The Type Directors Club (TDC), founded in 1946, has long positioned typography as more than visual styling, framing it instead as a cultural force shaped by craft, context and intention. Through public programmes, educational initiatives and its internationally recognised competition, the organisation continues to support the global type community while highlighting the role typography plays in communication, branding and design culture.
As the February 27 deadline approaches for the TDC72 competition, members of this year’s international jury have shared reflections on current typography directions and what they hope to see among the entries. A recurring theme is the growing importance of personality and clarity in typographic expression. Alex Center, Founder and Creative Director of CENTER in Brooklyn, points to renewed interest in expressive, imperfect typefaces that feel human and distinctive rather than overly neutral. Similarly, Amy Hood, Co-founder and Creative Director at Hoodzpah, observes a return of more detailed and personality-driven typography, with brands increasingly open to experimentation as digital platforms accelerate content turnover.
At the same time, some jurors highlight a quieter shift toward deliberate craftsmanship. Margot Lévêque, Creative Director and Type Designer at Claude Type, describes typography being approached more thoughtfully, with emphasis on process, emotional depth and long-term development rather than rapid production. For João Paz, Head of Design at MullenLowe New York, typography’s strongest role lies in shaping brand identity, often becoming the first signal of a brand’s voice before any message is read.
Jury selection itself has also focused on diversity of perspectives. Lettering Jury President Mary Kate McDevitt aimed to include a broad mix of styles and approaches, while Type Design Jury President Aleksandra Samuļenkova emphasised geographic representation, major writing systems and the inclusion of both type designers and experienced typographers who actively work with type.
In terms of judging criteria, several jurors emphasise the balance between craft and idea. Shoko Mugikura of Just Another Foundry GmbH expects a wide range of Latin, Japanese and Chinese type designs, particularly those influenced by calligraphic traditions. Stuart Radford of Jones Knowles Ritchie looks for work that surprises while remaining appropriate for its brand context, while Krista Radoeva of About Type stresses that strong execution should be supported by a clear idea and genuine belief in the work. Cat How, Founder of How&How Branding Agency, will prioritise clarity of intent and how typography performs across real communication contexts.
TDC Executive Director Joe Newton also highlights the ongoing value of awards programmes dedicated to craft. He notes that competitions such as TDC offer evaluation from experienced experts rather than social media validation, with recognition often strengthening professional credibility and visibility.
TDC72 is currently accepting both digital and physical entries, with submissions traditionally coming from more than 60 countries. Regional fee adjustments aim to improve accessibility globally. This year also marks the introduction of physical Gold, Silver and Bronze awards for the first time, alongside the new Type-High award designed and named by longtime collaborator and Chairman Emeritus Graham Clifford.
As typography continues to evolve alongside technology, branding and culture, the TDC competition remains a platform where experimentation, refinement and typographic thinking converge, reinforcing the idea that type is not simply form on a page but an active part of cultural expression.
