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?

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?”