The first type conference I ever attended was ATypI Tokyo in 2019, which marked my initial foray into the world of type nerds. Returning to Paris after a pandemic-induced hiatus, ATypI felt like four years’ worth of typographic material from all over the world had been condensed into a single week. As a representative from the HMCT, I had the privilege of attending this typographic extravaganza, where diverse voices and perspectives converged to celebrate our shared love for type.

ATypI Paris blended in-person and virtual experiences with workshops, talks, exhibitions, and a host of special programs throughout the city. Projects of various scales—from individual efforts to large collaborative endeavors—were presented and covered an array of subjects: advancements in font technology, parametric and generative typography, calligraphy, historical languages and writing systems, variable fonts, educational archives, and much more.

While it was impossible to attend every session, there were several presentations that left a lasting impression:

Nadine Chahine’s talk on power dynamics within the font industry provided a thought-provoking analysis of the structures and actors shaping our typographic world. The talk was followed by an all-women panel discussion moderated by Chahine, with Laura Meseguer, Veronika Burian, Lynne Yun, and Ann Bessemans, that dissected the intersectional nature of power in our field, delving into race, gender, wealth, and entity size.

Another standout presenter was Juan Villanueva, who exposed the impact of Eurocentric narratives on Latin American design history, challenging the dominant discourse and emphasizing the development of typography in Peru.

Following the 2019 fire of Notre Dame, Agathe Hondré, Laurent Ungerer, Morgane Vantorre, and Raphaël John were tasked with creating a typeface for the identity of the church. Their research and classification of the existing typography in Notre Dame—from lapidary inscriptions to ceremonial letters painted on the walls—was remarkable. The resulting typeface was a fusion of Roman heritage and medieval scripts that honored the church’s rich cultural legacy.

In the exhibition spaces, I encountered one beloved project. Organized by Borys Kosmynka, Ania Wieluńska, and Mateusz Machalski, type specimens from the online archive typoteka.pl were displayed showcasing historical and contemporary typefaces associated with Poland. (Last fall, these specimens had traveled to Pasadena to play a major role in HMCT’s Polski Projekt exhibition.)

Among the many highlights of my experience was getting together with some friendly faces. Meeting Laura Meseguer and Dafne Martínez in person was a lovely anticipated moment, after our remote collaboration on the publication, Mujeres Hispanas y Tipografía, released last fall. Both Laura and Dafne were part of the talented group of Typographers-in-Residence at HMCT in 2021, whose projects are featured in the catalog.

As I returned from ATypI Paris, I reflected on the impact of type conferences in general. These gatherings are not just about showcasing the latest developments in type design; they also highlight the power of typography to bridge cultures, challenge narratives, and celebrate heritage. Despite the intricate nature of our niche profession, there exists a unifying thread that connects all typography enthusiasts. We may work in a specialized field, but our collective efforts have a remarkably prolific influence.