Redefining Excellence: The Evolution of the TDC Typeface Design Competition

By Tanya George
December 8, 2021

Historically, design competitions have functioned as bastions of prestige, serving as the definitive arbiters of quality, taste, and aesthetic voice within the creative industry. In the niche but highly specialized world of typeface design, these competitions often acted as gatekeepers, reinforcing established models of visual excellence. However, this traditional structure has frequently been criticized for its geographic and financial exclusivity. When a competition defines "excellence" through a narrow, often Western-centric lens, it inadvertently deters global participation.

This tension—between maintaining a standard of quality and ensuring the field is truly representative of the world’s typographic landscape—is the central challenge facing the Type Directors Club (TDC) today. As the organization pivots toward a more inclusive future, its 25th Typeface Design Competition marks a significant turning point. In a recent interview, I spoke with the competition’s co-chairs, Nadine Chahine and Ksenya Samarskaya, to discuss how the TDC is transforming from a New York-centric club into a global beacon for typographic diversity.

A Chronology of Change: From Insolvency to Inclusion

The TDC has not been without its struggles. In recent years, the organization faced intense scrutiny, ranging from accusations of systemic racism to critical financial insolvency. For those observing from the outside, the organization’s future seemed precarious.

Nadine Chahine, who has been involved with the TDC since applying to its competition in 2003, recalls the atmosphere when these issues came to light. "We were in the middle of judging when the news broke," Chahine explains. "There was a lot of internal dialogue among the judges. We asked ourselves: What does this mean? Do we continue? Ultimately, we were encouraged by the maturity and the seriousness with which the board approached the situation. They were willing to take a hard look in the mirror."

Ksenya Samarskaya, who joined the TDC’s orbit following the 2005 TypeCon in New York, notes that while she was not on the board during the organization’s period of upheaval, her mission has always been to advocate for broader, more nuanced representation in typography. "The issues the TDC faced were not exclusive to them," Samarskaya says. "They are industry-wide issues. How do we deal with global scripts? How do we judge them fairly? It is a complex, nuanced, and tangled situation."

Rather than viewing the current expansion of categories as a reactive measure to past controversies, both chairs characterize it as a natural, long-overdue evolution. "When I suggested we expand the categories, the insolvency was not on my mind," Chahine clarifies. "This is an evolution of where the TDC was already heading—a shift toward a truly global mission for excellence."

The Infrastructure of Abundance: New Categories and Expert Panels

For decades, the TDC relied on a system where script experts were consulted to advise the primary jury. While this was more than what many other competitions offered, it remained a hierarchical structure. As the volume of entries for non-Latin scripts—such as Arabic, Indic, and CJK (Chinese, Japanese, and Korean)—began to surge, the old model became insufficient.

"We saw a renaissance in type design," says Chahine. "Twenty years ago, you might see one Arabic typeface published a year. Now, you see dozens. We have reached a level of maturity in these scripts where it is no longer sufficient to just consult an expert. We need dedicated categories and panels of experts who can engage in rigorous, informed debate."

This year, the competition has officially broken out these categories. The goal is to facilitate a richer dialogue. "When you have multiple experts in a single script debating, you avoid the ‘safe’ choices," Samarskaya observes. "Without diverse experts in the room, there is a tendency to favor conventional designs—the ones that look like what the majority of judges are comfortable with. By bringing in contrasting viewpoints, we allow for innovation and risk-taking."

Supporting Data: Why Global Participation Matters

The argument for global participation isn’t just moral; it is functional. The TDC is arguably the most recognized typography competition in the world. For a designer in a region where their script has historically been marginalized, winning a TDC medal can be a transformative event.

"It’s a confidence boost," says Chahine. "But it’s also an entry point into new markets. Large corporations are often risk-averse; seeing a typeface vetted by an institution like the TDC provides a stamp of approval that can open doors to global commissions."

However, to ensure this is a mutually beneficial relationship, the TDC has had to address the practical barriers to entry. Historically, the cost of entry, printing, and shipping physical specimens acted as a deterrent for designers in developing economies.

"We have overhauled the pricing structure," Samarskaya notes. "Students receive a flat $35 fee. Furthermore, we have implemented significant discounts for approximately 138 countries based on per capita GDP. Perhaps most importantly, we have eliminated the need to print and ship physical copies. Everything is now digital, removing the physical and financial hurdles that previously sidelined so many talented designers."

Official Perspectives: The Philosophy of Judging

How does one evaluate something as subjective as a typeface? For Chahine, it is a hierarchical process. "At the bottom is the quality of the drawing—is it executed well? Next is the system—do the letters talk to one another? Then comes the function—is it fit for its intended purpose? And finally, there is the je ne sais quoi—that feeling when a typeface captures a mood or a cultural expression that words alone cannot convey."

Samarskaya adds that the focus must also shift toward the "ecosystem." She asks, "What does this typeface add to the conversation? How does it push culture forward? What overlooked parts of history is it restoring?"

This philosophy is on full display in the TDC’s new "Meet the Judges" series. These roundtables are designed to be pedagogical, allowing for a public airing of the standards used to judge excellence in specific scripts. It is a move toward transparency that the organization hopes will demystify the judging process.

The Future of the TDC: A Living, Breathing Organization

The TDC remains an organization built largely on the labor of volunteers. While it is based in New York, the leadership is acutely aware that its influence must extend beyond the US.

"The TDC is made of its members," says Chahine. "If most members are in New York, there will be a New York focus. But if designers from around the world join and engage, they have the power to organize local events and drive the conversation in their own regions."

When asked about future-proofing the competition against technological shifts—such as the rise of variable fonts—the co-chairs remain pragmatic. "Variable fonts are a technological advancement, not a fundamental change in the art of designing letterforms," Samarskaya explains. "The best way to future-proof is to remain an agile, living organization. Nothing we have implemented this year is set in stone; it is infinitely malleable for the generations of designers who will follow."

Implications: A New Era for Global Typography

The shift within the TDC represents a broader realization within the design industry: global typography can no longer be viewed through a Latin-centric hierarchy. By institutionalizing dedicated categories for world scripts, providing financial accessibility, and prioritizing diverse panels of experts, the TDC is moving from being a passive gatekeeper to an active conductor of global typographic discourse.

For designers in India, the Middle East, and beyond, this transition offers more than just a chance at a medal. It offers a seat at the table where the history and future of the craft are being defined. As Chahine aptly puts it, "The validation of a great community starts from itself, but we are now providing the space for that conversation to reach a global stage."

The TDC’s 25th competition is not merely a contest; it is a declaration that the future of typography is as diverse as the cultures that use it. As the organization continues to evolve, its success will depend on the continued engagement of the global community—a community that, for the first time, is being invited to fully participate in the shaping of its own narrative.