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.

The Rencontres de Lure is an annual gathering held in the village of Lurs, in the French Alpes-de-Haute-Provence department, bringing together typographers, graphic designers, and lettering artists for a week of talks, workshops, and typographic culture. Founded in 1952 by Maximilien Vox, it remains one of the most intimate and inspiring events in the European type scene.

For the 72nd edition (2024), I had the pleasure of designing labels for small bottles of organic Lavandin essential oil; a scented souvenir with a typographic touch, so attendees could carry a piece of that remarkable week with them.

The oil comes from Bleu Provence distillery, and each label sits on a deep blue glass bottle; an elegant, almost medicinal object that called for something both refined and warm. The design pairs Le Cygne as the display typeface with Fraunces used in both roman and italic, for the body and secondary information.

The ATypI 2026 Stanford conference takes place in May 2026 at Stanford University, Palo Alto, California. The program unfolds under the theme “Home Screen” – a concept “that feels both personal and universal, inviting us to reflect on where typography lives today and where it’s headed next.”

As ATypI puts it:

ATypI conferences celebrate typography and fonts, with inspiring speakers from all over the world.

ATypI 2026 Stanford marks a return to Stanford University, a site central to the history of digital typography and computer science. Four decades on from ATypI’s landmark 1983 Working Seminar The Computer and the Hand in Type Design, the global type community gathers again to reflect on typography’s past and to confront the unfinished work of designing more inclusive digital futures.

The conference identity, designed by For Good Measure of Brooklyn, New York, brings this idea to life through a dynamic interplay of NN Nouvelle Grotesk by Anton Studer and Selva Script by Fanny Hamelin. The two typefaces weave into each other. This typographic fusion is framed by fluid Bézier-style vectors and soft color fades, forming a digital landscape that feels alive: layered, responsive, and contemporary.

What if the real change lies not in our model but in the way we look at it?

This poster series, designed by Juliette Ran for the fifteenth edition of Printemps de la typographie, using VZWO’s Varianz Sans Low Sans, celebrates the diversity of ways in which we can look at a model. Each line illustrates a different reading, a different vision, a different approach to the model. As a tribute to the wealth of interpretations, the poster embodies the variety of paths and insights we can use to understand it.

Ondrej Jób from Setup Type designed the branding for the 2023 Fontstand International Typographic Conference held in Dublin, Ireland. Similar to previous years, the conference's visual identity utilises various typefaces from Fontstand’s online rental font catalog. This year’s primary font choices write “Fontstand” in Megazoid by DJR, “International” in Origin Super Condensed by Production Type, “Typography” in LeMark by Playtype, and “Conference” in the yet unreleased Async Sans by Setup.

The featured typefaces are set in single words and enveloped in rounded rectangular “buttons” or “cards”, which are then used as modular parts, and aligned either left or light to their boundary box for a digital-forward look. Graphic elements continued the use of gradients, this time referencing the host country’s flag.

Speaker names are shown in additional typefaces that were either designed by the person in question or were otherwise found to be a good match.

Remix magazine is a printed magazine and engages in a remix of the Printemps de la Typographie edition which it echoes. Remix offers interviews and original articles and uses the typefaces created in DSAA Design Typographique, École Estienne’s MFA program for Type Design.

For more than elevn years, the Printemps de la Typo is a series of free conferences bringing together specialists in the field of typography. It’s a great moment of encounter between students and professionals. The event is held at the Galerie Vivienne in Paris,. thanks to a partnership with the Institut National du Patrimoine.

Issue 2, entitled “Sortir du rang”, examines writing and reading devices from the point of view of breaking with habit or convention. The edition, conceived by Morgane VanTorre, proposes to think of the object as a whole, to rethink our experience of reading/seeing through a spatial dynamic that evolves over the course of the book.

See more images on Morgane’s Behance page.

TypoLyon is a series of conferences celebrating the diversity and vibrancy of typographic design practices in Lyon, France. The second edition, which began in October 2024 and runs until April 2025, features esteemed guests Alexandre Bassi, Camille Weber, Sina Fakour, and Rémi Forte.

The visual identity and communication materials for this edition were created by Pauline Badet and Léa Pacorel, design students at Strate École de Design, under the guidance of Rémi Forte, the conference initiator. The communication prominently features the Milling typeface in its OpenType version, designed by Tanguy Vanlaeys and distributed by 205TF.

The primary platforms for communication are the official website, typolyon.fr, and the Instagram account, @typolyon. Additional materials, such as Risograph-printed flyers and keynote presentations, further enhance the event’s visual identity.

The conference series is organized in collaboration with Strate École de Design and 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.

Poster for Type Thursday Bucharest @ &NowEast

As a member of the TypeThursday Bucharest team I created the main poster and visual communication materials for TypeThursday Bucharest @ &NowEast – a talk organised in collaboration with the &NowEast festival on 23th Spetember 2021. The event was hosted by Andrei Grosu (designer and chapter lead of TTB), with Andrei Turenici (designer at Daniel & Andrew) and Adnana Cruceanu (representative for CNDB) as guests. The panel discussion was on poster design, the relationship between designer and client. The event was livestreamed with the support of Black Rhino Radio.

To better integrate, Andrei Grosu and myself chose to set the event’s identity to be chromatically similar to the &NowEast festival’s identity, while using the mainline brand elements of TypeThursday.

What I liked about this project was the great freedom in the creative process and interpretation of all visual communication elements. I was tasked with designing not only the poster but it was an integrated approach with visual materials to be used on the chapter's social media as well as chirons and endscreens for the livestream of the event.

As throughout 2021 all TypeThursday events were held exclusively online and knowing that this collaborative event was to be livestreamed I opted to play with our typographical sets – setting a very dynamic visual approach and experimenting with various lettering interpretations of TypeThursday's acronym.

For all the materials developed from the posters, I used Obviously as the only typeface in varying widths and pairs to obtain dynamic and playful compositions. The use of the typeface was a directive from the TypeThursday team as it is the brand typeface approved for usage in all materials.

Visual material used for social media promotion / event date announcement

Visual material used for social media promotion / reminder for the event

Visual material used for social media promotion

Mockup view of the app screen for BRM.Live where the event was also livestreamed

Málaga Type was born as a meeting between lovers of letters that takes place in the city of Málaga with the aim of spreading typographic culture and creating a community. All this with beer as a cohesive element, with Cervezas Victoria, the Málaga beer par excellence, key to this event. And all in an intense but hilarious one-day journey!

Málaga Type is organized by Rayitas Azules, an editorial design and typography blog led by designers and teachers Ana Moliz and Salva Cerdá and the head of communication and designer Esther Sepúlveda. This second edition featured the participation of Diego Areso, journalist, editorial designer and art director of El País; Laura Meseguer, graphic and typographic designer of international prestige, and, as local speaker, Lucía Types, lettering artist. In addition to the workshop “How to design digital typography with Glyphs?” taught by Rainer Erich Scheichelbauer, a member of the Glyphs team.

Being an event focused on typography and editorial design, the most outstanding elements in the identity are these features. Labil Grotesk brings that rational and typographic touch to the whole. In addition, the yellow gradient (simulating the natural interior shade of a book), the black and white photos and the bleeding layouts make this piece a unique identity developed by Tiquismiquis.club.

Photos by Uve Martinez

Typographic identity designed for Typographics 2018, an annual festival held in New York City that explores the roots of modern typography and current trends in the field. Each year, more than 600 design professionals and type enthusiasts attend.

The 2018 typeface played with the idea of optical illusion and hypnotic concentric lines. Thanks to a collaboration among typeface designers, graphic designers, and Cooper Union undergraduates, the first use of the rippling white lines around the word “Typographics” set in the outline version of Faction by Shiva Nallaperumal was used as the hero image of the festival website, then reworked for different conference collateral such as postcards and tote bags. Using Drawbot, the words OBSESS and INDULGE were set in the solid version of Faction in white on a black background, but this time lines were interpolated to space between an outer rectangle and the word’s outline. To balance the display typeface, the designers chose a secondary one, Canal by Coppers and Brasses, which was used for body copy, captions, and subtitles.

Along the west side of Cooper Union's Foundation Building is a colonnade of windows that have become an important face of the Typographics festival. With Faction used only in black and white set in differing weights, the windows, which spelled out the word Typographics, playfully expanded the conference identity. An accompanying video resulted in a lively virtual stroll along the letters.

The animation shown below (by Jonathan Katav was played on stage at the start of each day of the conference.

Typographic identity designed for Typographics 2017, an annual festival held in New York City that explores the roots of modern typography and current trends in the field. Each year, more than 600 design professionals and type enthusiasts attend.

For Typographics' identity in 2017, the design team behind Typographics drew inspiration from neon signs by using the typeface Ohm, designed by Tal Leming. He made custom alterations to the typeface to meet the needs of the conference by adding serifs to L and 1 to balance the character spacing for when the words were broken into spacing of two- to four-letter stacks. Graphik, designed by Christian Schwartz, was deployed for subtitling and body copy, acting as ballast to Ohm.

The tote bags that year were emblazoned with Herb Lubalin’s famous phrase “Let’s Talk Type/Let Type Talk” – the graphic intertwining of the two parts of the phrase expressed the concept behind the Typographics of making type graphic. The two parts of the phrase exploited the two style ranges available in Ohm.

In addition, the team took the neon element beyond the main stage events. Attendees were led by Thomas Rinaldi to explore neon signs across Manhattan during a walking tour. “If we have this interesting, fun branding and there is some element of New York City that fits into it, the identity is all the more effective. People come to the festival from all over the world, so to have someone take you around and show you all the amazing neon signs that are still used is pretty amazing,” said Sasha Tochilovsky, conference director of Typographics.

Video by Gabriel Rodriguez-Fuller

In the process, Tal worked closely with the team at Typographics to design customized versions of letters for the festival. Shown in this picture is an altered version of the letter “I” to match the width of other letters.

Typographic identity designed for Typographics 2016, an annual festival held in New York City that explores the roots of modern typography and current trends in the field. Each year, more than 600 design professionals and type enthusiasts attend.

For 2016, the team’s designers chose the typefaces Eames Century Modern Stencil and Eames Century Modern, designed by Erik van Blokland for House Industries, as the central branding tool for the festival. It proved to be extremely versatile. On the one hand, it worked as legible, appealing typeface for print and digital media; on the other, Eames Stencil’s curves and forms, when seen in close-up, made exciting patterns that were still recognizable as shapes derived from letterforms. The team used red and blue, and superimposed them on each other to create purple elements that worked well for collateral materials, such as a step-and-repeat wall, a tote bag, and large-scale signage. The curves of the playful sans serif Mallory, designed by Tobias Frere-Jones, made an excellent secondary typeface for body copy that complemented Eames Stencil.

An added benefit of Eames is its extensive selection of arrows and borders built into the typeface that the team had a lot of fun working with. The name badge design was made by using a script to generate endless variations by combining the border designs with the color. The script also scaled the size of the type for the first and last names of each attendant to create perfectly justified lock-ups. The range of arrows were turned into a fun photo-op background.

See also a previously published post on Fonts In Use that focused on the Typographics 2016 website.

Visual Identity for the international festival of typeface design "Let's type" in Metz, France at the school of ESAL, école supérieure d'art de Lorraine: poster, website, animation, bags and social network using Margarita (Alejandro Lo Celso, PampaType) and Messine designed by the students of ESAL.

Branding communication by Bernard Gissinger, with the help of Jérôme Knebusch.

Tipos Latinos shows the best of typeface design made in Latin America, and it’s the most important biennial in its category. The biennial forms part of the 13 member countries of the network Tipos Latinos, including Ecuador. An identity system was developed and applied in all the visual communication pieces.

The identity was based in a modular system of blocks obtained from the word “TIPOS” — set in Tikal Sans by Miguel Hernández — which combines color, perspective, and patterns. This allowed to create diverse applications for the event with a contemporary and versatile visual language. It was used to promote Tipos Latinos between 2014 and 2015. Exhibitions have been held at Quito, Guayaquil, and Cuenca.

Art direction: Esteban Salgado – Velesi Branding / Grafitat. Graphic Design: Ricardo Cuenca.

DiaTipo São Paulo 2017. Event poster.

DiaTipo São Paulo is the biggest type conference in Brazil. The identity for the 2017 edition explores the concepts of “expansion” and “variation”, inspired by the event’s theme “um novo olhar” (“a new regard”). The huge amount of widths in DJR’s Fit typeface was perfect for the job. It was paired with dT Jakob by Gustavo Soares/DooType.

Organizational team and identity co-creators: Julio Giacomelli, Fabrícia Ribeiro, Damien Levaton, Filipe Negrão, Joyce Melguiso
Website: Filipe Negrão [Estúdio Analógico]
See more images on my Behance page.

DiaTipo São Paulo 2017. T-shirt.

DiaTipo São Paulo 2017. Bags.

DiaTipo São Paulo 2017. Badges.

Laurence Penney wears Federal at TYPO Berlin 2016.

TypeLab was initiated by Petr van Blokland and David Berlow in 1993 during the ATypl conference in Antwerp “as an informal meeting where attendants could converse, compare
notes, get hands-on experience of type design software and jot down improvised
typefaces. […] In 1996, the ATypl conference was hosted by the Royal Academy in The Hague
(KABK).” — Jan Middendorp in Dutch Type.

The T-shirt for the 1996 edition uses LTR Federal, designed by Petr’s brother Erik in 1996. Here it is used with offset shadow and outline effects, stacked and justified.

In 2015, the TypeLab idea was revived as part of the Typographics conference. This year’s edition is scheduled for June 14–17.

Antonio Cavedoni. License: All Rights Reserved.

Here we feature a use of Halyard in all three subfamilies (Display, Text, and Micro) in slides used for a presentation at Kerning Conference 2017. As an advising designer in the creation of Halyard, Antonio Cavedoni’s use demonstrates an intimate knowledge of how to use the Halyard superfamily to optimal effect.

Halyard is a perfect match for Cavedoni’s talk, in which he discusses the importance of scale to letterforms: “Shapes that work at one size don’t necessarily work for others. Adjusting letters for the distance, scale, and the viewing conditions that they will be read at is a primary concern.” Among contemporary sans serifs, Halyard is revolutionary in offering purpose built optical sizes, each of which was separately designed to be optimized for a specific range of viewing size. He illustrates his point with an animation showing Halyard’s three optical sizes:

Antonio Cavedoni. License: All Rights Reserved.

Halyard’s Micro, Text, and Display are shown at the same size, so that their respective size-specific characteristics and adjustments can be examined and compared.

Cavedoni’s use of Halyard illustrates that the subfamilies are designed to maintain a consistent personality when they are used in their the intended sizes which creates the impression of a single type design. Small text like captions and map labels are set in Halyard Micro; quotes, lists and and other medium-sized elements are in Halyard Text; and large names and headings appear in Halyard Display. By “keeping it in the family”, all text elements are in harmony, and at the same time each one appears appropriate in terms of personality, proportion, spacing and clarity.

Antonio Cavedoni. License: All Rights Reserved.

In this map, Cavedoni uses Halyard Micro Light, Medium, and Bold to create a clear hierarchy using the typographic variables of weight, size, letter-spacing, capitalization and color.

Source: vimeo.com Antonio Cavedoni. License: All Rights Reserved.

For the headings of his talk, Cavedoni chose italic caps — a less common yet attractive stylistic device that adds vigor — in Light and Black weights: “I tend to use fonts in a way that will make them do most of the work for me. I try to favor the more extreme styles for that reason, and I really enjoyed the look of Halyard’s Black Italic caps.”

Antonio Cavedoni. License: All Rights Reserved.

This slide shows the golden ratio, or divine proportion, calculated to a few hundred decimal places. The typographic pattern and texture created shows the tabular numerals from Halyard Display Book Italic to striking effect.

Antonio Cavedoni. License: All Rights Reserved.

The heading is in Halyard Display Black Italic. The list of names set in Halyard Text. Note that the parenthesis is one of the few places to feature the former’s lowercase in a heading.

Antonio Cavedoni. License: All Rights Reserved.

The slideshow includes a few longer quotes in Halyard Text, with the most important bits highlighted in a Black rather than the Bold weight. This increased contrast in style was clever choice in the context of both a briefly presented image and a reversed color layout that using white text on a black background. The attribution is set in Halyard Micro Italic.

Antonio Cavedoni. License: All Rights Reserved.

The words “The Divine Proportion” are set in Halyard Display Light Italic.

Grazie, Antonio, for putting Halyard to great use!

I’m usually not a big fan of ATypI’s graphic identity, but for this year’s conference in Montréal, Julien Hébert is doing an incredible job using a bunch of fresh and amazing typefaces!

Julien Hébert says he chose Guillon as the principal typeface for this year’s conference because it was developed in Montréal by the very talented Feed Studio and Coppers and Brasses. As we celebrate the 50th anniversary of Montréal’s Expo 67, Guillon pays homage to the mid-century modernist grotesque, and is perfectly suited to the very heteroclite applications to come.

Julien Hébert: “The A17Mtl mark was created from scratch and meant to reflect this year’s theme: Atypique (atypical in French). I had fun with ink traps, making the mark look good at all sizes, as well as geometry, creating very satisfying alignments and fitting the mark in a perfect square.”

Joe182 is “a script face based on the authentic traces left by a thick chisel-tip marker”.

Here I should thanks Florian Hardwig who is your man when you need some ID help:

“The condensed broken script looks like Gandur Neue, with the ‘e’ taken from the small caps.”

[Correction: It’s simply Gandur Alte in all caps, see the comments.]

The call for early bird registration is enforced by the use of Minotaur Beef.

Triade is another local typeface, by Montréal-based foundry Coppers and Brasses. See its peculiar Backslant style in action here.

Rozza: “On the one hand prickly and dangerous, and on the other — pulsating beauty and passion.”

“Frauen Roman and Script share a common weight, x-height, and nib angle, and when used together behave as if the same unabash­edly German calligrapher penned them both in the same sitting.” — Sharp Type

Lettering done by Julien Hébert.

According to its designers, “Pareto is not even halfway finished with its time travel from Italo Western to Computed Type!”

More lettering by Julien Hébert.

The ring bound program cover feature one more lettering by Julien

Some spreads from the program, displaying typefaces already featured above and new additions by The Pyte Foundry: Umbra, Octango and Symptom (not visible here).

The Mini Schedule and the whole signage on the actual location were set in various styles of Sharp Grotesk.

Two great type scholars (Luc Devroye left, Stephen Coles right) in front of some of the posters Julien designed with its own letterings, at ATypI 2017 closing party.

Typewalk 1915 in use for poster, flyers and program leaflets for the Sign Week Vienna. Big hooray to Sven Fuchs at Typocalypse for supporting this event! See also the previous post about the website.