This site uses third party services that need your consent. Learn more about our cookie policy
No results found
No results were found for "" with the selected filters.
Try searching for something else or use different keywords.
You can also try removing some filters to broaden your search.
Search
Find competitions, events, insights, and more.
Type at least 2 characters to start searching
Use filters above to narrow down your search
News, findings and blog posts—Insights is where the GRANSHAN editorial team shares interesting facts, views and curiosities from the global world of script, type design and typography with a special focus on all matters beyond Latin. Various authors from the community get a word here, as do experts on special topics and selected professionals from other sectors.
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?
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.
“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?”
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.