A-B-Z-TXT returns to Toronto. From August 17–20, 2017, we bring you a texto-visual buffet that blends typography with poetry, politics, computation, and the syntax of emoji.

If you are a professional designer, artist, or coder, join us for typographic feats across media and without all the clichés.

The $675 CAD fee covers the 4-day intensive school and lots of coffee. A-B-Z-TXT will accept applications until July 21st.

Learn from noted creatives and with a lively mix of fuzzy practices and disciplines.

Talk and Masterclass

Zach Lieberman

will mix

playful computation

and typography



Zach is an artist and educator in New York City. Known for projects including iQ font, EyeWriter, and Land Lines, his work turns type and gesture upside-down and creates new modes of expression. He is deeply committed to knowledge-sharing and education, as evidenced by his co-founding of the C++ creative coding toolkit openFrameworks and the School for Poetic Computation.

Talk and Workshop

Ali S. Qadeer

will exhume the

materiality of text



Ali is a designer and educator in Toronto. With an MFA from RISD, his work focuses on algorithmic form and where graphic design meets the humanities. He has wrangled anamorphic text for The New York Times Magazine and created a film advocating for budget increases for Toronto’s public library system. Ali is an Assistant Professor at OCAD University.

Mindy Seu

will introduce the poetry

in interface aesthetics



Mindy is a designer working between Cambridge and New York City. She recently left 2x4’s Interactive Media team. Previously she held workshops at the Internet Archive, Berkeley Art Museum, and launched online archives for Avant Garde & Eros Magazine. A graduate of UCLA’s Design Media Arts program, this fall she will begin studies at Harvard GSD.


Chris Lee

will relate typography

to state power



Chris is a designer in Toronto and Buffalo. A graduate of OCAD University and the Sandberg Instituut, he has worked for The Walrus magazine, Metahaven, and Bruce Mau Design. Chris explores the relationship between currency and graphic designers a reflection on design’s entanglement with power. His work speculates on alternative and decolonial forms for exchange. Chris is an Assistant Professor at the University at Buffalo.

Chris is a special guest co-presented by Art Metropole.

Lois Andison

will comment on

language as artistic



A prolific artist based in Toronto, Lois’ works are manifested in print, photo and video, and sculpture and installation. Type and letter forms appear frequently in her practice, and their (re)recombination through illumination and clever custom mechanics opens up new ways of thinking about language and meaning. Lois is represented by Olga Korper Gallery (Toronto) and Art Mûr, (Montreal), and an Associate Professor in the Fine Arts Department of the University of Waterloo.

Lois is a special guest co-presented by InterAccess.

Michèle Champagne

will look for

signs of Rob Ford



As a designer, Michèle has leapt from Toronto to Amsterdam and Montréal. For cultural research and publication design, she has worked with Droog, Metahaven, Mediamatic, Penguin Random House, Strelka Institute, and VPRO. She works with open content dynamics—from sourcing internet comments for print magazines to designing social networks with open source code. Michèle is a resident at l’École de design at UQÀM.

Xavier Snelgrove

will help you find the

perfect emoji



Xavier is a Toronto-based algorithm designer, entrepreneur, educator and artist. As cofounder and CTO at Whirlscape, he designed the neural networks which predict emoji, stickers, and GIFs in the Dango app as well as the autocorrect powering the Minuum keyboard. He organizes the annual GenArtHackParty, that brings both beginners and experienced artists together to learn from each other and build generative artworks—quickly.

Thank you to our amazing partners and sponsors. We couldn’t do it without them.

● Co-Presenters

● Sponsors

● Media Partners

● All the great typography has already been designed. Type is not special any more. Today, we download free fonts, write our own code, publish on Medium, and print on demand. We copy from Pinterest and embrace easy Modernist look-a-likes. We revive calligraphy with an obsessive nostalgia for the cutesy 1950s. We even market handwriting as a stand-in for the human touch.

● In the past, typography was a craft and could challenge the ethos of the era. But not any more. The best type years are behind us.

● Or so they say.

● In the 21st century, it takes courage to release new typographic species. We must resist trends. We must embrace the history of typography, language and literature. We must experiment with new thinking, tools, and techniques.

● A-B-Z will celebrate this new century with leading practitioners, hands-on masterclasses, geeky lectures, group discussions, and far too much caffeine.

● From books to magazines, websites and displays, typography dances across media. A-B-Z brings you a hybrid and critical program for play and debate.

Come tango with us.