“The entries show the crucial role of typography in creative projects,” says juror Duy Nguyen. “Whether it’s a poster, a brand or a packaging system, typography is now the key element in conveying emotional messages.”

“Experimental type design [paired with] motion, technology and unique subject matters definitely seemed apparent,” juror Kevin Cantrell says.

“Mixed-up compositions are the leitmotifs of this year’s best artworks, still riding on the strong 2021 themes of inclusiveness and the value of diversity,” says juror Debora Manetti.

“I was surprised by the quality of the student work,” Nguyen says. “They’re now giving the industry a fresh movement of creativity via various medium platforms.” 

“As often happens, the student category offers genuine and brilliant inspiration,” says Manetti. “Maybe it’s time for everyone to remember to go back to our inner student sometimes.”

“The student’s work was so good; I loved it,” juror Daniela Castiblanco says. “Of course, there were some amazing editorial projects too.”

I asked the jurors which visual trends became most apparent during the judging.

“Letters have reached their peak visibility in the illustration market,” says Manetti. “The typographic forms become the container for architectural structures, furnishings and environments. Rounded letters can be fishes, and a complete alphabet can represent the world of chocolate bars.”

“I noticed a lot of looking to the past: lots of classical, script-based and old-timey revivals,” juror Ryan Crouchman says. “On one hand, it’s nice to see the continuation of past traditions. However, it [has] made the contrast evident between work that feels innovative and work that is simply emulating a bygone era with no contemporary spin.”

“There also seems to be a trend of AI-based typography and generative/reactive projects, which is very now,” he continues. “Data-driven aesthetics are something we are seeing a lot of these days and will no doubt continue to evolve.”

“We are continuing to see boundaries pushed in the merger of technology and typography,” says Cantrell. “The line between type design and lettering is blurring due to the ability to imbue typefaces with more personality.”

Along with asking the jurors what they liked about the entries, I also asked about their biggest disappointments. 

“Some entries didn’t have a strong concept or clear idea, so it was difficult to understand the background,” Castiblanco says. “It is important to have a strong concept, but sometimes I couldn’t see it in the work.”

“I’d love to see more meaningful, conceptual, connected projects,” says Nguyen.

“I personally had hoped to see more ornate lettering,” Cantrell says. “I could be biased, though.”

I also asked the jurors to speak about the technological develop-ments that may change the way we use typography in the future.  

“Historically, type design was always a field going toe-to-toe with the most recent developments in technology, and I am sure it will continue to do so,” says juror Maria Doreuli.

“Technology is facilitating more expressive exploration than ever before, and I don’t see that slowing,” Cantrell says.

“We are now starting to see how AI can produce typographic art- works in a moment—perfectly fitting, for example, in a book, a magazine, a website or a corporate image,” says Manetti.

“Surely, motion graphics and AI might be the next tools helping us generate more visual exploration and making projects more adaptive across mediums,” Nguyen says.

Finally, I asked what challenges future type designers will face.

“I think as AI becomes more accessible, the challenge will be harnessing its immense power while also maintaining the human touch,” says Cantrell. “It’s essential that the human hand still influences the final outcome.”

“Type design will stop being such an isolated, niche field,” says Doreuli. “How will it challenge type designers themselves? This is what we will have to find out.”

“When it’s now easier to create fonts, the accessibility of languages will become more crucial,” Nguyen says. “I’d love to see the next generation of type designers blur that gap, thinking about cultural solutions while creating their next cool fonts.”

“As with all design, it’s about referencing the past while looking forward and not letting technology dictate aesthetics,” says Crouchman.

A minimum of four out of six votes was required for inclusion in this year’s Typography Annual. Jurors were not permitted to vote on projects in which they were directly involved. I would like to extend our appreciation to our jurors for their conscientious efforts in selecting our thirteenth Typography Annual. —Patrick Coyne ca