Type Drives Culture Conference
from the Type Directors Club—
Native North American Edition
Led by established and emerging Native designers, #Ezhishin aims to facilitate conversations around the typographic needs of First Nation/Native American communities. We’ve been fortunate enough to be featured in PRINT, It’s Nice That, and Alphabettes, where you can read more in anticipation of the conference and to learn from our speakers and curators. If you’d like to know more beyond the site, to partner or support us, or to feature us in your publication, please send an email to email@example.com. We look forward to seeing you in November!
Moderated by Leo Vicenti. Featuring Sadie Red Wing. Dr. Jessica Moore Harjo, Kathleen Sleboda
Dr. Jessica Moore Harjo
Bobby Joe Smith III
Moderated by Sébastien Aubin. Featuring Mark Jamra and Neil Patel (JamraPatel), John Hudson (Tiro Typeworks), Kevin King (Typotheque)
John Hudson (Tiro Typeworks)
Chris Skillern (TulseyType)
Moderated by Bobby Joe Smith III. Featuring Sébastien Aubin, Kevin Coochwytewa, Victor Pascual, Kaylene Big Knife
Sadie Red Wing
With Roy Boney and Jeff Edwards
Moderated by Neebin Southall. Featuring Menaja Ganesh (Letterform Archive), Brockett Horne (People’s Graphic Design Archive), Jim Gerencser (Carlisle Indian School Project)
Victor Pascual (DigitalNavaho)
Christopher Sleboda, Kathleen Sleboda
Kevin King (Typotheque)
The Type Directors Club presents Ezhishin, a formative conference focused on Native North American typography, co-curated by Ksenya Samarskaya and Neebinnaukzhik Southall, as part of the Type Drives Culture conference series. Our goal is to facilitate conversation around the typographic needs of First Nations/Native American communities, while simultaneously showcasing lettering projects and typographic styles by Native designers.
“Ezhishin is based on a respectful relationship between myself and Ksenya Samarskaya. As part of her first actions as the newly named Managing Director of the Type Directors Club, Ksenya reached out to me to co-curate a conference focused on Native North American typography. Previously, she had profiled me for a Typographica article, which was itself collaborative in nature. In my mind, this conference is an example of what a positive partnership to uplift diverse communities looks like. The work of Native designers has frequently been left out of conversations in the mainstream and has not adequately been addressed in design history —
we can take steps to change that. Ezhishin is significant as one of the first conferences hosted by a major design organization that highlights Native North American typography. The conference includes prominent Native designers as well as non-Native designers working respectfully with Native communities. The word ezhishin, s/he leaves a mark, comes from my Ojibwe language, and serves as a poetic title for a conference that is not only about the mark-making of typographers, but also the legacy we leave as designers.” — Neebinnaukzhik Southall (Chippewas of Rama First Nation)
The logo was developed by Chris Skillern (Cherokee Nation), and is inspired by Cherokee beadwork. With a mind towards Cherokee revitalization and self-determination, Skillern echoed the organic, curvilinear shapes found in Cherokee beadwork to create this custom font lettering in three weights which can also be layered, and provided elements of the lettering to form motifs such as borders. It was animated with the help of Eric Jacobsen.
The Ezhishin branding is collaboratively designed by Ksenya Samarskaya and Neebin Southall, inspired by the bright colors of beadwork, powwow regalia, and ribbon skirts.
The body type you’re reading is Robinson, designed by Greg Gazdowicz and generously donated to TDC by Commercial Type Foundry.
Ezhishin Ojibwe word for “s/he leaves a mark.”