Type West

I chose four political pieces which are, unfortunately, all still relevant today. From the current genocide being committed against Palestinians in Gaza, to the current US administration’s xenophobic and racist expulsion of immigrants and rejection of birthright citizenship, and the repudiation of women’s rights to control our own bodies, it’s time to take back our power and fill the streets with our demands. This quartet of posters by Design Action Collective (printed at Inkworks Press Collective), OSPAAAL, the Atélier Populaire, and Dignidad Rebelde speak as loudly and boldly today as they did when they were printed.
— Grendl Löfkvist, Dean of Type West

Handwriting is more than just notes on a page—it’s a tool for thinking, documenting, and analyzing the shape of letterforms. As writing by hand becomes less common, we risk losing not just a form of communication, but also a way of working that is fast, flexible, and deeply personal—something digital tools still can’t fully replace. I chose pieces that highlight the power of writing, both as a creative tool and as a reflection of culture. I hope to encourage more people to explore handwriting, calligraphy, and the creative possibilities they offer.
— Masha Doreuli, Lead Instructor for Type West In-Person

I have forever been fascinated with the play on directionality that can be found in manuscripts written in the Arabic script; how scribes would place and position words to lend the letters something more than the capacity to communicate content. This was often amplified with floral ornamentation and a ‘cloud’ effect around text, all in pursuit of aesthetics and some would argue, form over function. Even in the most simple of manuscripts, however, it was common practice for owners of manuscripts to add inscriptions in the margins, set in diverging directions, creating what looks like a patchwork of paragraphs. These differing approaches highlight the coexistence of style and practicality.
— Dr. Sahar Afshar, Lead Instructor for Type West Online