TypeLab

The TypeLab at Typographics 2024 will host a series of informal work­shops, demos, inter­views, experiments, and more.

TypeLab is an informal, multi-day, typographic hackathon coordinated by Petr van Blokland to complement to the main Typographics conference and workshops. Like the original TypeLab events in the 1990s, it is a place for people to meet and talk about type and design with an informal structure that allows more spontaneity and interaction than typical mainstage conference events.

Attending TypeLab

All TypeLab events will be open to the public with free registration. This year’s TypeLab will be a split across multiple days and platforms, with a combination of in-person events in New York City and online events around the globe.

Register for free to attend TypeLab online or in person

TypeLab Americas

Hosted by Petr van Blokland, Dual Type, Tamara Segura, and Adriana Garcidueñas.

TypeLab Asia

Hosted by Universal Thirst, Sirin Gunkloy, Jo Malinis, and Yingtong Tan.

TypeLab Europe

Day 1

June 12*
All events will be hosted online. TBD

Day 2

June 13*
All events will be hosted in-person at Cooper Union, with livestream available online.

Day 3

June 14*
All events will be hosted online.

Day 4

June 15*

Day 5

June 16*
Same setup as Day 2.

* The dates above are based on the time zone for NYC.

Schedule specifics are very much subject to change. More details about the schedule and attending TypeLab will be posted in coming weeks. For updates and announce­ments, join the Typographics mailing list and follow Typographics on Mastodon and Instagram.

TypeLab Schedule

TypeLab events will take place over the course of five separate days.

The TypeLab schedule is always very much subject to change at any time, without notice. Event programming will constantly evolve until the final event has ended, allowing for spontaneous alterations and additions as space and time allow. Feel free to submit a proposal for an event to include in the TypeLab program.

For updates and announce­ments, join the Typographics mailing list and follow Typographics on Mastodon and Instagram.

TypeLab Day 1

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

  • TypeLab Americas
  • TypeLab Asia
  • TypeLab Europe

As technology continues to evolve, the field of design is not left behind. In this presentation, Xiaoyu (LT) Xue explores the symbiotic relationship between design and technological advancements through a series of projects that integrate mixed media with design and motion. The session will delve into how these integrations influence the aesthetics, functionality, and user engagement of modern design. Attendees will gain insights into innovative design processes and how these can be applied to enhance their own projects in graphic design, motion graphics, and beyond.


A Cherokee Syllabary typeface inspired by and designed for use in basket and mat weaving. Type design that weaves language preservation and traditional craft together.


Beginning with the first commercial recordings that became available in the late 19th century, music packaging has evolved alongside developments in typographic and printing technologies. This presentation explores album cover design from a technological perspective by examining ten covers. Whether it’s Victorian hand-lettering reproduced through stone lithography for an early “canned” recording or a custom digital font promoting a contemporary musician, the design of music packaging has always gained inspiration from the latest advancements in type and printing. In this presentation we’ll examine how progressive developments in metal type, phototypesetting, desktop publishing and Open Type fostered typographic innovations in album cover design.


In the early days of digital fonts, it was common for a font supporting West European languages to contain no more than 200 alphabetic characters. Even under those conditions, working out all the necessary kerning pairs was labor-intensive drudgery. Although the typical character count is manyfold nowadays—not to mention the additional languages covered, the basic approach to kerning has hardly changed. Suffice it to say that the task of kerning has become an ever greater bottleneck. Isn’t it time we re-examined our time-worn, laborious approach to kerning? Let’s imagine a new strategy that relies on geometric patterns, takes advantage of available computing power, and frees the designer to focus on the more creative aspects of type design.


In my experience, branding has been a constant source of inspiration for my typographic projects. Logo design has led me down interesting paths, exploring shapes I wouldn’t have discovered otherwise. In this talk, I’ll share how I’ve created typefaces from branding ideas and other creative sources. We’ll explore concrete examples and strategies for cultivating creativity in typographic design. Join me to discover how branding can be the initial spark for unique and meaningful typefaces.


Quiero compartir la importancia de experimentar y crear proyectos personales en el mundo del lettering. Mostraré cómo estos proyectos, realizados sin la presión de un cliente, pueden abrir puertas en el mercado profesional y transformarse en proyectos comerciales.


Mi experiencia en la Maestría en Tipografía de la Universidad de Buenos Aires, Argentina.



En esta charla, abordaré cómo mi experiencia en el graffiti, específicamente a través de la práctica y observación de Flops (throw-ups) durante mi adolescencia y adultez, condujo a mi transición hacia una disciplina más formal y alejada de las paredes: la tipografía. Presentaré el proyecto tipográfico Throwup, una fuente de color diseñada para reflejar mi estilo personal al momento de pintar en la calle, pero ahora en la pantalla. Hablaré sobre los tipos de técnicas y materiales que se utilizan en el graffiti, y cómo esta dualidad desembocó en un proyecto formal para un grafitero, pero informal para un diseñador de fuentes.


I want to share the process of creating my first text typeface. Reviving the first term of Typewest has been an exciting journey for me. I enjoyed researching, learning how to take pictures from a book, finding references, and digitizing my work. Along the way, I had to make some decisions, which made the experience even more challenging.

This will be my first time presenting any typography work. Presenting in English will be challenging, but I am also happy to support the Spanish channel.


Tijuana y San Diego plasman su historia a través de sus formas paralelas de creatividad, el juego y la recursividad como cultura y modo de vida.

Transborder Typeface es una tipografía display diseñada a cuatro ojos que busca reflexionar y generar incidencia sobre la idea de una comunicación visual regional a través de las letras. Permite re-apreciar, reconfigurar y resignificar el imaginario narrativo de un mismo territorio con proximidades y similitudes profundas, usando códigos reconocibles para los habitantes de todo el territorio o la región.


Los ‘Dechados’ fueron trabajos de bordado y deshilado que formaron parte principal tanto de la vida cotidiana como de la educación femenina, desde el último siglo del periodo virreinal hasta la primera mitad del siglo XX. Principalmente realizadas por mujeres, estas creaciones no solo representaban ejercicios de costura, sino también testimonios íntimos de sus pensamientos, imaginaciones y valores en una época en la que la manifestación pública de sus ideas era limitada.

Fue tras la contemplación de una de estas obras en un museo, que surgió la idea de una tipografía que buscara capturar digitalmente las formas de las letras que una vez fueron las confidentes silenciosas de las mujeres. Inspirada en estas piezas y en su importancia dentro del testimonio histórico de la expresión femenina, nace la familia tipográfica modular variable, “Dechado”“. Esta presentación tiene como objetivo abordar el proceso completo de desarrollo, análisis, creación y expansión de la fuente Dechado.


FEA un proyecto tipográfico en México, que desarrolló una propuesta contra el buen diseño, generando la primera casa fundidora digital.

TypeLab Day 2

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

  • TypeLab Americas
  • TypeLab Asia
  • TypeLab Europe

The students will present their graduation projects.

TypeLab Day 3

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

  • TypeLab Americas
  • TypeLab Asia
  • TypeLab Europe

TypeLab Day 4

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

  • TypeLab Americas
  • TypeLab Asia
  • TypeLab Europe

TypeLab Day 5

Starts , at  and ends , at 

Times are shown in your current time zone (EDT/UTC-4)

Colored symbols correspond to the livestream channel for each event:

  • TypeLab Americas
  • TypeLab Asia
  • TypeLab Europe

The TypeLab schedule is always very much subject to change at any time, without notice. Event programming will constantly evolve until the final event has ended, allowing for spontaneous alterations and additions as space and time allow. Feel free to submit a proposal for an event to include in the TypeLab program.

For updates and announce­ments, join the Typographics mailing list and follow Typographics on Mastodon and Instagram.

Propose an Event

Have an idea for an event to include in the TypeLab program? Fill out the submission form with the details and the TypeLab organizing team will consider it for the schedule.

Submit a proposal

Stay Updated

More info about this year’s Typographics will be announced in the coming weeks.

Join the mailing list to get the latest news and announcements:

Also follow Typographics on Mastodon and Instagram.