competition-winners-2021-22
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The 12th GRANSHAN Type Design Competition 2021/22
Announcement of the Winners
We were able to announce the winners for the first time in the history of the GRANSHAN Type Design Competitions during the GRANSHAN Conference Signs of the times and to hand over the Winners of the 1st Prizes their newly designed GRANSHAN megaphones Give voice to type personally or at least virtually. Now we publish with great pleasure also the Winners and the Special Mentions on the GRANSHAN website.
We were very happy about the large number of submissions this year – more than ever! Many entries were at a high or highest level. This affirms us in our work in promoting outstanding non-Latin typefaces to strengthen cultural diversity and identity.
The more than 50-member jury evaluated all submissions (= the longlist) in three rounds. First, each member voted online using a points system. Then the submissions with a defined minimum score of the first level (= the shortlist) were discussed in video conferences with the members of the Script Group and their Script Chair. The final recommendation for 1st, 2nd and 3rd Prizes and Special Mentions was again determined by Script Experts together with their Script Chairs via anonymous online voting. In addition to the final discussion on these recommendations, it was also up to the FINAL ROUND of Script Chairs, together with the two Chairpersons, to decide on the winner of the GRAND PRIZE. All of these evaluations are done in a completely anonymous system. None of the Script Experts are informed about the Type Designer, Type Foundry or the submitter.
Once again, a big thank you goes to the Script Chairs and Script Experts who work on a voluntary basis throughout the process. Without their commitment it would not be possible to provide such a highly qualified evaluation! And an equal thanks goes to the organizing team and our continuous supporters!
Without type, everthing is nothing!
Veronika Burian, Edik Ghabuzyan and Boris Kochan
--
In addition, we have taken the liberty to formulate a basic statement of the GRANSHAN Foundation on our attitude towards the wide range of conflict situations and injustices of all kinds worldwide – which we publish in connection with the results of the competition.
CAT A1/A2: NON-LATIN TYPEFACES
TEXT & DISPLAY
Record-breaking numbers of Arabic typefaces were submitted to the Granshan Type Design Competition, an indication of progress and quality improvement. Among the most notable characteristics of the awarded typefaces were significantly diverse, from traditional to experimental approaches, as well as confidence in expressing a strong and original design with a clear comprehension of the typographic requirements.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Sakkal Kitab | Mamoun Sakkal & Aida Sakkal | USA | 1st prize + GRAND PRIZE | ||
| Charisma | Hirbod Lotfian | France | 2nd prize | ||
| Alibaba | Mahdi Ershadi & Reza Bakhtiarifard | Iran | 3rd prize | ||
| Dibaj | Atefeh Mohammadi | Iran | Special Mention | 1 |
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Ekhtiar | Amir Mahdi Moslehi | France | 1st prize | ||
| Mithaq | Yara Khoury Nammour | Lebanon | 2nd prize | ||
| Reeshet Khudair | Najla Badran and Mussad Khudair | Egypt | 3rd prize | ||
| Modern Belya | Najla Badran and Mussad Khudair | Egypt | Special Mention | 2 | |
| Potk | Mahdi Ershadi | Iran | Special Mention | 3 |
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| LGSH Julia | Liana Shushanyan | Armenia | 1st prize | ||
| Neutral Armenian | Gor Jihanian | Typotheque | Netherlands | 3rd prize | 30 |
| Greta Sans Armenian | Peter Biľak | Typotheque | Netherlands | Special Mention | 31 |
The 2nd prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| AVH Modernism | Arman Harutyunyan | Armenia | 2nd prize | ||
| AVH Chess | Arman Harutyunyan | Armenia | 3rd prize | ||
| LAA_GREAT | Lusine Azizyan | Armenia | Special Mention | 32 |
The 1st prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Simpel | Liu Yunlai | China | 2nd prize |
The 1st and 3rd prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| GEETYPE TakaLine Font | GEETYPE & Shinichi Takahara | REEJI | China | Special Mention | 4 |
The prizes 1-3 were not awarded.
This year's Cyrillic category included a number of high quality entries.
The judges were impressed by the overall level of submissions,
and the selection process was particularly difficult because of the neck-and-neck competition.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Minea | Biljana Stanković | Serbia | Special Mention | 21 | |
| 29LT Zarid Sans Cyrrilic | Krista Radoeva | 29Letters [29TL] | Spain | Special Mention | 22 |
The prizes 1-3 were not awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Transletter | Shani Ivgi | Israel | Special Mention | 5 |
The prizes 1-3 were not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Happiness Sans | AG Typography Institute | South Korea | 2nd prize | 6 |
The 1st and 3rd prize was not awarded.
No prizes were awarded.
We are pleased with the diversity of submissions for the South Asian category this year and hope for the participation to increase in the coming years. Additionally, we hope that all the participants benefited from the introduction of regional pricing.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Noto Serif Khojki | Juan Bruce | Chile | 1st prize | ||
| Fanara Golhi | Ayeshath Fadwa, Shahee Ilyas | Maledives | Special Mention | 7 |
The 2nd and 3rd prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Oi Tamil | Kostas Bartsokas | Greece | 1st prize | ||
| Maku | Kimya Gandhi | Mota Italic | Germany | 2nd prize | |
| November Tamil | Aadarsh Rajan | Typotheque | Netherlands | Special Mention | 8 |
The 3rd prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Lava Thai | Sirin Gunkloy | Typotheque | Netherlands | 2nd prize | |
| Nirat | Mew Varissara Ophaswongse | USA | Special Mention | 9 |
The 1st and 3rd prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| ZT Ribbon Stencil | Panot Thongprasert | TONG TIN TYPE | Thailand | 2nd prize | |
| Marathon | Chalongrat Sueaphaithun | Cadson Demak | Thailand | 3rd prize | |
| November Thai | Ekaluck Peanpanawate | Typotheque | Netherlands | Special Mention | 10 |
| ZT Kasalong | Panot Thongprasert | TONG TIN TYPE | Thailand | Special Mention | 11 |
The 1st prize was not awarded.
CAT B1/B2: NON-LATIN–LATIN TYPEFACES
TEXT & DISPLAY
No prize was awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Klaket | Toshi Omagari | Tosche Limited | Great Britain | 1st prize | |
| Falafil | Acil Benamara | France | Special Mention | 12 |
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| HYYiHeXianJing | LIU Yu, LIU Xiaoyu | Hanyi Fonts | China | 1st prize | |
| HYShouJinLi | Heda Shi, Yongxiang Guo | Hanyi Fonts | China | 2nd prize | |
| HYFuManTang | Siyao Wang, Ziyougang Studio | Hanyi Fonts | China | 3rd prize |
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Bodoni PT | Dmitry Kirsanov assisted by Alexander Lubovenko, Dmitry Goloub, Nick Nedashkovsky and Alexandra Korolkova |
Paratype | Russia | 2nd prize | |
| SB Type System | Alexandra Korolkova, Alexander Lubovenko, Vitaly Kuzmin, Isabella Chaeva | Paratype | Russia | 3rd prize | |
| TT Livret | Ksenia Karatareva, TypeType Team | TypeType | Russia | 3rd prize | |
| Stapel | Alexander Lubovenko | Paratype | Russia | Special Mention | 13 |
| Nekst | Denis Serebryakov | Serebryakov TF | Belarus | Special Mention | 14 |
| LL Grey | Latin: Aurèle Sack, Cyrillic: Aurèle Sack, Viktoriya Grabowska | Poland | Special Mention | 15 |
The 1st prize was not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Norbert | Philipp Neumeyer | Typemates | Germany | 1st prize | |
| Ghimli | Vladimir Anosov & Artem Rulev | Paratype | Russia | 2nd prize | |
| TT Travels Next | Ksenia Karatareva, TypeType Team | TypeType | Russia | 3rd prize | |
| Margit | Miriam Surányi | Schriftlabor | Austria | Special Mention | 16 |
| Tomasa | Fer Cozzi | Argentina | Special Mention | 17 | |
| Helsa Display | Nick Nedashkovskiy | Russia | Special Mention | 19 |
The overall impression from the submissions to the Greek competition was one of increasing confidence by designers to explore the complexities of Greek shapes across both low- and high-contrast genres, and with some success across the full range of weights expected from designers today. There is a notable trend to replicate some established patterns from well-known typefaces, which entails a risk of conservatism or inadvertent absorption of unsuccessful solutions. This is most evident in submissions that are overall highly accomplished, but may miss out on some critical details, or mismatch with peer scripts. There is ample room for further improvement in Greek typeface design, but it seems that a deeper engagement with the script and its typographic and lettering use will be required.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Gratimo Grotesk & Classic | Jakob Runge & Mona Franz | Typemates | Germany | Special Mention | 20 |
| Miasma Sharp | George Triantafyllakos | Atypical | Greece | Special Mention | 23 |
The prizes 1-3 were not awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Forma DJR Banner Greek | David Jonathan Ross, Ruggero Magrì, Roger Black, Aleksandra Samulenkova (Greek) |
Netherlands |
Special Mention | 24 |
The prizes 1-3 were not awarded.
In spite of the small number of Hebrew typefaces submitted to the 12th Granshan Type Design Competition, we were pleased to see inventive briefs, exploring various design approaches, as well as large and developed type families. Ranging from traditional to contemporary, the notable typefaces demonstrated in-depth research processes that lead to refreshing results. We hope this year's typefaces will inspire designers to create more needed Hebrew typefaces and enrich the typographic experience of Hebrew readers.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Discórdia | Álvaro Franca / Felipe Casaprima / Ben Nathan | Naipe Foundrye | Spain | 3rd prize | |
| Formaat Text | Max Esnée | France | Special Mention | 25 |
The 1st and 2nd prize was not awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
No prizes were awarded.
| Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Huai | Potch Auacherdkul | Thailand | 2nd prize | ||
| ZT Nipaporn | Panot Thongprasert | TONG TIn TYPE | Thailand | Special Mention | 26 |
The 1st and 3rd prize were not awarded.
CAT C1/C2: MULTISCRIPT TYPEFACES
TEXT & DISPLAY
| Text Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Codelia | Toshi Omagari | Tosche Limited | Great Britain | 2nd prize | |
| Cascadia Code | Aaron Bell, Viktoriya Grabowska, Mohamad Dakak, Liron Lavi Turkenich |
Saja Typeworks | USA | Special Mention | 27 |
| Display Typeface | Designer | Foundry | Country | Prize | |
|---|---|---|---|---|---|
| Platia | Toshi Omagari | Tosche Limited | Great Britain | 1st prize | 28 |
| Spektra | Alja Herlah, Krista Likar | Type Salon | Slovenia | Special Mention | 29 |
|
1 |
The Special Mention was given for its elegance and the extensive efforts in designing a variety of weights. |
|
2 |
The Special Mention was given for its efforts in the revival of the vernacular lettering of prominent calligraphers. |
|
3 |
Due to the jury's decision, this typeface has been moved from the A1 Arabic Text Typefaces to A2 Arabic Display Typefaces Category. |
|
4 |
This type, designed very bravely to make a breakthrough in structure, has a very strong stylization. |
|
5 |
The Special Mention was given for its innovative brief and experimental approach. |
|
6 |
Due to the jury's decision, this typeface has been moved from B1 Korean-Latin Text Typeface to A1 Korean Text Typefaces. The 2nd prize is only awarded for the Hangul, not for the Latin! |
|
7 |
A Special Mention is awarded to this project for its contribution towards widening the typographic palette of the Thaana script system. |
|
8 |
A Special Mention is awarded to the Tamil Display Stencil style of the project for its quality of execution. |
|
9 |
This typeface was awarded a Special Mention for the commendable attempt of reviving the classic design by Dan Beach Bradley. |
|
10 |
This typeface was awarded a Special Mention for creating a super family of looped and loopless styles that express a common particular voice. |
|
11 |
This typeface was awarded a Special Mention for citing the historical Northern Thai (Lanna) script found in stone inscriptions and rare manuscripts that make it stand out from others in this year's competition. |
|
12 |
The Special Mention was given for its visual experimental approach and extreme playfulness. |
|
13 |
The Special Mention was given for technical development of the typeface. |
|
14 |
The Special Mention was given for the graphic idea of the typeface. |
|
15 |
The Special Mention was given for artistic qualities of the typeface. |
|
16 |
The Special Mention was given for the broad development of styles. |
|
17 |
Due to the jury's decision, this typeface has been moved from the B1 Cyrillic-Latin Text Typefaces to B2 Cyrillic-Latin Display Typefaces Category – The Special Mention was given for typographic expressiveness of the typeface. |
|
19 |
Due to the jury's decision, this typeface has been moved from the C2 Multiscript Display Typefaces to B2 Cyrillic Display Typefaces Category, it is a Special Mention for the Cyrillic and Latin, not the Greek version . |
|
20 |
This typeface was awarded a Special Mention for exploring alternative interpretations of ductus and stroke terminations within a low-contrast Greek style. The approach indicates some potential in this area, with challenges and opportunities across the range of weights and styles. |
|
21 |
Due to the jury's decision, this typeface has been moved from the A2 Cyrillic Display Typefaces to A1 Cyrillic Text Typefaces Category |
|
22 |
The Special Mention was given for typographic finesse of upright styles. |
|
23 |
This typeface was awarded a Special Mention for its investigation of an incised idiot within a high-contrast typeface. The approach presents unique challenges, and the typeface is a credible statement in an unexplored space. |
|
24 |
This typeface was awarded a Special Mention for its successful adaptation of a display grot style to the Greek letterforms, with a successful attempt at capturing the dense texture of the genre. |
|
25 |
The Special Mention was given for its thoughtful and research based approach. |
|
26 |
This typeface was awarded a Special Mention for its interesting and brave approach to shape treatment and aspects of colonialism, and its visually harmonious and consistent texture. |
|
27 |
This typeface was awarded a Special Mention for the Greek to recognise the integration of cursive models into a monospaced genre. Especially in the italic, it creates an interesting texture with the combination of cursive and more conventional letter structures. |
|
28 |
Due to the jury's decision, this typeface has been moved from C1 Multiscript Text Typfaces to C2 Multiscript Display Typefaces. |
|
29 |
Due to the jury's decision, this typeface has been moved from C1 Multiscript Text Typfaces to C2 Multiscript Display Typefaces. This typeface was only awarded for Cyrillic and Greek, not for the Arabic, Hebrew and Latin – The Special Mention (Cyrillic) was given for technical development of the typeface. |
|
30 |
Even though the typeface is well designed and very readable, there were intense discussions among the Script Experts of the Armenian Script Group: Some requirements of classical Armenian scripts were not taken into account – for example, that Armenian capitals should never be lower than ascenders of small letters. Even though there were concerns from individual jury members, the majority decided in favor of a third prize. |
|
31 |
This typeface was awarded a Special Mention in particular for the endeavor to make such a broad type system consistent in itself. |
|
32 |
This typeface was awarded a Special Mention for its original take on lettershapes and integration of geometric motifs. |
Attention
GRANSHAN org. committee is not responsible for any content or copyrights. This must be clarified by the designer/company.
The org. committee congratulates all prize winners. Thank you for taking part in the 2021/22 GRANSHAN project.
