Letter.2 - ATypI Type Design Competition: Call for entries
Letter.2 is the second international competition of typeface design organised by the Association Typographique Internationale (ATypI). Letter.2 aims to provide a wide-angled snapshot of the state of typeface design around the globe ten years after their first competition in 2001, and to promote typographic excellence and best professional practices. It also intends to raise awareness about the role of typography in encouraging and maintaining cultural diversity.
Typefaces may be submitted by anyone involved in their design, production, or marketing, with no limits to the number of submissions. They should be functional fonts, completed between 2001 and August 2011, and have full character sets for their intended uses, be they commercial or non-commercial.
Submissions are anonymous: no names of the designer, foundry, seller or typeface should appear anywhere in the submission. We will use a submission code to identify each entry.
Typefaces submitted to Bukva:raz! are excluded, as are typefaces with which the Jury members have had a significant involvement.
All entries must be submitted online at letter2.org by 29 August 2011. Late submissions will not be accepted.
Typefaces and type families intended for use in composition of texts for continuous reading.
Typefaces and type families intended for use in larger sizes rather than for body text.
- Type System
Extended groups of related typefaces featuring designs belonging to different style categories and/or functions; e.g. serif and sans-serif, serif and slab serif, text and display, print and screen, and so on.
Typefaces and type families intended for use on screen, e.g. computer, mobile devices, and so on.
We strongly advise, but not require, that submissions for screen fonts include a photograph (high resolution jpg) showing the typeface rendered on screen.
- Bitmap fonts
Typefaces consisting of a series of dots or pixels representing the image of each glyph in each face and size.
Typefaces featuring special character sets for mathematical, phonetic, and or specialised applications, as well as dingbats, icons, symbols, and other pictorial items in a font format. Ornament and border designs are also included in this category.
Types of Design
Typeface designs that are wholly or substantially original in conception and execution. They may be inspired by historical examples, or in the same general style as an existing typeface, but with a substantial element of original design that unambiguously differentiates the typeface from its sources.
Typefaces tailored specifically for private use, rather than resale. They may include typefaces designed for use by a specific corporate client, or non-commercial use. Indicate whether the design is based on an existing typeface, as well as the intended use, without identifying the client: for example, 'a text typeface for a popular science magazine', 'display typeface created for an airline', etc.
Typefaces based closely on historical models, with an element of adaptation for contemporary use, and maintaining a clear visual link to the source. Please provide information about the original design in the brief description of the project in the entry form, and also an example of the original within your presentation template.
- Derivative designs
- Customised versions or extensions of existing typefaces: additional weights, narrow/expanded versions, romans/italics/schoolbooks/scripts, sans/serifs, text/display/decorative/initials, etc.
- Auto-traced from printed specimens, or adaptations to new formats of existing typefaces.
- Typefaces made up of new glyphs designed to harmonise with glyphs of existing or historical typefaces (e.g. ligatures, small capitals, old-style/lining/smaller/tabular figures, accented/alternate glyphs, fleurons, etc.) for composition in languages using the same alphabet/writing system.
- Typefaces made up of new glyphs designed to harmonise with glyphs of existing or historical typefaces, for composition in languages using different alphabets/writing systems. Please provide information about the original design in the brief description of the project in the entry form, and also an example of the original within your presentation template.
The submissions will be judged regarding the following criteria, but not limited to
- The typeface/family/system is well-conceived and appropriate for the demonstrated use;
- There is evidence of confidence and quality in type drawing;
- The typeface is well spaced and kerned;
- There is evidence of experimentation and exploration of originality;
- The Latin and non-Latin complements are harmonised typographically;
- The non-Latin complements demonstrate sensitivity to the particularities of the script.
- Peter Biľak (The Netherlands)
- Rubén Fontana (Argentina)
- John Hudson (Canada)
- Akira Kobayashi (Japan)
- Lucie Lacava (Canada)
- Gerry Leonidas (United Kingdom)
- Dr Fiona Ross (United Kingdom)
For more information, please contact: