 years discussing not only its history, its evolving structure, and statistics through the years, but also the impact it has had on the continent’s type design. Alongside the panorama, they will focus on the current edition, published earlier this year.

Tipos Latinos 9th Biennial is a very special one: it was postponed due to the pandemic, having its organization redesigned to work remotely. In total, over five hundred projects were submitted. Given the four-year gap, the organizers decided to increase the number of selected works from 70~80 to 100. Within the selected works, the jury awarded three typefaces with Excellence badges. Given the freshness of its results despite adverse conditions, the current edition of the Biennial is one of the most representative editions to date.

Let’s demystify the curves we use for digital letter-drawing by reviewing their origin and anatomy, outlining best practices, and finally pitting contestants against one another in a fast-paced point-plotting game.

CAST designers will show how the foundry approaches customers’ expectations and discuss some custom faces such as Loacker Script, Sole Serif, and Sole Sans. We’ll also introduce our consulting services and commercial opportunities, including testing licenses for professionals and students.

A brief overview of The People’s Graphic Design Archive (PGDA). What it is, what’s in it, and, best of all, how you can and should contribute to this crowd-sourced virtual archive of inclusive design. Together we can have fun and change history!

In the autumn of 2022, I hit the streets of my hometown of Delhi with a camera and a goal: to get away from the computer, feel the sun on my skin, and uncover typographic gems around my neighbourhood.

“Lost & Font” was born as a series of one-minute films that document the history, culture, and forms of exquisitely-crafted local letters. Part visual diary, part travel vlog, and part formal analysis, “Lost & Font” is a love letter to, well, letters. But it also is an ode to Delhi and the treasures hidden in the hustle and bustle of the city.

Come join me as I take you on a nostalgic behind-the-scenes through each of the four shorts in the series, telling stories of how each film came to be while gushing about the joys of long walks and, of course, swooning over beautiful letterforms.

Lettering Solitaire is an interactive session where we’ll explore simple yet effective strategies that not only allow us to push the boundaries of lettering styles but also help us learn how to use these techniques as key benchmarks for observation. In this game, we will create, observe, recreate, and make new type-loving friends!

What happens when you are stuck on an idea and you can’t move forward? Inspiration, for me, comes through doing. Coming up with ideas for type, sketching from various sources, like signs, hand-painted letters, carved, or even trying different styles, is a way of exercising the brain, and arriving at different results, that might not be achieved by sketching exactly what we want.

A look at the first typewriter to offer multiple typefaces in the USA.

North America is home to a rich and diverse array of indigenous cultures, each with its own unique language and traditions. However, many of these languages have been threatened or lost due to centuries of colonization and cultural suppression. In recent years, there has been a growing movement to preserve and revitalize these languages, and this project is part of that effort. Earlier this year — overseen by Sharp Type’s design team — Cris R Hernández worked on developing a character set for Extended Latin Alphabets of Indigenous languages of North America, with technical assistance from Connor Davenport.

Watch my process as I continue and hopefully finish the project I began on TypeLab Day 1.

Closing the day

Like a type crit, but a crit about type crits. The team behind Type Thursday wants to hear from our community about how to continue and grow as an important resource for designers.

Almost 10 years ago Thomas Jockin (a Type@Cooper 2011 grad) started Type Thursday, a monthly type crit event for people that love letterforms. TT features presenters with work-in-progress on any project that involves type in any way. Since then events have been expanded globally and have 8 active international chapters in New York, Barcelona, Berlin, Florence, Yerevan (Albania), Mexico City, and Milan.

The Problem Space: Briefly detail the issues with FontForge’s ancient C codebase no one can maintain, Runebender’s uncertain future, and clunky web-based UIs with poor OS interoperability. Towards a Solution: Share our continuing journey of developing an improved, user-friendly free software system for font creation, which I expect to take a decade, but which has born some fruit so far. Software Highlights: Introduce MFEK’s roadmap and talk about progress so far. Live Demonstration: Show MFEKufo and MFEKglif in use. Looking Ahead: Discuss future development plans and the potential impact on the free software community.

In this presentation, we will discuss the proposed “Boring-Expansion” extensions to the OpenType specification, that allow more compact fonts, with expanded glyph sets.

We have been working on these extensions for the past two years, and they currently ship in the HarfBuzz shaping engine as experimental features. The current proposals consist of four components: avar2, VarComposites, cubic-glyf, and beyond-64k.

This work was previously presented as part of the ATypI 2023 Paris OpenType 2.0 Panel

TypeLab Day 3

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

Counter Forms is a new initiative that seeks to champion emerging, discursive type designers from Australia and New Zealand. Driven by typographic research, education and advocacy, Counter Forms publishes original typefaces and texts towards a more accessible, diverse and equitable future. Kinetic Gen Type is a project initiated by Counter Forms member Chiarra Paton-Dowling. Interrogating how generative typographic design methods might transcend the digital to inhabit the material, the Kinetic Gen Type project looks to make tangible and tactile the output of programmatic typographic processes.

A narrative to document the seemingly mundane markings on the commercial vehicles that have piqued the curiosity of typography enthusiasts. Through conversations with the sign writers responsible for these vehicle labels, we delve into their practices, writing tools, methods, and nonetheless their livelihood. The sharing session consisted of photographic documentation showcasing the diverse range of lettering styles with a purpose to discuss the informality of the practice and shed light on the undefined handwritten sign aesthetic that is least debated in the visual culture of Malaysia.

Type Design Club is an online platform aimed at introducing typeface design in Indonesia initiated by Tegamitype Foundry and The Public Case. As we approach our second year, we want to introduce a bit about our activities and reflect on the growing typography community in Indonesia. We will also showcase past students’ projects and a snippet for future plans.

Join us on a fun and casual virtual studio tour of Fictionist Studio, an independent creative studio in Petaling Jaya, Malaysia. We will share our current work-in-progress projects, selected past projects and type treasures such as retro ephemera, one-of-a-kind tchotchkes and our personal collection of type specimens.

A beginner introduction and my personal experience with the Cavalry app. Explore the process behind some of my motion type designs and simple demonstration of how I bring typography to life using Cavalry.

This talk delves into the captivating history of typewriters in India and their profound impact on society, popular culture, communication and language accessibility, especially during the pre-digital era. It explores the intricate ecosystem surrounding typewriters, encompassing manufacturers, typists, stenographers, typing schools, typeface makers, spare part dealers, and more. Furthermore, the talk will touch upon development of language keyboards and challenges in typeface making that they posed.

Cambodia has a young but growing design industry, and due to this, there is a lack of quality typefaces on the market that designers and brands can utilize.

I will be showcasing some identity design projects to display how we navigate around this issue through the use of typography and type design to bring better design sensibilities to the country.

A sneak peek into our team’s creative process behind building an art and design publication from the ground up. Join Nandini, Arsh, Rithvika and Anant as they guide you through all that jazz - the research, mood boards, sketches, layouts and the finals - behind the fourth edition of The Irregular Times - Tongue Tied. Through this presentation, allow them to pilot a further exploration of our collaboration with Universal Thirst and a deep dive into the typefaces used in the publication.

The South Asia Gallery, a British Museum partnership, presents a compelling, contemporary take on South Asian and British Asian culture. It is the first permanent gallery in the UK to celebrate the experiences and contribution of the South Asian diaspora. This multilingual gallery has been designed and built with the South Asia Gallery Collective, an inspiring group of community leaders, educators, artists, historians, journalists, scientists, musicians, students and others from South Asian diaspora with a unique spirit of collaboration and co-production.

The SAG identity consists of a bespoke typeface that resonated with the diasporic journey from South Asia to Manchester, which could also adapt to multilingual characters in a fresh and modern way. This resulted in the SAG Stencil designed by Universal Thirst inspired by letters from the Gujarati Type Foundry, dating back to 1937, as well as stencilled, hand-made signage used in train stations throughout India.

My short lecture will be about how coming from an illustration background my approach to typography is about making each letter look like a symbol, and with repetition that single letter can evolve into an artwork and how that’s led me to start creating my own font “Sonnets”. My work also heavily draws from eastern design practices, Islamic geometry and patterns and Arabic Typography (even though it’s not my native language). “Sonnets” which was featured last year in the Slanted Magazine Issue 40 titled “Experimental Type”, is a culmination of all my aesthetic inspirations. The entire font set is under development and I will be taking the audience through my inspirations, my approach and finally showcase and discuss the current finished letters of “Sonnets”.

“Mark to mark” or an anchor attachment is always a pain to work on, especially in Thai script, since it will have to be attached to every consonant and most of the vowels and readjusted every time when the stem or height of the letters got changed along the design development. Over a year working on both Looped Thai and Loopless Thai. I developed some snippets of code that could turn into a plug-in for Robofont which potentially could also be apply to Glyphsapp. So I would use this presentation to share my work in progress to get some feedback.

This is a chat about our collaboration on a special project, giving a peek into our process of building a Devanagari variable font. We will discuss and demonstrate how we broke down the concept into the sketches, planned and questioned the design space, making tools and automating the workflow.

Traces of Lettering Styles Found in Davao City

UrbanType DVO (Urban Type of Davao) is a visual journal of typography and curiosities about the graphic history of Davao City in Mindanao, Philippines. The initiative started in 2018 by Megan Palero, a designer who wants to discover all kinds of lettering found in his neighborhood and stories of residents that characterised the facade of the city’s colorful identity. IG: https://www.instagram.com/urbantypedvo/

An open discussion about typeface design education in India, followed by a special announcement! (everyone welcome to join!)

Take a break from the screen and grab a pencil and paper. Drawing letterforms together while enjoying a remix of Asian music you’ve never heard before. This is not your typical TypeCooker, but rather a tweaked and twisted version. The goal is not right or wrong, nor who wins, but what comes after. Join us until the music stops!

John will demonstrate some traditional 20th Century American sign painting styles virtually.

Day 3: introduction. The livestream can be found here: https://www.youtube.com/watch?v=7Tg4EbNH3Gk.

This presentation will show some of the tools I’ve been developing to make my work easier in RoboFont. I will talk about why I decided to make them and what I learned when I created them.

The first printed book in South America was made in 1584 at Lima, Peru. Almost 250 years later the first typographic matrixes were produced. This presentation is an overview of the pages that were printed using that typeface.

Or stated otherwise, from ‘x -> x -> x -> x -> x’ to ‘x <- x <- x -> x -> x’.

In this talk, I explain the limits of randomisation within OpenType features and introduce a concept to take the randomisation process a step further within the limits of the current technology. The talk will be a nice-to-know for beginners and a must-know for purists and nerds in digital lettering and handwriting fonts.

When was the last time you visited a cemetery? What did you do? Cemeteries are sacred places for unique genealogical, religious and cultural for people who lived in our community. They are also free public museums filled with ornate typographic artifacts.

”Types of Death“ is a short film on New York’s own Green-Wood Cemetery and its beautiful typographic artifacts and history.

In this presentation, Raven Mo, the director of Types of Death, talks about the making of Types of Death from researching, interviewing renowned typographer Paul Shaw, to shooting, editing, and designing everything behind this five minutes mini-documentary.

You can watch Types of Death now for free at https://vimeo.com/800335129

The Brumadinho dam disaster occurred on January 25th, 2019, when a tailings dam containing waste from an iron ore mine 5.6 miles east of Brumadinho, in the state of Minas Gerais, Brazil, collapsed. This unleashed a flow of mud devastating the mine’s offices, including a canteen staff, as well as its surroundings, destroying houses in the village of Córrego do Feijão and killing 272 people. The family’s victims and those who were affected by the dam failure have created an association named AVABRUM whose purpose is to seek for the rights and interests of those who suffered from the loss of their loved ones. The company responsible for the dam, Vale S.A., came to an agreement with the state government and was required to pay a series of indemnities, fines, and considerations to repair socio-economic and environmental damages. One of the compensations was the creation of the Brumadinho Memorial to honor those who lost their lives in the tragedy. The winner of the architectural competition to design the Memorial was the Brazilian architect Gustavo Penna, who has partnered with Greco Design to create the identity and signage project and Blackletra, to design a specific typeface for the Memorial.

HOUR is a variable font with two unusual axes. It started as an experiment in my research at the ANRT, entitled Sculpting Light. Technical limitations led me to set it aside, until recently when I decided to re-design it and develop a complete character set.

Take a peek at my process of 3D lettering in clay. I’ll start with a blank vase form, for which I will select a phrase and lettering style. Then I will sketch and fit the phrase onto the form, and begin layering the lettering on. Things WILL get messy.

Fontra is an open source browser-based font editor under development. During this session I will demo the core features and talk about the roadmap.

Consideration how to make viable community to support active type designers and users.

RoboFont Assistants

Discover the world of 3D Typography using easy and familiar design software such as Adobe Illustrator and Adobe Dimension. You’ll be amazed to learn that you don’t have to be a professional type designer or have extensive knowledge of glyphs or complex software like Cinema 4D to get started. Through quick demonstrations and guidance, I’ll demonstrate how designing with basic software can take you a long way in unleashing your creativity and crafting impressive 3D typography.

A sneak peek of the ongoing research project initiated by 3type in 2022. Our research group aims to uncover the implicit but fundamental patterns and principles that can guide designers in creating large sets of effective, consistent, and appropriate Hanzi glyphs. By investigating the underlying structure and proportions, we hope to develop a framework as a basis for systematic approaches to Hanzi type design.

Designing and producing fonts requires creating lots of proof documents; proofs need to be flexible and adaptable. DrawBot is an ideal environment for font proofing, and we have been using it at Adobe for a long time – which resulted in a lot of scripts. Some of our scripts might be useful for the general public, we decided to open-source them. In this presentation, we would like to present those command-line scripts to you, and we will walk you through their usage with examples.

The ‘50s and ‘60s were a heyday for the American car. The type and graphics that grace these classic automobiles display an exuberant optimism born in a time when anything seemed possible. From energetic scripts to space imagery, the industry built a new visual vocabulary built for speed. The choice of letterforms reflected a new casual attitude in American society and the profusion of lettering styles mirrored the abundance available in a burgeoning consumer culture.

Anne Brownfield Brown has been visiting auto shows for more than a decade, photographing the type and graphic elements on classic motor cars. This presentation will include abundant examples bound to inspire anyone with an appreciation for script lettering and an interest in American mid-century design.

Proyecto inspirado en el legado cultural y vibrante que tienen las letras en los rótulos para promocionar la diversidad de productos y el modismo en los mercados mexicanos, presentando la fusión de lo tradicional con una estética moderna de una color font.

La tipografía contemporánea se diseña por medio de herramientas digitales. Sin embargo, los principios que la estructuran y la hacen visible se basan en la mecánica. En esta presentación analizaremos estos y otros aspectos de la partícula elemental: la letra escrita.

Linotype.wiki: Home to information about typesetting machines. An introduction of the work in progress.

Unlocking the full potential of nonprofit organizations lies in embracing the power of design and user experience when championing policy change. In this presentation, the audience will delve into the transformative synergy of storytelling and design, highlighting their pivotal role as the driving force behind impactful social change campaigns. The conversation will unravel the intricacies of design processes, unveiling their profound influence at the systemic level, to craft persuasive narratives that empower audiences to effect real, tangible change.

Wrapping up TypeLab 2023

Presentaremos un video documental que recoge las opiniones de rotulistas en la Ciudad de Puebla, reflexionando sobre su oficio, técnicas y relación con el diseño. Es resultado de una investigación en la Licenciatura en Diseño Grafico de la Benemérita Universidad Autónoma de Puebla.

Live Demo and brief explanation of the WIP Collectible Pleasures DApp

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