Irene Vlachou's work includes lectures and workshops on Greek typeface design and variable fonts, as well as the creation of technical manuals for the Greek script.

Sovichet Tep lives in Cambodia's capital Phnom Penh. With his studio Anagata, he specializes in typeface design and brand identity.

Toshi Omagari is an award-winning typeface designer and Chairman of the GRANSHAN Type Design Competition.

The GRANSHAN Bloom Award is built around two pillars: Media Categories and Script Groups. Together, they ensure every entry is judged both within its creative context and its cultural-linguistic context.

Together, GRANSHAN and Tehran Type Week reaffirm the importance of sustained, cross-script exchange, where type becomes a space for understanding, comparison, and collaboration.

The world’s first international competition for Communication Design Beyond Latin - a celebration of the world’s writing systems and the designers who bring them to life.

From 10-21 December 2025, Nagoya’s International Design Center (Design Gallery, NADYA PARK) hosts the next stop of TRIO ASIA, presenting 100 posters on the theme of peace created by designers from Japan, Korea, and Taiwan.

Drawing on their own experience, the specialists at TypeType explain how type foundries and designers can stop unlicensed use of their products and get additional revenue while avoiding reputational risk.

Titus Nemeth is a typographic designer and historian from Vienna with some twenty years of experience in the field. He works on the intersection of design and historical research with a focus on Arabic and multilingual typography.

On 30 November, the National Hangeul Museum in Seoul will host a special lecture titled “Armenian Script × Typography”, featuring Edik Ghabuzyan, co-founder, longterm vice president of GRANSHAN, now retired.

Khajag Apelian is a lettering artist as well as a graphic and type designer who works with Armenian and Arabic scripts. He moves between type design, research, and education, is interested in how design can keep cultural practices alive and relevant.

In our conversation, Lara shares her path from architecture to type design, her insights into the beauty and complexity of Arabic script, and her vision for the future of Arabic typography.

Every script carries a body, a head, a spine, a rhythm. This insight traces how Devanagari and Arabic anatomy reveal the deep connection between language, craft, and visual logic.

In Greek type design, form follows context - a principle Parachute® embraces as it bridges heritage and modernity. Each letter carries its own rhythm and intent, shaped not by imitation but by the dialogue between history, purpose, and design.

Futura®100 is not just a revival - it is a reinvention, designed to speak in the voices of cultures across the globe.

The story of Typotheque’s Thai typeface project began nearly a decade ago - not with software or shapes, but with a question: What does it mean to design Thai type that feels both native and modern?

“Why do we need new fonts? A type designer’s job is to make new fonts. But why is it necessary to keep making new fonts? Don’t we already have enough fonts around?”

Named after a bustling district in Bangkok where Cadson Demak’s headquarters were located at the time, Thong Lor was conceived as more than just a typeface. It was developed in response to a gap, a missing chapter in the evolution of Thai typography.

Multiscript as Multivocal: The Typography of Content

The Hinglish Font by designer Shirin Johari is a playful and practical response to India’s multilingual landscape - one that aligns with our interest in script innovation and accessibility.

At the intersection of design, dialogue, and global script culture, the partnership between DIVE’25 and GRANSHAN marked a meaningful moment in the evolving discourse around the social and cultural power of typography.

At the DIVE 25 conference in Munich, Veronika Burian - type designer, co-founder of TypeTogether, and Chairwoman of GRANSHAN - delivered a distinguished keynote titled “Schrift verbindet” (“Writing Connects”).

For more than a decade, GRANSHAN has stood as a leading force in the recognition and advancement of beyond Latin typeface innovation.

At GRANSHAN, we are dedicated to fostering the appreciation and advancement of typography across languages and cultures.

When two master calligraphers, Ruben Malayan and Timothy Donaldson, meet at Granshan Conference Living Letters, the result is an improvised calligraphy performance. Behold the hypnotic magic of letter art.

Tehran Type Week is an independent event, established to address the critical need for discourse and research in Persian type design. This event serves as a platform for type designers, researchers, and educators to exchange knowledge and explore the evolving landscape of Persian typography.

In her GRANSHAN interview, Shani shares her insights on celebrating beyond Latin scripts, her favorite Hebrew glyph, and advice for young designers.

For the first time in the history of GRANSHAN, we expand the community spirit and establish the GRANSHAN Supporting Foundries Club, who play a special role at GRANSHAN from helping to shape the project to general advisory.

Dr. Liu reflects on her experience as GRANSHAN judge during AtypI Warsaw 2016 in particular, a role that allowed her to engage with diverse perspectives on type design from around the world.

In the interview, Anuthin explored the intricate process of designing typefaces, where every glyph is a testament to skill and creativity.

Interview with Ana Sanikidze, the gifted Georgian type designer who took home the grand prize for her typeface Adapter Georgian at the 13th GRANSHAN Type Design Competition 2023/2024.

In this interview, Nino Jishkariani, founder and supervisor of the Georgian Typeface Association, shares her expertise on type design, the challenges of designing Georgian scripts, and the development of typefaces beyond Latin.

GRANSHAN Chairwoman Veronika Burian spoke to Armenian artist and art director Ruben Malayan about the Armenian type design scene and his wishes for the young generation of designers.

The Georgian and Armenian winners of the GRANSHAN Type Design Competition were delighted and proud to receive their awards on site in Tbilisi and Yerevan.

Exhibition of the winning works from the 13th GRANSHAN Type Design Competition and more ...

A short review by Antje Dohmann about the event on 17 June on-site at the Typographic Departement of the University of Reading and online on YouTube

Are you curious how a harmonious interplay between Georgian and Latin script can look like?

Dr Huda Smitshuijzen AbiFarès explains the exhibition and draws attention to the innovative approaches to the design of letters and typefaces in the various graphic design projects on display.

»How can Arabic script be seen as something other than problematic?« asks Golnar Katrahmani programmatically. Her answer: for example, through

Have you ever heard about Baybayin? is one of the precolonial writing systems used by early Filipinos.

Georgia may be a small country, but it has an ancient and rich culture. It is a particular pleasure that the country is participating in the GRANSHAN Type Design Competition for the first time.

Here is a short textual overview of the winners of the 13th GRANSHAN Type Design Competition – the winning works are be shown with pictures in our GRAND EXHIBITION in the menu item Exhibition on our website.

Many of us equate Cyrillic with Russian. But that’s not true. Krista Radoeva tells us that it’s finally time to …

The GRANSHAN Foundation is co-organiser of a study trip to Armenia from 5 to 13 September 2024

GRANSHAN fosters a global typographic community valuing cultural diversity and mutual respect. Veronika Burian and Toshi Omagari will now manage the Cyrillic Script Group. GRANSHAN stands for respect and solidarity.

The 13th GRANSHAN Type Design Competition 2023/2024 is open for global submissions until 15 February 2024. Featuring new categories, script groups, and a €3,000 Grand Prize, the competition honors Edik Ghabuzyan.

Oesol and GRANSHAN are a perfect match as they both believe that type drives culture – and vice versa.