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The new website for Typographics 2020 is now live, with a schedule overview, and discounted registration. Typographics is a design festival for people who use type, now in its 6th year. It is foc­used on con­tempo­rary typo­graphy and where its future may lie. It is hosted at The Cooper Union in New York City.

Boxcar Press is a commercial letterpress shop based in upstate New York. With more than 20,000 square feet of space, they are one of the largest letterpress print and pre-press shops in the USA.

Starting a printing studio has been the dream of Kate Murray since studying printmaking at Pratt Institute, where she received her BFA. After completing college and post graduate work in printmaking, she has been working in professional and commercial letterpress shops in New York City, honing her craft. When the opportunity came up to salvage and restore two presses, Quick Brown Fox was born. The design and all of the printing is done in the industrial neighborhood of Gowanus in Brooklyn, New York. Each card is printed one at a time, one color at a time, on a late 19th Century and an early 20th century letterpress. The shop is equipped with a Chandler and Price tabletop press as well as a Golding Jobber and a small foil stamping machine. Quick Brown Fox is available for custom design and printing services.

Woodside Press is a traditional letterpress printing studio located in New York City's historic Brooklyn Navy Yard. They create printed items for individual, business, and institutional clients. To the graphic-design community they offer typesetting and type-reproduction services, and they are also New York City's leading facility for hot-metal typography, with Linotype and Ludlow typecasting machines and an impressive range of classic and decorative typefaces. Woodside Press began in 1993 in Woodside, Queens, and moved in 1998 to their current home, with a spectacular view of the Manhattan skyline, in the Brooklyn Navy Yard. They have built a collection of late 19th and 20th century printing type, including foundry type to set by hand, a huge variety of wooden type for posters and headlines, and an array of Linotype and Ludlow hot-metal typefaces.

The Arm is a public access letterpress studio, teaching facility & commercial print shop in Williamsburg, Brooklyn. To use the presses one must first take an introductory workshop or demonstrate proficiency on the press one intends to use during a paid individual lesson.

Old Orchard Press (OOP) is the letterpress & illustration work of printer jes hughes. Everything is drawn, designed & printed by hand in Brooklyn, New York. Jes established OOP in 2015 as a way to combine printmaking with her desire to create things with and for other people. The name is reflective of growing up around the apple orchards of New England ( ‘old orchard’ also happens to be old slang for ‘whiskey’). She has an extensive background in traditional printmaking and is now focusing her experience from working for numerous other artists into her own company. Jes holds a Bachelor of Fine Arts in Printmaking from Massachusetts College of Art and Design, where she was first introduced to letterpress. After spending a few months printing at Penland School of Crafts in the Blue Ridge Mountains, Jes attended Pratt Institute in New York in 2012 and received a Master of Fine Arts in Printmaking.

Park Slope Press is a letterpress and screenprinting studio specializing in wedding invitations, custom stationery and other boutique printing services. The studio is situated in a 5.000 square foot sunlit studio in Park Slope (Brooklyn, New York).

Opened in 1985, The Herb Lubalin Study Center of Design and Typography was created in order to preserve an unprecedented resource, Herb Lubalin’s vast collection of work. Its goal was to provide the design community with a means to honor Lubalin, and to study his innovative work. Herb Lubalin (1918–1981) is best known for his wildly illustrative typography and his groundbreaking work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including promotional, editorial and advertising design, typeface designs, posters, logos, and other other materials dating from 1950 to 1980. The collection also includes work by other eminent designers including Otl Aicher, Rudi Baur, Anthon Beeke, Lucian Bernhard, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, The Push Pin Studios, Paul Rand, Bradbury Thompson, Massimo Vignelli, and many more. There is also a library of books and magazines about design and typography, an extensive collection of posters, myriad type specimen books and pamphlets. The Study Center is located at The Cooper Union 41 Cooper Square, Room LL119, New York. The Lubalin Center is free and open to the public by appointment.

In this talk at the Rose Auditorium at Cooper Union on March 24, 2015 Andy Clymer explains how he used a modern font editor like Robofont to create the special lighting effects of the typeface Obsidian.

The Continuing Education Department of The Cooper Union, in conjunction with the Type Directors Club, offers a Postgraduate Certificate in Typeface Design. Top industry professionals lead a highly focused and comprehensive study of key typeface design principles: technique, technology, aesthetics, expression, history, and theory. Students explore the foundation of typography in depth by creating their own typefaces in hands-on classes, while developing a broad understanding of the field through lectures, discussions, and research. Electives are offered each term, focusing on topics such as pen and brush lettering, Python programming, and advanced tools for font development. A series of guest lectures round out the curriculum, allowing students deeper insight into specific relevant topics. Participants leave the program with the specialized skills to design professional-quality digital typefaces and lettering.

The Type Directors Club is a leading international organization whose purpose is to support excellence in typography, both in print and on screen. Founded in 1946 by some of the industry’s leading practitioners, the TDC’s earliest membership included Aaron Burns, Will Burtin, Freeman Craw, Louis Dorfsman, Gene Federico, Edward M. Gottschall, Herb Lubalin, Edward Rondthaler, Bradbury Thompson, and Hermann Zapf. With this solid historical background, the TDC today represents and rewards the best of today’s type design and type use. The TDC holds two yearly type competitions: one for the use of type and the letterform in design and the other, typeface design. The winners are reproduced in our Typography Annual, published by HarperCollins Publishers, as well as displayed in seven exhibits that travel worldwide. In addition to celebrating outstanding achievements, the typography competitions and resulting annuals serve as important historical records of typographic trends, and are an invaluable resource for both designers and scholars. Education has always been an important part of the Type Directors Club’s mission. The TDC began offering lectures in 1947, the second year of the Club’s existence. Called Ten Talks on Type, the lectures were given by James Secrest, Arnold Bank, Gene Ettenberg, Charles Felton, Milton Zudeck, O. Alfred Dickman, Joseph Weiler, Frank Powers, and Hal Zamboni. The series’ success led to it becoming an annual event. In 1958, the Club extended its reach to an international day-long seminar at the Silvermine Artists Guild in New Canaan, Connecticut, which drew 500 attendees. In 1959, the TDC ran Typography USA at the Biltmore Hotel in Manhattan. Speakers included Saul Bass, Herbert Bayer, Lester Beall, Will Burtin, Lou Dorfsman, Alvin Eisenmann, Gene Federico, William Golden, Allen Hurlburt, Leo Lionni, Herb Lubalin, Paul Rand, Ladislav Sutnar, and Bradbury Thompson. Among the many speakers and teachers in the intervening years have been Aaron Burns, Klaus Schmidt, Ed Gottschall, Tom Carnase, Bruno Brugnatelli, Milton Glaser, Hermann Zapf, Eileen Hedy Schultz, Ed Benguiat, Olaf Leu, Martin Solomon, Günter Gerhard Lange, and Freeman Craw. The current lecture and class schedule offered by the TDC continues apace. The Education Committee has been developing course offerings at all levels of proficiency that reflect today’s needs and interests, and the Event Committee continues scheduling monthly Type Salons in our Manhattan space. The TDC is the home for typography—a physical meeting place and a strong professional affiliation. We welcome all in advertising, communications, education, marketing, and publishing who have a keen interest in type and the written word: graphic designers, art directors, editors, multimedia professionals, students, and entrepreneurs.