THE WORLDS BEST TYPOGRAPHY

EQUIPO EDITORIAL

Designers and students and even top creatives can find in this book fresh trends, inspiring content and new sources of inspiration in the world of typography. The World’s Best Typography: The Yearbook of the Type Directors Club of NY (published for the first time 1980) is a bible of inspiration for typography practitioners and enthusiasts. Within its pages, top creatives as well as publishers and students can find role models, fresh trends, inspiring content and new sources of inspiration. Readers will be inspired by the intersection of craftsmanship and creation, of classical skills and trailblazing innovations. Here, trends are identified and set, as the around 750 illustrations, 263 awarding-winning designs from 39 countries and 46 new fonts presented clearly illustrate. Designers from all over the world compete to appear in the book. Previously divided into two competitions, one each for Communications Design and Typeface Design, the program is now a single competition consisting of three disciplines: Type Design, Typography and, for the first time, Lettering, which has its own jury. The Award for Typographic Excellence is the ticket to the best agencies in the world. The yearbook also reflects the latest typography trends, sets standards, is a collector’s item and distinguishes its owners as visual thought leaders. In one book you can see works from thirty-nine countries and regions, which include: Australia, Austria, Belgium, Brazil, Canada, China, Colombia, Finland, France, Germany, Greece, India, Israel, Italy, Japan, Lebanon, Macau, Malta, Moldova, The Netherlands, New Zealand, Philippines, Norway, Poland, Portugal, Russia, Singapore, South Korea, Spain, Switzerland, Taiwan, Thailand, Turkey, United Arab Emirates, United Kingdom, United States, Venezuela and Vietnam. This edition also includes a special index listing the principal typefaces used and the names of their designers. The Judges’ Choices section features the winning entries that have been singled out as each judge’s personal favorite; these pieces are accompanied not only by the judges’ comments but also by designer statements. These components—along with this year’s chairs, Kimya Gandhi and Trisha Tan —exemplify the enormous vitality of the typography profession.