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Typography, Referenced
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RESOURCES
Type-Specifi c Organizations
It is rare for any industry to operate without a supportive network of professional bodies and organi-
zations, and the graphic design industry is no exception. There are numerous small organizations that
work at a local level, but here we’ve listed the main players, some of which operate internationally.
American Institute of
Graphic Arts
www.aiga.org
The , the professional association for design in the
United States, was founded in , making it the oldest and
largest professional membership organization for designers.
It aims to demonstrate and raise the value of design, to
stimulate the way designers think about their work, and to help
empower its members toward new challenges and successes
at each stage of their careers. To quote from the website,
“’s mission is to advance designing as a professional
craft, strategic tool, and vital cultural force.”
This does not just extend to its members within the design
profession, as the works hard to promote those important
values to businesses and the general public as a whole. The
association represents more than , design professionals,
educators, and students, and it holds regular conferences,
networking events, competitions, and exhibitions, many
of which its numerous individual chapters and student groups
organize. The excellent website off ers information about
membership, plus a wealth of additional content.
Association Typographique
Internationale (AtypI)
www.atypi.org
ATypI is a global forum for designers, typographers, and
anyone working in any profession that involves type. Founded
in , the association is a not-for-profi t organization
democratically run by an elected board with representatives
drawn from a membership that spans more than forty countries
(many of which have formed their own individual delegations).
ATypI provides a focal point through which the international
type community can communicate, and its membership
boasts many names instantly familiar to anyone working in
the design industry. Among its many activities, ATypI seeks
to preserve the tradition and cultural signifi cance of type
and typography, to promote contemporary digital fonts and
protect original typeface designs, and to constantly encourage
typographic excellence. ATypI’s website provides details
about how to become a member, along with information about
the current board and delegation representatives.
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Type-Specifi c Resources
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The International Society of
Typographic Designers
www.istd.org.uk
In line with other typographic societies and associations,
aims to establish and maintain the standard of typog-
raphy produced by typographers and graphic designers
and to promote high-quality tutoring of typography among
design educators. It also provides a forum for debate between
members and within the greater design community.
Established in as the British Typographers Guild and
based in the United Kingdom but with an ever-expanding
international membership, the Society constantly strives to
uphold its “real purpose” as described by its founder, Vincent
Steer. As quoted on the website, this is “to bring together
in friendship and mutual help, all those with a love of the
printed word.”
A key component of the calendar, recognized by any
student of graphic design studying in the , is the annual
Student Assessment Scheme. The assessment considers the
holistic achievement of student projects rather than the fi nal
proposal, run not as a competition but rather entry into the
Society for those students who manage to achieve the required
standard. Find full details of membership and coming events
on the website.
Society of Typographic
Afi cionados o
www.typesociety.org
Rather like ATypI (), the Society of Typographic Afi cionados
is run as a not-for-profi t organization dedicated to the pro-
motion and support of type and typography. The history and
development of type and its use in both print and on today’s
digital platforms are key to its aims.
Quoting from o’s Charter from its website, the Society
exists “for the aff ordable education of its members and
participants; to further the development of type, typographical
information, and typography; and to appreciate on multiple
levels the attributes of type, typography, design, the book arts,
and calligraphy. Furthermore, o is committed to sponsoring
relevant topics in pursuit of these goals.” This is achieved
partly through the Catalyst Award, an annual event open to
typographers under age thirty. The award recipient receives
an invitation to attend the Society’s annual conference (see the
chapter about Type-Specifi c Conferences and Events) and give
a twenty-minute presentation based on his or her submitted
project. As always, fi nd full membership details and Society
news on o’s website.
Type Directors Club ()
www.tdc.org
Founded in by a group of the period’s leading designers,
the centers around three annual competitions and the
publication of its highly regarded Typography Annual. The fi rst
competition looks for outstanding examples of the use of type
and the letterform in design; the second celebrates excellence
in typeface design; and the third celebrates excellence in movie
titles. The work of winners from all competitions gets published
in the annual. The also displays the work internationally as
part of seven travelling exhibitions.
The collective resource established through this process
forms an important historical archive of typographic trends—
an important resource for both designers and educators. Indeed,
education is very much at the fore of activities, includ-
ing the annual awarding of student scholarships, and a rolling
series of lectures and seminars has happened since , the
second year of the Club’s existence. Cooper Union’s () post-
graduate certifi cate in type design is off ered in conjunction with
the . Find full details of the Club’s activities and member-
ship requirements on its excellent and well-populated website.
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