Typographics is an annual festival held in New York City that explores the roots of modern typography and current trends in the field. It is presented by Type@Cooper and The Herb Lubalin Study Center at The Cooper Union in New York City.

The identity of the 2024 edition uses a rich palette of typefaces. Boogy Brut (including the Poster, Wild White and Black White styles) from Julien Priez and Bureau Brut, Pastiche Grotesque from Benjamin Tuttle and Order Type Foundry, Konop from Mark Simonson and Hamilton Wood Type Foundry, Dark Academia (Céline’s Version) from Céline Hurka, and Baleze Display from Daytona Mess.

Poster series for the 15th edition of the Beyond Tellerrand conference, created in TouchDesigner using a deterministic system so each poster is unique to the speaker’s name together with venue posters.

The Biennale Exemplaires is an occasion for exhibiting, showcasing, and highlighting the work produced by students and faculty at French-speaking fine art and design schools. It is also a venue for meeting and exchange, enriched by a symposium aligned with the research priorities of the participating schools. The main exhibition highlights a selection of recent, francophone publications deemed “exemplary”. To expand upon and complement this selection, each school produces a publication in a format of its choice. The biennial also includes satellite events, an exhibition at the Frac Lorraine, a festive evening, and a book fair featuring a selection of independent publishers. The sixth edition of the Biennale Exemplaires united fourteen schools and was held in Metz in March 2026.

The visual identity was designed by Léo Coquet (Institut Page / ÉSAL Metz) using Modula Ribbed (Zuzana Licko, Emigre, 1995) and Drama Grotesque (Rafael Ribas, Poem, 2025).

For the 2025 Brand Builders Summit, Australian designer Jacob Cass of Just Creative created a strikingly modern visual system that feels energetic and high-impact.

Cass used a very typographic approach mixing P22 Type Foundry’s Constructivist and Bifur—two early 20th-century display faces with strong geometric presence—with Mark Simonson Studio’s Proxima Nova, whose clean, contemporary forms bring support and balance like only a workhorse can. With a simple but bright color palette—black, white, gray, and hot pink—giving the artwork momentum while subtly echoing Just Creative’s own brand language.

The result is a typographic identity that feels confident, contemporary, and well-suited to a digital-first conference focused on creativity and brand building.

The logo combines P22 Bifur with what looks like Sweet Sans.

DeHache is a yearly design event held in Querétaro, Mexico, organized by the design collective Tipos Libres. Every year, the festival brings together designers and creatives for talks, workshops, and activities focused on graphic design and visual culture.

In the 2023 edition, held in April of that year, the keynote speaker was Brazilian lettering artist Cyla Costa and the festival’s swag bag featured a sketchbook with her font Juma on both the front and back covers. This is, in all likelihood, the first public use of the font, which had just been released by Naipe Foundry in December 2022.

César Rodriguez, one of the people behind DeHache, gifted Naipe with a copy of the notebook in 2025, which is how we made the accompanying photographs by Daniel Begué.

The accompanying typeface appears to be Pluto Sans.

Balmer Hählen designed the visual identity of the AGI Congress 2024 / AGI Open 2024 in Basel, using Nouvelle Noire’s typeface NN Pivot Grotesk.

For the 2020 edition of Barcelona Design Week, the challenge was to visually articulate a moment of global uncertainty and digital transition. The identity, conceived by ESIETE, confronts this new reality head-on, translating the discomfort and potential of a pixelated digital existence into a powerful and cohesive campaign.

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The core concept behind the Barcelona Design Week 2020 identity was to mirror the collective experience of a society abruptly thrust into a digital realm. The studio moved away from polished aesthetics, intentionally introducing an “uncomfortable pixelated digital piece” as the campaign’s centerpiece. This bold approach served as a metaphor for the fragmented yet interconnected new reality, emphasizing design's role in navigating and solving emerging challenges.

The visual proposal, built upon this typographic foundation, was brought to life across the city of Barcelona. The studio’s work for BDW 2020 was a testament to the power of collaboration, uniting professionals, associations, and institutions like the Barcelona Design Centre (BCD), FAD, and the Museu del Disseny to empower design's value as a key factor for societal success.

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Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

Graphic campaign for the Jornada D-Generades 2025 at Disseny Hub Barcelona, designed by Sin Título-1. The campaign delves into the tension that arises in society when established conventions are challenged. It focuses on the discomfort inherent in disrupting traditional patterns and the natural resistance to the new and different.

The typefaces used are Large, in Roman, designed by Alexandre Créquer and Neue Montreal Mono, designed by Pangram Pangram.

The creative direction, art direction, and graphic design were led by Studio Sin Título-1. The motion graphics were animated by Ana Collantes, and the event photos taken by Pep Herrero. The clients were Barcelona Design Hub and Barcelona City Council.

Posters and publication for a two days masterclass about typeface and writing between France and Germany at ÉSAD Amiens. The idea of the poster is to graphically express and explore a tension between fastness and stiffness of a gesture. And in the lines, you can read HAND and TOOL.

Simon Renaud was responsible for the graphic design of the posters and the publication. He used his own typeface Augure, distributed by 205TF.

Caractères is a type-centered design conference organized in Lyon, France, with five talks taking place in the course of a school year. The first edition began in October 2023 and gave the floor to some local designers: Lucas Descroix, Emma Marichal, Juliette Flécheux, Max Esnée, and Alice Savoie.

The communication was developed by Emma Marichal, centered around Plain Form’s Ready Active in its heaviest weight — making it the first-ever use of this quasi-illegible style — paired with Production Type's Gamuth and, for each speaker, a typeface that they either designed or used in recent projects. These are: Lucas Descroix's Paraiso, Emma Marichal's Ploquine, Salmanazar as used by Juliette Flécheux in her Dossier Scriptorium de Toulouse, Max Esnée's unreleased Laurifer and Alice Savoie's Loire, a bespoke typeface for the Val de Loire territory.

Caractères is organized by Rémi Forte, in partnership with the design school Strate and the type foundry 205TF.

Artwork by Kyle Letendre

For 2024 TypeCon in Portland, Oregon, local designer and illustrator Kyle Letendre combined influences of American roadside and marquee signage (of which Portland has some prime specimens) to pull off a show-stopping brand that reflects the jovial atmosphere of the conference and its host city. Letendre chose typefaces that reflects the welcoming community that the conference attracts, and also some with special ties to the Portland area, which has hosted the conference for the past two years.

The star typeface is Yumex, designed by DualType (Zrinka Buljubašić and Gen Ramírez) and released in Spring 2024 by OH no Type Co. Backing it up are VCTR Mono, by Portland-based Vectro Type (Lizy Gershenzon and Travis Kochel), and Future Fonts darling Puffling by Ro Hernandez.

Kyle filled us in on his thought process for the brand design:

Yumex caught my eye from the first time I saw it in use, at an exhibition at 2022’s Letrástica. It felt lively and lovely in a way only Zrinka and Gen could achieve, and the family has become a favorite tool since it was released by OH no.

As the primary type for TypeCon, Yumex handled its role beautifully. I initially thought of it for body text, something very easy to read but far from lifeless. And eventually found a way to decorate the living daylights out of it, even turning its italic into a neon sign for banners, the podium, and a sticker. Given that the identity this year had a bit of nostalgia with its focus on signs, I found Yumex very useful in that it has vintage roots, but feels unmistakably modern.

I thought of Yumex as the grounding center of the type used for the conference: Ro Hernandez’s Puffling added a sprinkle of gregarious charm and versatility with its varying widths and weights where needed; and Vectro’s VCTR Mono was our dutiful companion for name tags and spaces where something very utilitarian was necessary. It’s fun to use fonts your friends make, but even more fun when the fonts make you look really good as a designer.

Finally, the 2024 TypeCon website also uses Obviously (OH no Type Co) for “call to action” text on buttons, and Yumex Script in the header.

Typefaces took center stage here along with the 2024 Catalyst Winner, Raven Mo.

The dutiful companion, VCTR Mono on the name tags.

Yumex in action, text and headlines.

Yumex Script in the header

Liveworm is a working design studio embedded in the design program of the Queensland College of Art and Design, Griffith University. ATypI asked the studio to design the brand identity and collateral for its 2024 conference in Brisbane – the first ever ATypI conference held "down under".

The team was keen to use the recently released Brisbane for the project, and collaborated with Leinster Type who generously donated their time and use of the typeface. This unique opportunity allowed students to request modifications, such as a sample condensed-width character set, which they experimented with during the design process.

The identity, designed by Katie Maxfield, was inspired by the vibrant, young, and progressive city of Brisbane. A mixture of digital and analogue graphic elements hint at the conference theme of "Crafted Technology", with the arrow glyph from Brisbane symbolising forward movement.

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Event poster

Paradís – Paraíso del diseño is a conference organized by Fundació del Disseny, the foundation of the Valencian design community. The latest installment took place in October at the CaixaForum València. Wences Sanz-Alonso curated the event and put together a program packed with inspiring presentations from national (Mubien Brands, Podenco, Paloma Rincón, P.A.R., Studio Banana, F33, Coko Gabriel) and international (Eva Cremers, Bürocratik, Gemma O’Brien) creatives.

Lorena Sayavera of Sayavera Studio was in charge of the design. For that, she mixed together three ingredients:
1. cloud illustrations featuring two hands forming a heart
2. the color purple
3. simple and uncompromising typography in Cardinal Fruit (Production Type), supported by Suisse Int’l (Swiss Typefaces)

This recipe was applied for everything from the website (development: Jose Houdini), to social media posts (with motion graphics by María Gil), to various deliverables for the event itself, including lanyards, stage props and screen graphics.

Photos by Brava Studio

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Social media posts

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Last call

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The event sold out.

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Lanyard

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Welcome screen

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Website header

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Website detail with schedule

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Selecting one speaker shows related images and blurs out the other entries.

The AIGA designed a brand system for their 2023 Design Conference with visuals referencing the New York city grid along with the classic Massimo Vignelli map of the Subway, but with a gradient-filled color palette. Name Sans is used as a typographic reference to the tile mosaics of NYC Subway stations.

The AIGA website additionally makes use of Neue Haas Grotesk and Freight Text, but those aren’t part of the conference branding.

Irregardless by OH no Type Co. was used for the 2023 Birmingham Design Festival conference on the theme “Imagine”. The use of Irregardless includes the typeface’s Containers style: a set of speech balloon-like frames.

Design studios Freskue and Estudio Marina Goñi chose Apoc as the main typeface for the website of the 10th Serifa Laris design conference. From the article on type.today:

In April 2022, Getxo, Spain, hosted the 10th design conference Serifa Laris. The designers have not only shared their practices, but also told about the projects that might have an impact on local art and design communities — for example, there was a presentation of a mentor programme aimed at young design studios and a series of edutainment workshops housed in independent galleries closed for renovation.

Apoc, designed at Blaze Type and featured on our tomorrow storefront, lies at the heart of the conference’ identity.

A1 poster

Letterpress printed poster for an architecture conference on the topic of “Daylight”. Printed in two versions (A1 and A0 format) with laser-cut MDF and hand-set metal and wood type.

And if you’re a production nerd like me: check out the gradients in the video and how they’re printed against the printing direction! They’re made in two steps: inking in the roller direction, then printing in a 90° rotation. Yes yes, we know all the magic!

Gradients on the laser-cut LL Atomgrad letters

Helvetica Bold (photopolymer plate)

Helvetica Plakat (wood type)

Salon Antiqua, hand-set 4P. metal type,

Maxeville is used in both Regular (solid) and Construct (stencil) styles throughout the visuals of Change Matters and its central event, the 16th Architects Conference in Portugal. The identity was designed by V-A Studio:

Change Matters is an event by the Portuguese Order of Architects dedicated to change for a more sustainable future in the practice of architecture in Portugal. The program questions the role of sustainability, ecology, and ethics in practice, launching a global and inclusive challenge that calls upon everyone to imagine a future that demands environmental, territorial, cultural, and social sustainability.

The urgent theme of sustainability presented a challenge in the communication of Change Matters, whose central event was the 16th Architects’ Congress in São Miguel, Azores, accompanied by a parallel program aimed at the general public. While architects are well-versed in the importance of sustainable practices in their field, communicating the urgency of the issue to a general audience proved to be a significant challenge. Additionally, designing a cohesive brand and website that would appeal to both audiences while still representing the values and goals of the program required a thoughtful approach.

To address the challenge, we developed a comprehensive visual identity and motion system that focused on the theme of change and the importance of sustainability in architecture. We created a visual identity that’s versatile for use in many different applications. We also designed a responsive and mobile-friendly website using a headless CMS and React JS, providing a seamless user experience for both architects and the general public. By creating a clear and cohesive brand that effectively communicated the importance of sustainability in architecture, we were able to successfully engage both audiences.

Poster designed by Wout de Vringer in 2022, contributing to the poster exhibition shown on the occasion of the AGI 2022 Congress held in Trieste, Italy. This work is named Together.