Global Design Voices Highlight Shift Towards Distinctive And Experimental Typography

What’s exciting them right now in the world of type?

Alex Center, founder, creative director, CENTER, Brooklyn (Communications Design jury): “I am really excited by type that feels human again, imperfect, expressive, and a little weird. Fonts that carry personality, not polish for polish’s sake. There’s a move away from overly neutral, hyper-rational systems and toward type that brings distinction, has a real purpose, and even sometimes embraces its awkwardness.”

Amy Hood, Co-founder, creative director, Hoodzpah, Anaheim (Lettering jury): “I love that maximalism is back. We have reached the full swing, 180 degree reaction to blanding and it is detailed, intricate, personality rich typography. With brands being more open to experiment as social media makes the shelf life of content shorter and shorter, we are treated to weird, fun, and exciting designs featuring fun type that strays from the brand guidelines while still maintaining the overall brand tone.

Margot Lévêque, creative director, type designer, Claude Type, New York (Communication Design jury): "The return to intentional, slow craft. I’m inspired by how type can be approached not as something mass-produced or rushed, but as something cultivated over time with thoughtfulness and care, like a couture atelier for letterforms, rather than a catalogue churned out quickly. This means celebrating the unhurried process of design, where each typeface grows quietly, thoughtfully, and with emotional depth, rather than being driven by urgency or external pressure."

João Paz, head of design, MullenLowe, New York (Communications Design jury): “What excites me is seeing typography truly define what a brand is all about. When a typeface isn’t just a styling choice, but a clear expression of who that brand really is. The strongest type today captures a brand’s voice and personality with precision. It sets the tone, establishes character, and creates immediate recognition. When done right, typography becomes the entry point into a brand’s world, before you’ve read a single word."

What were some objectives for jury selection?

Mary Kate McDevitt, illustrator, hand-letterer, designer, Philadelphia (Lettering Jury President): “I wanted a jury of different lettering styles and tastes. There are so many ways to create lettering and different ways lettering is applied in the world. I wanted folks who each have their own unique approach to lettering.”

Aleksandra Samuļenkova, type designer, Haarlem, Type Design Jury President: "My main objective was to cover as much ground as possible. Contemporary type design is shaped by many factors and emerges from different places. The jury needed to reflect this, at least to some extent. The first step was to secure the most competent judges for the major writing systems. For the vast field of Latin script, my aim was to ensure that different geographic regions and their typographic perspectives were represented. At the same time, I strongly believe type design should not be judged by type makers alone, but by type users as well. I made sure to include experienced typographers with broad and multifaceted knowledge of type.

What will they be looking for in this year’s entries?

Shoko Mugikura, managing director, Just Another Foundry GmbH, Garching (Type Design jury): “I am looking forward to encountering a diverse range of Latin, Japanese, and Chinese type designs. Serving as a jury member for Tokyo TDC 2025 gave me the chance to experience many inspiring works rooted in the rich calligraphic traditions of both cultures, and it left me eager to see how these traditions continue to live in contemporary design.”

Stuart Radford, executive creative director, Jones Knowles Ritchie, London (Communication Design jury): “I’m looking for work that hits you in the gut the first time you see it. Something you didn’t expect. Something that flips the context, reframes the problem, and makes you look twice. But, despite how odd it looks, the idea is completely right for the brand. That’s how I judge good work. It lives in that sweet spot: unexpected in how it shows up, unmistakably relevant in what it means.”

Krista Radoeva, founder, type designer, About Type, Sofia, Bulgaria (Type Design jury): “There is so much attention to the tiniest details in the craft of type. But what stands out to me in a competition beyond the great execution, is the great idea. It might sound weird, but you can always tell if the person who did the work, actually loves and believes in their result, or is simply trying to please the competition requirements. So I guess I am looking for work that has obviously been made with love :)”

Cat How, founder, ECD, How&How Branding Agency, Santa Monica (Communication Design jury): “I’ll be looking for clarity of intent first. I want to understand why a typographic decision was made — not just admire how it looks. Good work, to me, starts with a clear point of view and follows it through with conviction. Craft matters, of course. But craft without purpose is decoration. I’m interested in how typography functions in context: how it performs across mediums, how it supports content and creates meaning rather than noise

When asked what he’s excited about right now, TDC executive director Joe Newton said “My job. Getting to see the 360-degree view of what's happening around the globe, and interacting with so many dedicated and talented practitioners. It's such a generous community.”

He also has clear beliefs about the value of awards competitions.

”Many people are hung up on social media for validation. Or that's all they feel they have access to,” said Newton. “Competitions like TDC that really dedicate themselves to craft, education, and growth offer entrants a chance to be reviewed by highly qualified type-brainiacs. This isn't social media likes. It's the word of experts with experience and perspective. A win at TDC can boost your confidence, provide visibility, and win you greater respect from your colleagues and potential employers.”