Graphic Languages
Aspects of Writing Systems
About Type Design
Structure and Method
Introduction of a Quick Guide
Index of Contributors
Bibliography
Acknowledgements
particular attention. While language itself cannot be considered a tool, as it is an inherent trait of the human species, reading and writing are learned skills that require the development of specific neural pathways.3 The invention of writing systems—with early examples such as Sumerian cuneiform or Egyptian hieroglyphs—required extremely complex mental processing, involving not only visual recognition but also auditory processing and spatial analysis. As a result, the first writing systems were highly restricted and accessible only to certain members of society, as mastering them took considerable time and placed significant mental demands on the user. Over time, writing systems became simpler and more accessible, with the Greek alphabet serving as a key early example.4 The act of writing, the ability to record information, liberated knowledge from the limitations of memory and enabled more complex and abstract thinking. In oral cultures, knowledge was previously confined to what could be memorized and recited; however, the written word allowed information to be stored and transmitted beyond individual memory. This transition from an oral to a literate culture significantly deepened intellectual and scientific thought, a development that can be primarily observed in Western history from the Renaissance and the Enlightenment onwards. Similarly, comparable shifts occurred during the Song Dynasty in China, the Edo period in Japan, or the Islamic Golden Age.5
Writing systems can be regarded as transformative tools in human history, fundamentally changing not only communication but also thought processes and the intellectual development of entire civilizations. Literacy “is absolutely necessary for the development not only of science but also of history, philosophy, explicative understanding of literature and of any art, and indeed for the explanation of language (including oral speech) itself.” Writing systems and the ability to utilize them are “utterly invaluable and indeed essential for the realization of fuller, interior, human potentials,” as Walter J. Ong describes in his seminal work Orality and Literacy. 6 “Writing heightens consciousness,”7 he concludes.8
3 Specific neural pathways differ depending on the language and writing system in use. There is a long history of studies investigating whether a universal neural architecture for reading exists across languages and writing systems. One recent study, for example, compared English (Latin script, alphabetic system) and Chinese (Chinese/Hanzi script, morpho-syllabic system). Researchers used fMRI scans (functional magnetic resonance imaging measures the small changes in blood flow that occur with brain activity) to observe readers of both languages during two tasks. This study found that differences in brain activation between the two languages were highly task-dependent. During a lexical decision task, significant differences emerged between Chinese and English readers, aligning with past research. However, in a natural reading task, differences were minimal and observed only in general visual processing areas, not in regions specifically associated with reading. These findings indicate that while different writing systems (and languages) activate different neural pathways during tasks requiring conscious linguistic judgments, they operate more similarly during everyday reading comprehension.
See: Xiaojuan Wang et al., “Language Differences in the Brain Network for Reading in Naturalistic Story Reading and Lexical Decision,” PLoS ONE 10 (2015).
4 While there are other significant writing systems between the origins of Sumerian cuneiform, Egyptian hieroglyphs, and the Greek alphabet—such as the developments by the Phoenicians, which in turn greatly influenced later systems—the Greek alphabet stands out because it was the first system to introduce individual glyphs for both vowel and consonant sounds. Moreover, its character set was highly streamlined, making it easier to teach and learn.
5 Further comparable historical developments can be observed on a larger and smaller scale across the globe, such as the Gupta Dynasty in India. In this case, as in other examples, it is often unclear to what extent literacy was widespread among the general population. However, it can always be noted that it was a period of great intellectual flourishing, which had a lasting impact on the respective cultural and social life.
6 Walter J. Ong, Orality and Literacy: The Technologizing of the Word (Routledge, 2002).
7 Ong, Orality and Literacy, 14–15.
8 This described “intellectual technology” has led, especially in modern times (aside from Gutenberg’s invention of the printing press in 1450, which illustrates the potential of tools from another category to profoundly influence civilizations), to ever-new developments, including the dissemination and availability of information via the internet. The development of the internet, and the profound societal as well as cognitive impacts associated with it, is the primary focus of the book The Shallows by Nicholas Carr.
2
Maram Al Refaei
Unicodes: U+FECB, U+FEE0, U+FEF0
Arabic letters “Ain” initial form (ﻋ), “Lam” medial form ( ﻠ ), “Alef Maksura” final form ( ﻰ ), forming the word “Ala,” in combination with Unicodes: U+FEED, U+FEAD, U+FED5
Arabic letters “Waw” isolated form ( ﻭ), “Reh” isolated form ( ﺭ), “Qaf” isolated form ( ﻕ), forming the word “Waraa,” in combination with Unicodes: U+FE8E, U+FEDF, U+FED4, U+FEDE
Arabic letters “Alef” final form ( ﺎ ), “Lam” initial form ( ﻟ ), “Feh” medial form ( ﻔ ), “Lam” final form ( ﻞ ), forming the word “Elfol.”
Comment: “Ala Waraa Elfol” translates to “Alongside the Jasmine Flowers.” Free Script; Hand Lettering; Based on a music track illustrating organic features inspired by flowers and plants, as the song title reads “Alongside the Jasmine Flowers.”
The Armenian script is used by around ten million people worldwide, both in Armenia and the Armenian diaspora. The script was invented by Mesrop Mashtots in the early fifth century CE and likely modeled on the Greek alphabet, following its letter order. Originally, the script was used to write Greek, Ottoman Turkish, and Kurdish, and it had thirty-six letters. However, more letters were added later, and only majuscule letters existed at first, with minuscule variants developing in the twelfth century.
Throughout history, four primary writing styles have been used, depending on the period and context. Additionally, a handful of ligatures exist, which can be represented as one-letter units or as individual letters combined. The oldest recorded written sample in the script was the Tekor Church inscription from the late fifth century, but it is now lost. Inscriptions and manuscripts in the script have been found at Christian sites across the Near East, including Jerusalem and the Sinai Peninsula. In Constantinople, numerous Ottoman Turkish books and newspapers were published in Armenian script.
The Armenian alphabet enabled the establishment of Armenian educational institutions and a large body of early Armenian literature. Later, in the early twentieth century, orthographic reform under the Soviet government led to two spelling conventions being used. The Mesropian orthography is used throughout the Armenian diaspora, while the Reformed orthography is used within Armenia. Armenian is written with spaces between words, employs upper and lower case, and is read from left to right. The traditional order of the letters composes an acrostic prayer. The script uses non-Latin marks for punctuation, including four unique to Armenian. Two marks follow a word to indicate that it has been abbreviated or to add emphasis, while the other two are placed after and above the last vowel, respectively, as a question mark and an exclamation mark. Numbers are not script-specific; rather, each letter was assigned a numeric value, although Latin numbers have increasingly been used in recent years.1 • 4
1 Avedis K. Sanjian, “The Armenian Alphabet,” in The World’s Writing Systems, eds. Peter T. Daniels and William Bright (Oxford University Press, 1996).
2 “Typotheque: The Armenian Script,” in Typotheque Specimen 18, eds. Peter Biľak and Atelier Carvalho Bernau (Typotheque, 2021).
3 John A. Lane, The Diaspora of Armenian Printing 1512–2012 (Special Collections of the University of Amsterdam, 2012).
4 “Die Schriftsysteme der Welt,” based on the research project “Script Encoding Initiative (SEI)” initiated by Dr. Deborah Anderson, University of California, Berkeley, USA, in Johannes Bergerhausen and Siri Poarangan, Decodeunicode – Die Schriftzeichen der Welt (Verlag Hermann Schmidt, 2011).
Armenian is written from left to right. The baseline is at the bottom.
Between words
The Armenian script was invented by Saint Mesrop Mashtots in the early fifth century CE. It is based on the Pahlavi script of Iran and the Syriac script of Mesopotamia. The Armenian script has undergone several modifications throughout history, particularly during the Soviet era, when a new orthography was introduced, namely to the Eastern Armenian language.
The Armenian script is a phonemic orthography, meaning that each letter represents a distinct sound in the language.
The Armenian script has 39 letters, including 31 consonants and 8 vowels.
The Armenian script is used to write the Armenian language in various contexts, such as literature, newspapers, and digital media. It is also used to write minority languages spoken by the Armenian diaspora, such as Western Armenian and Eastern Armenian varieties.
2
Gor Jihanian
Unicode: U+053B
Armenian capital letter “Ini” ( Ի )
Comment: This style is called “Trchnagir,” a type of decorative letters (illustrated here as a bird wrapped by a snake) typically used for headings or as an initial letter.
Unicode:
Unicode:
Unicode: U+09C8
4
Unicode: U+09C3
Hitesh
Unicode: U+09BC
Bangla sign “Nukta” ( )
1 Fer Cozzi
Unicode: U+0424
Cyrillic capital letter “Ef” (Ф)
Comment: The firmness and frankness of the form are planted in an elegant way if they are balanced and well-resolved. Simple but concrete.
2 Lineto
Unicode: U+0424
Cyrillic capital letter “Ef” (Ф)
3
Swiss Typefaces
Unicode: U+0424
Cyrillic capital letter “Ef” (Ф)
4
Contrast Foundry, Maria Doreuli
Unicode: U+0424
Cyrillic capital letter “Ef” (Ф)
Comment: A large O with a stroke inside—sounds very easy! But this approach does not work for all the designs, as you can see in this version. By the way, Cyrillic “Ф” and Greek Phi will most likely be identical, which is another proof of how close Cyrillic and Greek scripts are. Typeface: CoFo FlicFlac.
Georgian is written from left to right. The baseline is at the bottom.
Between words
The Georgian script was developed in the fourth century CE. The original script consisted of 38 letters, but it was gradually simplified to its current form over the centuries. The Georgian script has undergone various modifications throughout history, particularly during the Soviet era, when a new orthography was introduced to the Georgian language.
The Georgian script is a phonemic orthography, meaning that each letter represents a distinct sound in the language.
The Georgian script has 33 graphemes, consisting of 28 consonants and 5 vowels.
The Georgian script is used to write the Georgian language in various contexts, such as literature, newspapers, and digital media. It is also used to write the Mingrelian and Laz languages.
1
Design210
Unicode: U+AC1B
Hangul syllable “Gah” (갛)
Comment: Hangeul is a script composed of combination characters consisting of first, middle, and final consonants, and each consonant occupies one or more strokes. To understand the unique characteristics of the font, it is important to examine the stroke arrangement. Therefore, the letter 갛 was chosen as a letter that can showcase the Hangeul font well. By examining the diagonal lines in the initial consonant, the horizontal and vertical strokes in the neutral consonant, and the design of the final consonant ㅎ, we can grasp how the strokes were handled in the letter.
2
Minjoo Ham
Unicode: U+AC1B
Hangul syllable “Gah” (갛)
3 Noheul Lee
Unicode: U+D3B8
Hangul syllable “Pyeon” (편)
4–5
Minjoo Ham
Unicode: U+D3B8
Hangul syllable “Pyeon” (편)
1
Oded Ezer
Unicode: U+FB4F Hebrew ligature “Alef Lamed” (ﭏ)
Comment: Some Hebrew letters can be combined to form ligatures, which are represented by a single letter. Presented herein is the ligature for Aleph-Lamed of the Ezer Kadim font. It is a composition of the Hebrew letters Alef and Lamed and is elegant and minimalistic.
2–3
Lineto
Unicode: U+FB4F Hebrew ligature “Alef Lamed” ( ﭏ)
4
Shiva Nallaperumal, ITF
Unicode: U+FB4F Hebrew ligature “Alef Lamed” ( ﭏ)
Oded Ezer
Unicode: U+05E3
Hebrew letter “Final Pe” (ף)
Comment: In Hebrew, there are five letters that have final forms that are used exclusively at the end of a word. These letters are:
1. ך (Final Kaf): This is the final form of the letter Kaf, and it is used at the end of a word instead of the regular Kaf (כ) which is used in the middle of a word.
2. ם (Final Mem): The final form of the letter Mem, used at the end of a word instead of the regular Mem (מ).
3. ן (Final Nun): The final form of the letter Nun, used at the end of a word instead of the regular Nun (נ).
4. ף (Final Pe): Here, the showcased letter is the final form of Pe from the Ezer Hallelujah font, used at the end of a word instead of the regular Pe (פ).
5. ץ (Final Tsade): The final form of the letter Tsadi, used at the end of a word instead of the regular Tsadi (צ).
6 Shiva Nallaperumal, ITF
Unicode: U+05E3
Hebrew letter “Final Pe” (ף)
7–9
Dhwani Shah, ITF
Unicode: U+05E3
Hebrew letter “Final Pe” (ף)
1 Natalie Rauch
Unicode: U+179A
Khmer letter “Ro” (រ)
2
Kelly Sor
Unicode: U+179A
Khmer letter “Ro” (រ)
Comment: This letter is as common as the Latin letter “e.” Its pronunciation depends on its placement in a word. “Ro” always gets pronounced if it is the first letter of a word. However, if placed at the end of a word, ro is silenced, acting as a legacy placeholder to denote historical orthography. What if ro is in the middle of a word? Sometimes you enunciate it, often times you ignore it all together, or rarely you enunciate ro with a glottal stop, depending on the language origin of the word. This glyph is typically how ro is written. Recent developments have simplified ro to resemble a condensed small Latin letter, which is widely accepted and recognized.
3
Piero Di Biase, Formula Type
Unicode: U+0133
Latin small ligature “ij”
4
Franziska Weitgruber
Unicode: U+006B
1
TIGHTYPE
Unicode: U+004D
Latin capital letter “M”
2
Emily Klaebe, Jesse Reed, Order Type Foundry, Order Unicodes: U+0066, U+0066, U+0069
Latin small letters “f” (two times) and “i” (ffi ligature)
Comment: The bracketing of the slab serifs in the typeface Stringer is consistent with the rounded joins in the ball terminals. Both of these features are preserved through the “ffi” ligature, where the hook of the “f” extends to connect with the tittle of the “i.”
Latin small letter “k”
Comment: The special characteristic of the “k” is probably the construction: stem plus two diagonals. In this case, it is an expressive script typeface glyph: a very defined ductus; the writing tool is evident; the construction is cursive.
5
Linda Hintz
Unicode: U+0048
Latin capital letter “H”
Comment: This letter is one of the base letters of the Latin alphabet. It is used to determine many of the base parameters, like vertical and horizontal heights, stroke thicknesses, or stroke contrast, of a typeface while designing.
6
Morgane Vantorre
Unicode: U+0048
Latin capital letter “H”
7
Nolan Paparelli
Unicode: U+006E
Latin small letter “n”
Comment: The connection of the bowl to the stem of n will influence “h, m, u,” and “r.” So it is quite important in the alphabet. It is also usually what type designers start with, trying to figure out the design, spacing, proportions, and features of the “n” together with the “o.”
8
Emily Klaebe, Jesse Reed, Order Type Foundry, Order
Unicode: U+0026
Ampersand (&)
Comment: Munson Grotesque Slab is a revived typeface inspired by the hand-painted signage of Elaine Lustig Cohen, found throughout the campus wayfinding. The gestural qualities of its hand-drawn nature are maintained through the construction of the ampersand.
9
Linda Hintz
Unicode: U+0059
Latin capital letter “Y”
Comment: The Y is a stranger to many languages it is used in, has a variety of different pronounciations, and yet comes with a rather stable form that has been similar almost throughout its entire history.
10
Mònica Losada
Unicode: U+0045
Latin capital letter “E”
Comment: Modular, unconventional, and a bit ugly. Might make one feel uncomfortable due to its resemblance to Gouda cheese.
11
Displaay Type Foundry
Unicode: U+005A
Latin capital letter “Z”
Arya Purohit
Script: Tamil ↗ 378
Arya Purohit, a type- and graphic designer from Mumbai, worked for ASDS in Mumbai in the past. It was during this time that he discovered his interest in multilingual typeface design. With a focus on diverse scripts such as Devanagari, Bangla, Tamil, and Gujarati, he has crafted remarkable typefaces and lettering pieces for a range of clients and foundries, such as ITF and Typotheque. Today, he operates his own independent practice.
Web: indiantypefoundry.com typotheque.com
Atypical Type Foundry
George Triantafyllakos
Script: Greek ↗ 171
Atypical is a commercial type foundry that operates independently and was founded by George Triantafyllakos in Thessaloniki, Greece. The aim of the foundry is to provide modern text and display typefaces that are suitable for today’s design needs and can tackle contemporary design challenges. Atypical offers a diverse selection of fonts with various styles, weights, and language support, including over 200 Latin-based languages in addition to Greek. Additionally, the goal of Atypical is to create a welcoming platform for emerging type designers to present and advertise their work. If your designs align with the style and aesthetic of Atypical’s font library, you are encouraged to submit them for review and potentially become part of the Atypical community. The main requirements for submission are that the design must be original and support the Latin and Greek character sets.
Web: atypical.gr
Binnenland
Michael Mischler, Nik Thoenen, Thomas Hirter
Script: Cyrillic ↗ 106 Greek ↗ 174
Latin ↗ 298
Binnenland, a type foundry based
in Bern, Switzerland, and Vienna, Austria, was established in 2007 by Michael Mischler and Nik Thoenen as a shared platform for their respective type design pursuits and to publish their font creations. Whether creating fonts for the sheer pleasure of experimental creativity or to convey concrete content, they enjoy the art of type design. In addition to producing personalized font designs through close collaboration with a range of clients, they focus on editorial design in their individual design work, with typography as a key consideration.
Web: binnenland.ch
Blaze Type
Matthieu Salvaggio
Script: Latin ↗ 297
Blaze Type, founded by Matthieu Salvaggio, is an independent type foundry that has been designing both retail and custom typefaces since 2016. Their international team of experts works collaboratively to create innovative fonts, with font users at the center of everything they do. By combining the knowledge of typeface design with contemporary ideas, Blaze Type offers a rich and ever-evolving catalog of fonts. Their fonts are valued for their modern features and aesthetic. Blaze Type offers lots of styles, large character sets, alternate glyphs, and extensive language support, making their fonts accessible to everyone, everywhere.
Web: blazetype.eu
Boom Promphan Suksumek
BOOM-Promphans
Script: Thai ↗ 408
Boom Promphan Suksumek is a type designer from Bangkok, Thailand, who graduated from the Type and Media MA program at KABK The Hague in 2022. Boom specializes in creating typefaces that incorporate both Thai and Latin writing systems. She publishes her work in pro-
gress on futurefonts.xyz and collaborates with graphic design studios to provide various type design services, including custom typeface design, typographic consultation, lettering, brand identity, and editorial design. Boom’s educational background includes a BA in Communication Design from Chulalongkorn University in Bangkok, Thailand. After completing her MA, she worked as a type designer at Cadson Demak in Bangkok. During her time at Cadson Demak, Boom presented her research on the evolution of the Thai Loopless style at ATypI Tokyo and BITS Chiang Mai in 2019.
Web: boomtype.xyz
Changxin Lee
Script: Chinese ↗ 101
Changxin Lee is a freelance graphic designer and potter living and working in Shanghai. His typographic works are characterized by highly illustrative approaches that skillfully engage with the context of the respective glyphs. He creates these works in the context of cultural events, as well as for commercial commissions.
Web: at changxinlee1991
Contrast Foundry
Maria Doreuli, Liza Rasskazova
Script: Cyrillic ↗ 107 Greek ↗ 174
Hebrew ↗ 239 Latin ↗ 301
Contrast Foundry is a studio focused on designing letterforms in all their incarnations. The studio was founded by Maria Doreuli, initiated by a collaboration with Liza Rasskazova in 2014. Yet the online collection of fonts only became available at the end of 2018. In the past years, the full-time team grew from 2 to 7 people, as the studio was joined by Nikita, Anna, Egor, Anastasia, and Tasya. All team members have a background in design, yet they specialize in different fields, from management to calligraphy and typeface engineering. The team may be
Graphic Languages – A Visual Guide to the World’s Writing Systems
Publisher
Slanted Publishers UG (haftungsbeschränkt)
Nördliche Uferstraße 4–6 76189 Karlsruhe, Germany T +49 (0) 721 85148268 info@slanted.de slanted.de @slanted_publishers
© Slanted Publishers, Karlsruhe, 2025
Nördliche Uferstraße 4–6, 76189 Karlsruhe, Germany
© The works of the authors and designers were made available exclusively for this project. All rights to these works remain with their respective creators (exceptions are covered by the Open Font License). Any other use or reproduction is prohibited, without the written permission of the editor, author, designer, and publisher.
© Oliver Häusle, for all contents and texts except those cited with source and author.
All rights reserved.
ISBN 978-3-948440-88-6 First edition 2025
Disclaimer: The publisher assumes no responsibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing is free of third-party rights. Reproduction and storage require the permission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor.
Every reasonable attempt has been made by the editor, authors, and publisher to identify owners of copyright. Should any errors or omissions have occured, please notify us.
Design and Editing: Oliver Häusle oliverhae.com
Publishing Direction: Lars Harmsen, Julia Kahl
Production Management: Julia Kahl
Proofreading: Sofia Leiby flavor-text.de
Printing and Binding: Printmedia Solutions printmedia-solutions.de
Typeface: Theinhardt (Optimo) for Latin texts, Noto Sans for the translated script titles optimo.ch / fonts.google.com
Paper: Holmen TRND 2.0 80 gsm Enviro Natur 300 gsm
The German National Library lists this publication in the German National Bibliography; detailed bibliographic data is available on the internet at: dnb.de
Created in collaboration with international type designers and experts, Graphic Languages visually presents the world’s most widely-used writing systems. Through a focus on the visual essence of each script, the project offers an engaging introduction to these writing systems, showcasing their unique characteristics and vital roles in communication. While it briefly touches on the historical and cultural significance of these scripts, the primary aim is to highlight their diversity and underscore their importance as essential tools for connecting people and ideas.
Additionally, the project at hand serves as a valuable resource for designers—students, professionals, and educators alike—offering contacts, bibliographies, and further contextual information that expands on the history, culture, and nuances of writing systems.
List of Contributors
With contributions by: Aditi Pimprikar, Adonian Chan, Akaki Razmadze, Aki Toyoshima, Akio Okumura, Amélie Bonet, Ana Sanikidze, Anurag Gautam, Arya Purohit, Atypical Type Foundry (George Triantafyllakos), Binnenland (Michael Mischler, Nik Thoenen, Thomas Hirter), Blaze Type (Matthieu Salvaggio), Boom Promphan Suksumek, Changxin Lee, Contrast Foundry (Maria Doreuli, Liza Rasskazova), Daniel Brokstad, Design210, Dhwani Shah, Displaay Type Foundry, Domicile Foundry (Joona Louhi), Ek Type, Order Type Foundry (Emily Klaebe, Jesse Reed), Fanny Hamelin, Fer Cozzi, Font1000, Formula Type (Piero Di Biase), Foundry5 (Kostas Bartsokas), Franziska Weitgruber, Garine Gokceyan, Giulia Boggio, Gor Jihanian, Gunjan Panchal, Hey Porter! (Tawfiq Dawi), Hiroshi Iseya, Hitesh Malaviya, Ikumi Hihara, Indian Type Foundry, Irene Vlachou, JamraPatel (Mark Jamra, Neil Patel), Jérémie Hornus, Johanne Lian Olsen, John Hudson, Jonny Pinhorn, Jyotish Sonowal, Kamitani Toshio, Kelly Sor, Khajag Apelian, Kimya Gandhi, Klim Type Foundry, Kristyan Sarkis, Kulturë Type, Kyiv Type Foundry (Yevgeniy Anfalov), Linda Hintz, Lineto, Mallikātype (Zheng Chuyang, Xue Tianmeng), Manushi Parikh, Maram Al Refaei, Masahiko Yamada, Masahiro Naruse, Masahiro Suzuki, Michelle Parmar, Minjoo Ham, Mònica Losada, Moolong Type (Ayumi Kiryu), Morgane Vantorre, Naïma Ben Ayed, Namrata Goyal, Natalie Rauch, Neelakash Kshetrimayum, Nikhil Ranganathan, Ninad Kale, Nishida Kazunari, Nisrine Sarkis, Noheul Lee, Nolan Paparelli, Noto Sans Project, Oded Ezer, Pangram Pangram Foundry, Paola Vecco, Parimal Parmar, Parth Shah, Pascal Zoghbi, Pooja Saxena, Potch Auacherdkul, Pratyush Das, Ramakrishna Saiteja, Roman Gornitsky (Typefaces of the Temporary State), Samara Keller, Sanchit Sawaria, Santhosh Thottingal, Saori Aruga, Sarah Shebl, Satya Rajpurohit, Shinji Tanase, Shintaro Ajioka, Shiva Nallaperumal, Shriftovik Type Foundry (Tikhon Reztcov), Sovichet Tep, Swathanthra Malayalam Computing, Swiss Typefaces, Tadaharu Ohtsuki, Takafumi Ikegami, Tapash Kumar Basak, Taresh Vohra, Tekle Ghebre, The Designers Foundry, Tightype, Titus Nemeth, Tomomi Kanda, Toshi Omagari, Type Project, TypeTogether (Veronika Burian, José Scaglione), Wada Yamamoto, Wael Morcos, Yasushi Saikusa, Yoshiharu Osaki, Yuan Wang, Yukichi Takada, Zin Nagao, 3type.