- Karen Charatan
- Ewan Clayton
- Andy Clymer
- Cara Di Edwardo
- Stéphane Elbaz
- Hannes Famira
- Berton Hasebe
- Daniel Morris
- Jean François Porchez
- Jesse Ragan
- Just van Rossum
- Rob Saunders
- Christian Schwartz
- Sara Soskolne
- Sumner Stone
- Alexander Tochilovsky
- Jared Ash
- Ken Barber
- Luca Barcellona
- Nicolas Barker
- Paul Barnes
- Ed Benguiat
- Frederik Berlaen
- David Berlow
- Roger Black
- Thierry Blancpain
- Erik van Blokland
- Matteo Bologna
- T. Corey Brennan
- Tim Brown
- Matthew Carter
- G. Scott Clemons
- Doug Clouse
- Greg D’Onofrio
- Mike Daines
- Michael Doret
- John Downer
- Tiziana D’Angelo
- Tom Foley
- Colin Ford
- Allan Haley
- Norman Hathaway
- Cyrus Highsmith
- Jessica Hische
- Jonathan Hoefler
- Elinor A. Holland
- Eric Holzenberg
- Mark Jamra
- Chester Jenkins
- Scott Kellum
- Jerry Kelly
- Ben Kiel
- Indra Kupferschmid
- Troy Leinster
- Valerie Lester
- Jean-Baptiste Levée
- Ruth Lingen
- Richard Lipton
- Ellen Lupton
- Bruno Maag
- Sébastien Morlighem
- Victor Moscoso
- Tim Murtaugh
- Denis Pelli
- Jill Pichotta
- François Rappo
- Dan Rhatigan
- Thomas Rinaldi
- Carl Rohrs
- Stephen O. Saxe
- Paul Shaw
- Juliet Shen
- Nick Sherman
- David Shields
- Susan Skarsgard
- John Stevens
- Irene Tichenor
- Alex Trochut
- Ferdinand Ulrich
- Petr van Blokland
- Julian Waters
Speakers and guest instructors
Jared Ash is Special Collections Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art, where his primary responsibilities are developing and cataloging Watson’s collections of Russian, Slavic, and rare materials.
From 2006 to 2012, Jared was Curator and Librarian of Special Collections at the Newark Public Library (Newark, NJ), where he curated a number of exhibitions drawn from Newark’s rich collections of artists’ books, illustrated books, fine prints, photographs, and fine printing.
As Curator of the Judith Rothschild Foundation from 1997 to 2002, Jared developed and cataloged a collection of more than 1,200 Russian avant-garde books, periodicals, and works on paper that was donated to the Museum of Modern Art in 2001; he collaborated with MoMA’s Department of Prints and Illustrated Books on the 2002 exhibition, The Russian Avant-Garde Book 1910-1934, and contributed an essay, chapter introductions and more to the accompanying catalog. In addition to the MoMA catalog, Jared also has contributed essays on the Russian avant-garde and book design to publications for the Art Institute of Chicago and the library of the Van Abbemuseum, The Education of a Typographer (edited by Steven Heller), and the journals, Central Booking and Art Documentation.
Jared holds degrees in Russian Studies from Brown University and New York University, and a Master’s in Library and Information Science from Rutgers University.
Ken Barber is a letterer, type designer and type director at design studio and type foundry House Industries. He is also a partner of Photo-Lettering, Inc., the online lettering-vending service nominated by the Design Museum London as a 2011 Design of the Year recipient. Ken's work is in the permanent collection of the Smithsonian Institution’s Cooper-Hewitt, National Design Museum and has been honored by the New York Type Directors Club. Association Typographique Internationale recently selected several of his typefaces for inclusion in the organization’s decennial design competition. In addition to teaching at Maryland Institute College of Art, Ken regularly lectures internationally on the subjects of lettering and typography. He also manages typeandlettering.com, an online resource for students and attendees of his frequent workshops.
• Type and Lettering
• House Industries
Luca Barcellona hails from Milan, Italy, where he works as a freelance graphic designer and calligrapher in his own studio. He began his career in lettering as an audacious graffiti artist which ultimately led him to the study of classic calligraphy, typography and letterpress printing. In recent years he has been propelled into the forefront of internationally renowned calligraphic artists, conducting workshops and seminars around the world. His works are in the collections of the Harrison in the San Francisco Public Library, the Akademie der Kunst in Berlin, and he teamed up for the reproduction of an old globe from 1500, commissioned from the National Museum of Zurich. Luca has designed logos and advertising campaigns for many leading companies as Nike, Wall Street Institute, Carhartt, Redbull, Lavazza, and a plethora of his highly instructive videos can be found on YouTube. His stunning book “Take Your Pleasure Seriously” is an inspiring collection of lettering art in myriad forms, and is available from John Neal Bookseller
Nicolas Barker was educated at New College, Oxford and holds an Hon. D. from the University of York. He was a trainee at Sir Isaac Pitman & Son, a publisher’s production manager at Baillière, Tindall & Cox and at Rupert Hart-Davis. He served as Assistant Keeper at the National Portrait Gallery, Production Director at Macmillan & Co, and Oxford University Press. He was Deputy Keeper at the British Library with responsibility for conservation and special materials. He was trustee and Deputy Chairman of The Pilgrim Trust, and Visiting Professor, U.C.L.A.
Mr. Barker served on the Arts Panel and Libraries Adviser for the The National Trust, was Library Adviser at the House of Commons, Chairman and then Vice President of the London Library, Chairman of the Library Committee for the Royal Horticultural Society, Chairman of the laurence Sterne Trust, Member of council for the Leather Conservation Centre, and a Fellow of the British Academy. He was Sandars Reader in Bibliography at Cambridge University, Order of
the British Empire in 2002, Feoffee at Chetham’s Hospital. Also, Mr. Barker was on the Advisory Council at the National Museum of Science and Invention and is an Honorary Fellow at New College.
He is the current Editor of The Book Collector (since 1965); Chairman, The Type Museum (1996), and The York Glaziers’ Trust (2004);; and Chetham’s Library (1996);; Senior Consultant Curator, Rosenbach Museum and Library, Philadelphia (1993); Governor, St Bride Foundation (1976);.
Latterly: Past President (1982-6), the Bibliographical Society, and Amici Thomae Mori (1974-84); member, Publishing Board of Directors, Royal National Institute for the Blind, and Charities Advisory Panel, B.B.C. & I.B.A. Sometime consultant to the University Library, University of California at Los Angeles; Royal Ontario Museum, Toronto; Pierpont Morgan Library, New York.
Among his many published works are (Ed.) S.Morison, Politics and Script, ed. (1972)
Stanley Morison (1972), Aldus Manutius and the Development of Greek Script & Type in the Fifteenth Century (1985; second edition, 1992), (Ed.) Stanley Morison, Early Italian Writing Books: Renaissance to Baroque (1990), ‘The Script of the Towneley Lectionary’, The Towneley Lectionary (ed. J.Alexander, 1997), Form and Meaning in the History of the Book (selected essays, 2003), (with David Quentin), The Library of Thomas Tresham and Thomas Brudenell (2006), and The Glory of the Art of Writing: The Calligraphic Work of Francesco Alunno of Ferrara (2009).
Paul Barnes is a British graphic designer, specializing in the fields of typography & type design. With Christian Schwartz he is a partner in Commercial Type, an internationally renowned typefoundry with offices in London & New York. Graduating from the Typography course at the University of Reading in 1992, he worked in the early 1990s at the studio of Roger Black and later he became the art director of Spin magazine. Since 1995 he has worked independently and in colloboration on a wide range of design projects. With Peter Saville, he has designed logos for clients such as Kate Moss and Givenchy, and created the “Original Modern” concept for the City of Manchester. In 2010 they created the ‘Modern England’ flags for the England football team with sportswear manufacturer Umbro. He has been a design and typographic consultant to many publishers including The Guardian and The Observer Newspapers, GQ, Wallpaper*, Harper’s Bazaar and frieze . As typographic consultant to The Guardian he was involved in the iconic redesign in 2006, and with Christian Schwartz created the new series of typefaces. For this as part of The Guardian redesign team they received the prestigious Black pencil from the D&AD, as well as being nominated for the Design Museum’s Designer of the
He has designed several retail typefaces, such as the acclaimed Dala Floda and Marian and also corporate typefaces for the National Trust in England and typefaces for magazines as diverse as Condé Nast Portfolio (with Christian Schwartz), O , the Oprah magazine and Vanity Fair. In newspapers he has designed new typefaces for The Daily Telegraph in London and Finland’s leading quality newspaper Helsingin Sanomat. He has also created the letters used by Puma football teams in the 2010 World Cup. In 2009 Schwartz and Barnes set up Commercial Type, an independent type foundry retailing both their own designs, designs by their staff, and other designers. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper*. A year later The Guardian named him as one of the 50 best designers in Britain.
Ed Benguiat (pron. “ben’-gat”;) is an American typographic designer.
Ed Benguiat has hand drawn over 600 new typefaces with out the use of any computers including ITC’s Caslon, Avant Garde Cond, Barcelona, Bauhaus, Korrina, Modern, Souvenir, Tiffany, Bookman, Panache, Edwardian Script, and the self-titled typefaces Benguiat and Benguiat Gothic.
Ed became a partner with Herb Lubalin, in the development of U&lc, lTC's award-winning magazine, and eventually became vice president of the International Typeface Corporation.
He’s designed the logotypes for The New York Times, Esquire, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, Ford Motors, AT&T, A&E, Coke, and Estee Lauder... the original logos and posters for films: Planet of the Apes, Super Fly and countless others. You name it, he’s done it.
Benguiat teaches typographic design at the School of Visual Arts in his native New York City.
On November 2, 2000, he was inducted into the Art Directors Club Hall of Fame.
• Ed Benguiat's fonts at House Industries
Frederik Berlaen is a Belgian type designer and programmer working independently as TypeMyType. He obtained a Master of Design degree in graphic design at Sint-Lucas Ghent Belgium and a Master of Design degree in type design at the Type & Media postgraduate course at the KABK, The Hague. His final project was not a type family but an application which studies the broad nib and pointed pen, called KalliCulator. He has released fonts at Ourtype and applications such as RoundingUFO and UFOstretch.
In addition to teaching type design at Sint-Lucas, Ghent, Belgium, Frederik regularly lectures at Ecal, Lausanne, Swiss as visiting professor.
• Frederik Berlaen, typemytype
David Berlow entered the type industry in 1978 as a letter designer for the respected Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 500 typefaces. Berlow is a member of the New York Type Directors Club and the Association Typographique International, and remains active in typeface design.
• The Font Bureau Inc.
This year Roger Black is starting a new magazine about type, Typographics. He helped organize the conference by the same name, which has been held the last two years at Cooper Union, New York.
Since LA in 1972, Roger has been chief art director or design consultant for publications all over the world. Among them: Rolling Stone, New York, The New York Times, Newsweek, Esquire, Reader’s Digest, The Los Angeles Times, MSNBC.com, Bloomberg.com, The Washington Post, Semana (Colombia), Panorama (Italy), The Straits Times (Singapore), Kompas (Indonesia), The Nation (Bangkok) Tages Anzeiger (Switzerland), Placar (Brazil), Svenska Dagbladet (Sweden), Scientific American.
He’s been involved in many startups. Some, like Outside, Fast Company and Out, are continuing success stories.
He’s a director at Type Network, a new firm that exclusively offers the typefaces of leading digital type foundries, including Font Bureau, which Roger co-founded in 1989.
Roger continues to spend time in Asia, and at homes in Pass-a-Grille, Florida, and Marathon, Texas.
Thierry Blancpain is a freelance designer and art director living in New York City. Together with Noël Leu he co-founded Swiss foundry Grilli Type in 2009. He received his BA in Visual Communication from the Bern University of the Arts, Switzerland, and has been teaching at his alma mater’s MA Communication Design course for two years.
Erik van Blokland, a type designer from The Hague, Netherlands, started the LettError foundry with Just van Rossum in 1989. He studied graphic design at the Royal Academy of Arts in The Hague, and picked up the taste for type design in Gerrit Noordzij's class. The early experiments in type and code (Beowolf, Trixie, Hands) were published by FontFont. More recently Eames Century Modern at House Industries and lots of work for Photo-Lettering. Tool development became an important part of Erik's work (see Superpolator). First with Petr van Blokland and Just van Rossum in RoboFog. Later with Tal Leming in the RoboFab and UFO projects and the initial stages of the WOFF specification for webfonts. Van Blokland is a senior lecturer at the TypeMedia course of the Royal Academy of Arts.
• Superpolator 3
Matteo Bologna is the founding partner and principal of Mucca Design, where he also serves as Creative Director.
Under his direction, the Mucca Design team has solved numerous design challenges and created uniquely successful work for a wide variety of global companies like Sephora, Whole Foods, Victoria’s Secret, Barnes & Noble, Adobe Systems, Bacardi and Target. With his team he designed the identities for a variety of now classic New York City culinary destinations like Balthazar’s and Brooklyn Fare.
The work produced by the Mucca Design team has also been widely recognized by industry publications, competitions and exhibitions, including AIGA, Communication Arts, Eye, Graphis, HOW, PRINT, the Type Directors Club, the Art Directors Club.
He is also the principal of the new Mucca Spin-off type foundry muccaTypo.
Matteo is the President of the Type Directors Club and former board member of AIGA/NY. He frequently lectures about branding and typography around the world.
• Mucca Design
T. Corey Brennan is associate professor of Classics at Rutgers University-New Brunswick; he also taught at Bryn Mawr College. Brennan was appointed Andrew W. Mellon Professor in the American Academy in Rome, 2009-2012. His books are The Praetorship in the Roman Republic (2 vols., Oxford 2000) and (with Harriet I. Flower) co-editor of East and West: Papers in Ancient History Presented to Glen W. Bowersock (Harvard 2009), and has written many contributions on Roman history and culture.
Tim Brown is a designer, writer, speaker, and toolmaker, with a focus on typography. Formerly a web designer at Vassar College, he is now Type Manager for Adobe Typekit ("The best way to use fonts"), a curator for A List Apart ("For people who make websites"), and the author of Nice Web Type ("For the betterment of typographic style and practice") (@nicewebtype on Twitter).
After making Modular Scale ("Meaningful typographic measurement") and Web Font Specimen ("Real web type in real web context"), Tim wrote about each in two all-time staff favorite A List Apart articles ("More Meaningful Typography and Real Web Type in Real Web Context"). His ideas about Molten Leading inspired jQuery plugins for fluid line-height. He has spoken at Inspire and Build, participated in AIGA Breakthroughs, and appeared on The Big Web Show ("Everything web that matters") with Jeffrey Zeldman.
Tim lives and works in New York State’s beautiful Hudson Valley with his wife and college sweetheart, Eileen, their two daughters, and two dogs.
Matthew Carter is a type designer with fifty years’ experience of typographic technologies ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies he was a co-founder in 1981 of Bitstream Inc., the digital typefoundry, where he worked for ten years. He is now a principal of Carter & Cone Type Inc., in Cambridge, Massachusetts, designers and producers of original typefaces. His type designs include ITC Galliard, Snell Roundhand, Shelley Script, Helvetica Compressed, Olympian (for newspaper text), Bell Centennial (for the US telephone directories), ITC Charter, and faces for Greek, Hebrew, Cyrillic and Devanagari. For Carter & Cone he has designed Mantinia, Sophia, Elephant, Big Caslon, Alisal and Miller. Starting in the mid-’90s Carter has worked with Microsoft on a series of “screen fonts” designed to maximize the legibility of type on computer monitors. Of these, Verdana, Tahoma and Nina (a condensed face for hand-held devices) are sanserif types; Georgia is a seriffed design.
• Carter & Cone Type Inc.
Karen Charatan creates pen, brush, and drawn lettering as well as calligraphic paintings. The range of work in her 30-year career includes advertising lettering, greeting cards, point-of-purchase displays, murals and sign design. Karen has taught brush lettering, business card design and sign writing for the annual international lettering arts conferences and for many of the calligraphy guilds in the USA, Canada, Europe and Japan. She exhibits her abstract calligraphic paintings with a group of Asian and Western fine artists. Her works are included in the collection of the Mobile Museum of Art in Mobile, AL.
Ewan is a calligrapher and part-time Professor in Design at The University of Sunderland where he co directs the International Calligraphy Research Centre. He grew up associated with a community of craftsmen at Ditchling in Sussex founded by Eric Gill. Ewan has enjoyed a varied professional career working as both a calligraphy teacher and a consultant to Xerox PARC, and he is currently a core faculty member at the Royal Drawing School in London. In 2013 he was awarded the first Karl-Georg Hoefer prize by The Schreibwerkstatt Klingspor for his work in calligraphy and education. His book on the history of calligraphy and typography The Golden Thread is out in paperback this year in the USA and has recently been released in Spanish and Italian translations.
• Ewan's book on Amazon
G. Scott Clemons has collected the Aldine Press since his days as an undergraduate in the Classics Department at Princeton University. He currently serves as the President of the Grolier Club, Treasurer of the Bibliographical Society of America, and is a past Chairman of the Friends of the Princeton University Library. Outside of his bibliophilic interests, Scott is the Chief Investment Strategist of Brown Brothers Harriman & Co., a privately-owned investment firm in New York City. Scott curated the exhibition Aldus Manutius: A Legacy More Lasting Than Bronze, on display at the Grolier Club this past spring, and is the co-author of a companion volume to the exhibition, soon to be available from Oak Knoll Books.
Doug Clouse is a graphic designer and teacher who lives in New York City. He wrote MacKellar, Smiths & Jordan: Typographic Tastemakers of the Late Nineteenth Century, and co-wrote The Handy Book of Artistic Printing with Angela Voulangas.
• The Graphics Office
Andy Clymer is a typeface designer and developer at H&Co. He received a Bachelor of Arts degree in graphic design from San Diego State University and a Master of Design degree in type design from the Type & Media postgraduate course at the Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art) in The Hague, Netherlands. While in The Hague, Andy was influenced heavily by the notion that type designers have had for centuries of building one’s own tools for the job — mechanical bits and pieces, historically, and now bits and pieces of software. This carries through into his role at H&Co where he contributes both to the design of retail and custom typefaces and to the software that helps produce them.
• Andy Clymer
Greg D’Onofrio is designer, teacher and co-founder with partner Patricia Belen at Kind Company, a design office in New York City. He teaches Graphic Design History at the School of Visual Arts and the Fashion Institute of Technology. Emphasizing the work of lesser-known designers or the lesser-known work of well-known designers, Greg has authored essays for subjects including: Pirelli Publicity 1955–67, The American Revolution Bicentennial Symbol, Elaine Lustig Cohen, The U.S. Department of Labor’s Graphic Standards Manual and Lester Beall’s Connecticut General Identity Program. In 2009, he co-founded http://www.thisisdisplay.org, a platform for 2oth century modern graphic design history research. Using Display’s collection, he has co-curated exhibitions for Pratt Institute and Fordham University, most recently: Ladislav Sutnar: Pioneer of Information Design 1941–60. For Greg, understanding graphic design history is a combination of collecting and research. It’s not enough to own the object – it’s also about what the object can teach us.
• Kind Company
Mike Daines studied typographic design at the London School of Printing in the 1960s and began his career as a type designer in the London studios of Letraset, where he designed a number of typefaces, notably Hawthorn and University Roman. He worked in display photosetting at Alphabet and TypeShop, then, as a director of Letraset’s Typographic Systems Division, he managed URW, Hamburg, involved in the installation of the Ikarus type digitization systems for Monotype, Compugraphic, Berthold and Linotype. Mike later founded Baseline magazine, Applied Graphics Limited, co-founded Applied Arabic, an Arabic type design licensing company, and The Foundry (with David Quay and Freda Sack), an early digital typefoundry. In 2003 he established eLexicons Limited, to develop interactive learning resources, where he edited and published the eLexicon of Typography.
• eLexicons Limited
Cara Di Edwardo is a lettering artist, designer and adjunct professor at Cooper Union and has spent many years in the classroom and in planning educational programs. She is past president of the New York Society of Scribes and is currently serving on the board of the Type Directors Club. She is a founder and the director of the Type@Cooper Program. She holds a BFA from Cooper Union, and has done further studies at ENSAD, Paris, Hunter College, NY and Kyoto Seika University, Japan.
Michael Doret grew up in Brooklyn, New York near the tattered remains of the wonderful old collection of amusement parks known as Coney Island. Inspiration for his work came from those early years near the banners, signage and brilliant colors of his Brooklyn neighborhood, and from frequently visiting Times Square where his father worked for MGM among the bright lights, billboards, and general cacophony of the "Great White Way". Similar inspiration came later from such diverse sources as matchbook covers, enamel signs, packaging, and the numerous and varied artifacts of the mid-century America of his childhood.
After graduating from Cooper Union, and after several years at different staff positions, Michael set up a design studio in New York. He has, for many years, specialized in letterform art, and an integrated approach to the disciplines of lettering, illustration and graphic design. He currently runs a studio out of his home in the Hollywood Hills of Los Angeles.
For many years he concentrated almost exclusively on logo and lettering projects, but recently Michael expanded the base of his work to include font design.
Michael’s original fonts and font families are available through his type foundry Alphabet Soup.
• Alphabet Soup
Mr. Downer has been a journeyman sign painter since 1973, a freelance typeface designer since 1983, and a crusader for designers’ rights his entire adult life in the lettering game. He has written about type and type history for various publications, and he is widely known as a perceptive type critic. His typefaces have been published by Bitstream, Font Bureau, Emigre, House Industries, and Design Lab. Stylistically, his designs refer to various eras of history and means of letterform production: 19th- and 20th-century American sign painting and show card writing; 19th- and 20th-century American chromolithography and wood type; 18th-century European book types; 15th- and 16th-century Chancery cursive writing styles; 15th- and 16th-century Venetian printing; and 2nd-century Imperial Roman epigraphy.
Tiziana D’Angelo received her Ph.D. in Classical Archaeology from Harvard University in 2013. She is currently a Jane and Morgan Whitney Postdoctoral Fellow in the Department of Greek and Roman Art at the Metropolitan Museum of Art. She holds a B.A. in Classics from the Università degli Studi di Pavia, Italy, and an M.Phil. in Classical Archaeology from the University of Oxford. Her research and curatorial interests include Greek, Roman, and Etruscan art and archaeology. D’Angelo has participated in archaeological excavations in Italy and Turkey, and held research fellowships in Cambridge (St. John's College), Oxford (St. Hugh's College), Rome (Phi Beta Kappa Society), Los Angeles (Getty Research Institute), and Berlin (Deutsches Archäologisches Institut).
• Tiziana D’Angelo
Originally from Paris, France, Stéphane Elbaz is a graphic and type designer currently living and working in New York City. He recently joined First Look Media where he serves as Head of Product Design, Magazines. In the last few years he devoted much of his time to digital publishing platforms. In addition, he continued his type and brand design practice.
For Code and Theory he led visual design on various projects including Vanity Fair and GQ for Condé Nast France, the LA Times, Interview, and Art in America. As an independent designer, Stephane recently created a brand typeface for Sephora and participated in brand projects for companies in sectors ranging from culture and fashion to the energy industry. In 2009 he was awarded the Certificate of Excellence in Type Design from the Type Directors Club of New York for his type family Geneo.
Hannes Famira is founding principal of Famirafonts (formerly Kombinat-Typefounders). He is a graphic designer, a type designer and a teacher of both disciplines. After 30 years in the Netherlands, Germany and Switzerland he now lives New York City.
He studied graphic and typographic design at the KABK (Royal Academy of Fine Arts in The Hague) in the Netherlands. After apprenticeships at Studio Dumbar and the Font Bureau he worked at Meta Design, at the Buro Petr van Blokland and at House Industries.
Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001.
He taught various typography and type design classes at the SfG, School for Design in Basel (CH), at The Cooper Union for the Advancement of Science and Art School of Art, SVA the School of Visual Arts, the University of the Arts in Philadelphia, the New Jersey City University, the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen, the Kunsthochschule Kassel and the City University of New York. Hannes has been teaching in the Type@Cooper Extended and Condensed programs at the The Cooper Union for the Advancement of Science and Art since January 2011.
Tom Foley is a graphic designer, typographer and type designer currently living and working in London. Tom earned his BA in Visual Communications from Limerick School of Art and Design in 2007 and MA from Central Saint Martins in 2009. Prior to joining Dalton Maag he worked with Polimekanos, Micha Weidmann Studio, Atelier Dreibholz and Atelier David Smith. Tom also occasionally teaches design and has carried out lectures and workshops at Universities including Central Saint Martins, University of West England, Limerick School of Art & Design, Dun Laoghaire Institute, University of Santa Clara, Ravensbourne and SVA New York. From 2011 - 2015 Tom worked as a full time Font developer at Dalton Maag where he has been involved in custom and library Type design projects covering Latin, Greek, Cyrillic, Tamil and Bengali script systems. Tom currently works as Senior Typographic Advisor at Dalton Maag.
Colin is a NYC-based typeface designer at Hoefler & Co. He is a 2011 graduate of the Type and Media masters program at the Royal Academy of Art (KABK) in The Hague, Netherlands, where he designed a web-native font named *Civillian*. Throughout his life he has always been interested in the area at which the web, technology, and type intersect. He also regularly teaches type design workshops at the Maryland Institute College of Art in Baltimore, MD.
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is involved in all aspects of building and maintaining the company’s typeface library. Mr. Haley is also responsible for educational content for the company’s web sites and is an important link between Monotype Imaging and the graphic design and design education communities.
Prior working for Monotype Imaging, Mr. Haley was principal of Resolution, a consulting firm with expertise in fonts, font technology, type and typographic communication. He was also executive vice president of International Typeface Corporation.
Mr. Haley is ex officio Chairman of the Board of the Society of Typographic Aficionados, and past President of the New York Type Directors Club. He is highly regarded as an educator and is a frequently requested speaker at national computer and design conferences. Mr. Haley is also a prolific writer, with six books on type and graphic communication and hundreds of articles for graphic design publications to his credit.
Berton Hasebe is a type designer living in New York. From 2008–2013 he worked at Commercial Type, helping to develop typefaces for retail release, and custom typefaces for clients including Bloomberg Businessweek, The New York Times, Nike, and Wallpaper*. Through Commercial Type he's released the typefaces Druk, Portrait and Platform. Since 2013 he's worked independently and teaches typography at Parsons The New School for Design and type design at the University of the Arts in Philadelphia.
Berton received his bachelors degree in graphic design from Otis College of Art and Design in 2005, and moved to the Netherlands in 2007 to study type design at the Type and Media masters program at The Royal Academy of Art in the Hague (KABK). His typeface Alda, designed while attending Type and Media, was awarded the 2008 judges pick from the Type Directors Club in New York and was released by Emigre in 2011.
Berton's work has been recognized by the ATypI, BRNO Biennale, TDC, and Tokyo TDC. In 2012 he was featured as one of Print Magazine’s New Visual Artists.
• Berton Hasebe
Norman Hathaway is an art director and design historian. He is the author of Overspray and co-author with Dan Nadel of Electrical Banana: Masters of Psychedelic Art and Dorothy and Otis: Designing the American Dream. He has led creative initiatives for institutions including The Design Museum, London and the Royal Academy of Arts, as well as artists including Paul McCartney. He has taught widely on the history of design and typography for the London College of Printing, The Royal College of Art, and Goldsmiths College.
Cyrus Highsmith joined the Font Bureau in 1997. As Senior Designer, he concentrates on development of new typefaces. A faculty member at Rhode Island School of Design department of graphic design since 2000, he teaches letter drawing. He also leads workshops and is a frequent lecturer across the United States, Mexico, and Europe.
Highsmith is known for his original approach to drawing letterforms. His designs have been specified for diverse platforms including Rolling Stone, starwars.com, and the Ford Motor Company. He has also created custom typefaces for clients including The Wall Street Journal, Martha Stewart Living, La Prensa Gráfica, ESPN, Men’s Health, and El Universal.
In addition to being a type designer, Highsmith is an illustrator and author. In 2012, Font Bureau published his first book, Inside Paragraphs: Typographic Fundamentals, about which Matthew Carter wrote “There is nothing you need to understand about using type that’s not in this book.”
• Occupant Press
• The Font Bureau Inc.
Jessica Hische is a letterer, illustrator, graphic designer, and typeface designer living in Brooklyn, NY. You may know Jessica through her various projects, like Don’t Fear the Internet, Daily Drop Cap, Should I Work for Free?, or Mom, this is how twitter works.
Jessica previously worked at Louise Fili Ltd where she was Senior Designer. She has worked for clients such as Tiffany & Co., Victoria’s Secret, American Express, Target, New York Times, Boston Globe, Chronicle Books, Random House, and Penguin Books to name a few. Her work has been featured in most major design and illustration publications including Communication Arts, Print magazine, STEP magazine, HOW magazine, Graphis, American Illustration, and the Society of Illustrators annual. She was featured in 2009 as one of STEP magazine’s 25 emerging artists and as one of Print magazine’s New Visual Artists 2009.
She very much enjoys good food, black coffee, and her two cats, Olive and Billy.
Jonathan Hoefler has been designing typefaces since 1989. His company, Hoefler & Co., is home to one of the world’s most distinguished font libraries, designs such as Knockout, Gotham, Mercury and Archer that are known for both high performance and high style.
Hoefler has been awarded both the Prix Charles Peignot for outstanding contributions to type design, and the AIGA Medal, the design profession’s highest honor. A two-time honoree of the National Design Award, H&Co’s work is in the permanent collections of both the Smithsonian Institution and the Museum of Modern Art in New York.
Elinor A. Holland, a student of both Arabic and English calligraphy for over twenty years, has taught calligraphy to students of all ages at schools, museums, and other learning institutions since 1994, including the New York Public Library, The Smithsonian Institute, the Center for Book Arts, and the Metropolitan Museum. Her freelance work includes private and commercial commissions.
• Harmony of Line
Eric Holzenberg is Director of the Grolier Club of New York, America's oldest and largest society for enthusiasts in the book and graphic arts. Since 1994 he has shaped the Grolier Club's mission to celebrate the enduring value of the book-as-object, promoting the Club's 100,000-volume research library on books and printing, its 128-year-old series of public exhibitions on bookish themes, and its venerable roster of finely printed books-on-books. A former chair of the Rare Books & Manuscripts Section of ALA/ACRL, and past president of the American Printing History Association, Mr. Holzenberg holds an MA in library science from the University of Chicago, where he specialized in rare books and manuscripts; and an MA in history from Loyola University of Chicago. Among other books for the Grolier Club, he is the author of The Middle Hill Press (1997), and co-author of For Jean Grolier & His Friends: 125 Years of Grolier Club Exhibitions & Publications, 1884-2009. He has in addition written numerous articles, and lectured widely, on various topics in bibliography, bibliophily, and book history. His course on "The Printed Book in the West Since 1800" has been taught annually at the University of Virginia's Rare Book School program since 1998, and he is also an adjunct faculty member of the Rare Books Program of the Palmer Library School of LIU. Mr. Holzenberg is an avid collector of (among many other things) books on architecture and design, particularly the English Gothic Revival, and the Aesthetic Movement in Europe and America.
• The Grolier Club
Mark Jamra is a type designer and Associate Professor at Maine College of Art in Portland, ME. He has designed and produced typefaces for over 30 years and is the founder of TypeCulture, a digital type foundry and academic resource. His typeface designs include: Alphatier, Phoreus Cherokee, Expo Sans, Expo Serif, Latienne, ITC Jamille, Tacitus and Kinesis, an Adobe Original. His lettering and typefaces have been exhibited in numerous exhibitions and received awards from the Type Directors Club and the Association Typographique Internationale (ATypI). He is also a co-founder of JamraPatel, a studio for collaborative type design projects.
Mark graduated with a BFA degree from Kent State University and completed his graduate studies in 1983 at the School of Design in Basel, Switzerland. He has lectured. conducted workshops and taught graphic design, letterform design and type history at colleges in the U.S and Germany. He has been a typographic consultant to the Hewlett-Packard Research Laboratories in Bristol, England and for URW Software & Type GmbH in Hamburg, Germany. He is currently serving on the ATypI's board of directors.
Chester Jenkins is an American type designer of British parentage. After graduating from Collège Dawson in Montréal in 1992, he spent two years in the London and Utrecht offices of Newell & Sorrell. In 1995 Chester moved to Chicago to work with Rick Valicenti at Thirst and eventually become a partner in the Thirstype foundry. In 2004 Chester decamped to New York City and formed Village, a loose co-op of a dozen foundries from around the world, with his wife and partner Tracy Jenkins. Besides his published work, Chester has created bespoke typefaces for Maharam, Avinor, New York City Opera, the NFL, and many others, and has collaborated with Pentagram Design, 2x4, and Snøhetta, to name a few.
Scott Kellum is a designer and front-end web developer living and working in NYC. He currently works at Roger Black Studio on Treesaver. Scott previously worked with Darden Studio designing type after graduating from Parsons the New School for Design.
Jerry Kelly is a book designer, calligrapher, type designer, and typographer based in New York City. After jobs in advertising typography and calligraphy, he worked for ten years at the Press of A. Colish (Mt Vernon, NY), and then for nine years for The Stinehour Press (Lunenburg, VT), before establishing his own firm in 1999. In those positions he has designed many award-winning books for clients too numerous to mention. He has been a partner at the Kelly-Winterton Press (a small letterpress operation) since 1978, and a free-lance designer and calligrapher for almost as long. In addition, he is a partner at Nonpareil Type, a small, independent typefoundry specializing in revivals of under-appreciated typefaces from the past (such as Emerson and Epigramatta) alongside with new, original designs (Rilke, Kelly Sans, etc.). He has taught calligraphy, typography, and book production & design at Parson’s School of Design (1997–2006), Stanford University (1998), Queens College, The Center for Book Arts, Camberwell College (London, England) and elsewhere.
Among his numerous publications are books including The Best of Both Worlds: Finely Printed Livres d’Artistes, 1910–2010 (Godine, 2011), The Art of the Book in the Twentieth Century (RIT, 2011), Fine Printing in the Twentieth Century
(Grolier Club, 2005), The Fine Art of Letters: The Work of Hermann Zapf (Grolier Club, 2000), A Century for the Century (Godine, 2004), Artist & Alphabet (AIGA, 1999), The Art of the Type Specimen (ITC, 1992), & German Fine Printing 1948–1988 (Grolier Club, 1988). He has also published numerous articles for the AIGA Journal, Fine Print, Printing History, Matrix, Calligraphy Review, Visible Language, Papers of the Bibliographical Society of America, and other periodicals.
Kelly holds a BA in Fine Arts from Queens College, CUNY, and has also studied at the Rochester Institute of Technology (Master Classes in Calligraphy with Hermann Zapf, 1979-1988) and Cooper Union (Digital Type Design, 2006).
• Nonpareil Typefoundry
Ben Kiel is a typeface designer and educator. He runs Typefounding—his typeface design and production studio—and teaches at his alma matter, Washington University. Before moving to Saint Louis he earned his MA in Typeface Design from the University of Reading in 2005, and was subsequently a typeface designer, director, and developer at House Industries from 2006–2012. He has taught at the Maryland Institute College of Art and the University of Delaware, and is the Education Chair of the St. Louis chapter of the AIGA.
• Ben Kiel
Indra Kupferschmid is a German typographer and professor at HBKsaar, University of Arts Saarbrücken. Fueled by specimen books, she is occupied with type around the clock and in all its incarnations: webfonts, bitmap fonts, other fonts, type history, DIN committees, research, writing, designing, and any combination of this. She is co-author of Helvetica forever by Lars Müller Publishers and wrote Buchstaben kommen selten allein, a typography text book (German; Niggli). She consults for the type industry, contributes to print- and web projects such as Codex, Slanted, Typographica and Fonts In Use, next to juggling her own small- and ultralarge-scale ventures.
Troy Leinster is a typeface designer at Hoefler & Co in New York City. Originally from Brisbane, Australia, he is a graduate of the Type & Media MA program at The Royal Academy of Art (KABK) in The Hague, and a graduate of the first Type@Cooper Condensed Program in New York.
Valerie Lester is the author of Giambattista Bodoni: His Life and His World, the biography of Giambattista Bodoni (Godine, Spring 2014). She is also the author of Phiz, the Man Who Drew Dickens (Chatto & Windus, 2004), a biography of her great-great- grandfather, Hablot Knight Browne, Dickens's principal illustrator; and Fasten Your Seat Belts! History and Heroism in the Pan Am Cabin (Paladwr Press, 1995), which is a history of Pan American World Airways told from the point of view of its cabin crew. Her translation of Le Grand Meaulnes (The Magnificent Meaulnes) was published by Vintage Press in 2009.
• Valerie's book on Amazon.com
Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. He manufactures functional, yet versatile digital platforms for designers to build upon.
Levée has designed over a hundred typefaces for industry, moving pictures, fashion and publishing. His work has won multiple awards and has been shown internationally in group and solo shows. It is featured in the permanent collections of the French national library (BnF) and the National Center of arts (Cnap); of the Newberry Library in Chicago, and several printing museums in Europe. He is a board member and the country delegate for France at ATypI (Association Typographique Internationale). Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design and at the University of Corte. He is a typography columnist and editor on Pointypo.com.
Ruth Lingen studied typography and bookmaking with Walter Hamady, and was also his shop assistant for 3 years. Under his influence, she discovered the pleasure of collaborating with writers and artists. Since then, she has collaborated with over 60 artists in book and print form, and her books are held in over 40 public libraries. A member of the Booklyn Artist Alliance, Ruth has twice received the "50 Best Books/Covers Award" from the American Institute of Graphic Arts.
Richard Lipton has been making exquisite letterforms for over 40 years. He was introduced to the magic of calligraphy while studying art and design at Harpur College in upstate New York. He continued his lettering journey in 1975 as a freelance calligrapher, sign painter and graphic designer and established a calligraphy studio in Cambridge, Massachusetts. In 1983, Lipton began working for Bitstream, an innovative digital type foundry under the guidance of Mike Parker and Matthew Carter, eventually helping to make Bitstream’s type library one of the most respected in the industry. In his tenure as senior designer, Lipton developed two original type families: Arrus, and Cataneo (with Jacqueline Sakwa). In 1991, Lipton created an independent type and calligraphy studio and designed many original typefaces including Bickham Script Pro for Adobe and Sloop for Font Bureau. He is currently a senior designer at Font Bureau where he develops original typefaces and custom fonts for international clients. He is currently on the faculty at RISD where he teaches type design and calligraphy.
• The Font Bureau Inc.
Ellen Lupton is curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore. An author of numerous books and articles on design, she is a public-minded critic, frequent lecturer, and AIGA Gold Medalist.
Bruno Maag is a trained typesetter from Zurich, Switzerland. After graduating from Basel School of Design with degrees in Typography and Visual Communications he emigrated to England where he worked for Monotype creating custom typefaces. After a year in Chicago with Monotype he returned to England to start Dalton Maag, focussing on the creation of custom typefaces.
Bruno today is the Chairman of Dalton Maag and in recent years has spearheaded projects for large global companies and small enterprises alike. Some of the clients include Nokia, Intel, HP, Amazon, Lush, Faena, The Stroke Foundation and Rio2016 to name a few. His interests today extend into scientific research into reading physiology and psychology.
Sébastien Morlighem studied at the École Supérieure Estienne (Paris), where he learned type design. He works since 1995 as a graphic designer for books and records. He teaches the history of graphic design and typography and is co-director of the post-graduate program ‘Typography and Language’ at the École Supérieure d’Art et de Design in Amiens. He created and curates the Bibliothèque typographique collection for Ypsilon Éditeur and co-authored books about French type designers José Mendoza y Almeida and Roger Excoffon. He is currently preparing a PhD for the Department of Typography and Graphic Communication at the University of Reading (United Kingdom).
• Ypsilon Editeur
For the last twelve years, Daniel Morris has run The Arm, a public access letterpress studio in Williamsburg, Brooklyn. He comes from a family of letterpress printers going back four generations. He has been involved with letterpress at Cooper Union since 2007. www.thearmnyc.com
• The Arm NYC
• The Dale Guild Type Foundry
Victor Moscoso is one of the premier artists of the psychedelic era. Raised in Brooklyn, he attended both Cooper Union and Yale (where he studied with Joseph Albers) before moving to San Francisco in the late 1950s. There he became a primary architect of the burgeoning underground hothouse that would produce brilliant posters, comic books, and album covers. Moscoso’s facility with color relationships and his remarkable ability to seamlessly blend images and lettering into a single entity was used to create a series of groundbreaking concert posters that propelled him to international fame. His posters feature dizzying hand lettering that push the very limits of negative space, and fierce battles between foreground and background. Along with Robert Crumb he was a founding member of the groundbreaking underground comic Zap Comix. Moscoso also designed numerous album covers for Jerry Garcia, Herbie Hancock and others.
Tim has been working on the web since 1997, and specializes in developing custom publishing systems with responsive HTML5 interfaces. His eye for design and affinity for clean code allow him to painlessly integrate his templates into larger systems without sacrificing user experience or aesthetics.Tim started in the non-profit world, moved on to start-ups, shifted to an agency, upgraded to publishing, and is currently the co-founder of the small NYC shop Monkey Do. Tim can be found on Twitter at @murtaugh.
• Monkey Do
I studied applied math at Harvard (BA '75) and vision at Cambridge (Physiology PhD '81), with Campbell and Robson. At Minneapolis ('80 postdoc with Legge), Syracuse ('81-'95 professor), and NASA Ames ('87 sabbatical with Watson and Ahumada), I worked on visual requirements of reading and mobility, on visual testing (e.g. the Pelli-Robson Contrast Sensitivity Chart), and on characterizing the limits of visual perception. Since 1995 I've been Professor of Psychology and Neural Science at New York University, studying letter and object recognition and beauty.
• Denis Pelli at NYU
Jill Pichotta has worked for the Font Bureau for 25 years and began as an apprentice with David Berlow in 1991. Her work has included projects for Rolling Stone, Esquire, Condé Nast Traveller, The New York Times, and Apple Computer. As a senior designer she has managed the production of the company's retail library since May 1993, and has made several contributions herself. She is the principal editor and has assisted type designers with all details from submission to release. She continues to divide her time between various Retail, Custom and OEM projects. Ms. Pichotta works from her studio and enjoys living in a small New England seaside town north of Boston.
• The Font Bureau, Inc.
Jean François Porchez is founder of Typofonderie, type director of ZeCraft, Jean François Porchez’s expertise covers both the design of bespoke typefaces, logotypes and typographic consultancy. He is honorary President of the Association Typographique Internationale (was ATypI President in 2004–2007) and frequent speaker at conferences all over the world. Introduced to French Who’s Who in 2009.
After training as a graphic designer, during which he focused on type design, Jean François Porchez (1964) worked as a type director at Dragon Rouge, then at Le Monde newspaper. Since 2012, he teaches at Type@Cooper, (United States) and he is the programme director for typographic & type design at ECV (France). He taught type design at the MA typeface design at the Reading University (United Kingdom), at Ensad, (France) and conduct regularly type design workshops all over the world. He also contributes regularly to international publications. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces.
Jesse Ragan is an independent typeface designer in Brooklyn. Over the past decade, he has created custom types and lettering for brands, publications, and cultural institutions. He co-founded and teaches for Type@Cooper, and he serves on the board of directors for AIGA/NY. Previously he was a staff designer at Hoefler & Frere-Jones and taught at Pratt Institute.
Jesse has collaborated on many retail typefaces, notably Gotham, Archer, Omnes, and Chronicle. Freelance clients include Pentagram, Landor, Reebok, The New York Times, Font Bureau, and House Industries. His work has been recognized by AIGA, Type Directors Club, Brand New Awards, and the Museum of Modern Art. He holds a BFA from Rhode Island School of Design.
Rappo Francois lives and works in Lausanne, Switzerland. Born in 1955, trained as a graphic designer, specialized in the field of type design and has published fonts as Didot Elder, Theinhardt Grotesk, Genath, Orso, Plain Grotesque (Optimo font foundry). His type design portfolio includes projects for: Vogue Hommes International, The New York Times Magazine, ICA Institute of Contemporary Art London. From 2001 to 2008 François Rappo was head of jury of ‘The Most beautiful Swiss Books’ competition. He is currently head of master program Art Direction/Type Design at ECAL University Of Art And Design Lausanne.
Dan Rhatigan worked as a designer and typographer for 15 years in Boston and New York before moving to England in 2006 for graduate school at the University of Reading. After receiving his MA in Typeface Design, he spent 7 seven years working with Monotype as researcher, type designer, and eventually Type Director. He now lives in New York City again, where he works as an independent type designer and consultant.
Thomas Rinaldi grew up in the Hudson River Valley near Poughkeepsie, New York. He is the co-author of the book Hudson Valley Ruins: Forgotten Landmarks of an American Landscape, published by the University Press of New England in 2006, and the author of New York Neon, published by W.W. Norton in 2012. His photographs have been published in the New York Times, the Wall Street Journal, the New York Post, the New York Observer, Westchester Magazine, CNN Online, and elsewhere, and have been exhibited at the Municipal Art Society of New York and will be shown in a forthcoming exhibition at the New York State Museum in Albany. He holds degrees from Georgetown University and Columbia University, and has worked for the National Park Service, the New York State Office of Parks, Recreation & Historic Preservation, and the Central Park Conservancy. Rinaldi currently works as an architectural designer in New York City.
Carl Rohrs has been a commercial lettering artist and sign painter in Santa Cruz, CA since 1977. Teacher of Lettering & Typography and Graphic Design at Cabrillo College since ‘84, and U.C. Santa Cruz Extension. Teacher of modern calligraphy — and occasionally sign-painting and gilding — at workshops and conferences since ‘86 all over the US and Europe, as well as Japan, Australia and South Africa. Studied with Father Edward Catich, Hermann Zapf, Karlgeorg Hoefer among many others. Team teaching partners have included Julian Waters, Georgia Deaver, Susan Skarsgard and sign legend Mark Oatis. Former and current editor of Alphabet, the Journal of the Friends of Calligraphy.
Just van Rossum graduated in 1989 at the Royal Academy of Fine Arts in The Hague, where he studied with Gerrit Noordzij. After stints at Monotype in the UK and MetaDesign in Berlin he became an independent type designer, focussing on software design for type. His collaborations with Erik van Blokland under the name LettError became well known and their FF Beowolf typeface has been included in the permanent collection of the MoMa in New York. His FF Lefthand typeface is as ubiquitous now as it was when it came out in 1991. He co-wrote RoboFog with Petr van Blokland in the mid-ninetees, which can be seen as a prerunner of RoboFont, and has been a very influential type design tool due to its groundbreaking scriptability with the Python programming language. His TTX/FontTools library is a crucial building block for lots of font software. He also wrote the original version of the DrawBot application. Lately, his “Daily DrawBot” project drew some attention with its mesmerizing animated gifs.
Just teaches type design and programming at the Royal Academy of Fine Arts (KABK) in The Hague, both in the regular graphic design course as well as in the Type & Media master program.
• Daily DrawBot
Rob Saunders is the curator and chairman of the Board of Directors of the Letterform Archive. He is a designer, teacher, publisher, and management consultant. He taught at The School of the Museum of Fine Arts Boston and Tufts University, while serving freelance clients and agencies, before founding a book publishing enterprise that included Alphabet Press (graphic design), Picture Book Studio (children’s books), and Rabbit Ears Books (book/audio packages), which was acquired by Simon & Schuster. Prior to becoming Curator of Letterform Archive he served as a creative and marketing consultant with clients in the hospitality, technology, and financial industries.
• Letterform Archive
Stephen O. Saxe edited the Newsletter of the American Printing History Association for five years, writing an essay for each issue on a wide range of printing subjects. He is the author of American Iron Hand Presses (1992). He edited a revised edition of Annenberg’s Type Foundries of America and their Catalogs (1994), the standard bibliography of American type specimens, and edited Gabriel Rummonds’ two-volume Nineteenth Century Printing Practices and the Iron Handpress (2004). He is co-editor of Loy’s Nineteenth-Century American Designers and Engravers of Type (2009), for which he scanned 800 typefaces from his collection of American foundry type specimen books. A graduate of Harvard and Yale, he was a stage and television scenic designer before he became interested in printing history.
• Stephen O. Saxe’s books on Amazon.com
Christian Schwartz is a partner, with London-based designer Paul Barnes, in the type foundry Commercial Type. Schwartz has published fonts with many respected independent foundries and designed proprietary typefaces for corporations and publications worldwide.
Schwartz and Barnes began an ongoing collaboration in 2005 with their extensive typeface system for The Guardian, which led to honors from the Design Museum and D&AD. The two have completed custom typefaces for clients including Esquire, the Empire State Building, Bosch, The New York Times, and Bloomberg Businessweek. In 2007, Schwartz was awarded the prestigious Prix Charles Peignot, given every four or five years by the Association Typographique Internationale to a designer under 35 who has made “an outstanding contribution to the field of type design”.
• Christian Schwartz
• Commercial Type
Paul Shaw is a letter designer and graphic design historian. He is the sole proprietor of Paul Shaw / Letter Design, a studio specializing for thirty years in calligraphy, lettering and typography. Among his clients have been Clairol, Origins, Lord & Taylor, Campbell’s Soup, Cinzano, Vignelli Associates, and Pentagram. Paul was formerly a partner in LetterPerfect, a digital type foundry based in Seattle. Since 1980 he has taught calligraphy, lettering, typography and graphic design history at a variety of New York area design schools. Currently he is at both Parsons School of Design and the School of Visual Arts. He writes on letter-related subjects for Print, Eye, Baseline, Letter Arts Review, and AIGA's Voice. His book Helvetica and the New York City Subway sold out in two months, with a trade edition planned to be published by MIT Press. In 2002 Paul was a fellow at the American Academy in Rome. Finally, Paul is the reigning authority on W.A. Dwiggins, having spent 30 years researching his life and work.
Juliet Shen has taught typography at the School of Visual Concepts in Seattle since 1999, with a year off to get an MA in typeface design at the University of Reading, UK. Her dissertation on the type designs of Morris Fuller Benton has been published by Sherwin Beach Press in a letterpress edition hand composed in Benton’s Cloister Old Style. Juliet’s typeface Bullen, released by Font Bureau, was inspired by her perusal of typefaces in the early ATF specimen books. She has had an independent design firm in Seattle since 1989 and concentrates today on custom font design. Her Lushootseed font for the Tulalip Tribes of Washington is the first newly designed Native American font to be cut as wood type by the Hamilton Museum and is used in efforts to revive the daily use of the critically endangered language. She is a board member of SOTA, the producers of TypeCon, and the director of the Type Americana conference in Seattle. Juliet received her B.A. from Sarah Lawrence College and Certificate of Fine Arts from the Cooper Union.
• Shen Design
Nick Sherman is a typographer and typographic consultant based in Brooklyn, New York. He has worked at Font Bureau and Webtype promoting typefaces for print and digital media.
He is a co-founder of Fonts In Use and a columnist at A List Apart. He serves on the board of directors for the Type Directors Club as well as the artistic board for the Hamilton Wood Type & Printing Museum. He is both a graduate and consultant for the Type@Cooper typeface design program at Cooper Union.
Nick graduated with honors from the Graphic Design program at MassArt in Boston, where he also taught undergraduate typography. He previously worked at MyFonts, overhauling the web design and promotional material for the world’s largest collection of fonts. Some of his other projects include Woodtyper, Pizza Rules!, Specimenism, and a personal photo journal. He also participates in the Kaiju Big Battel live monster wrestling group.
Nick is an active member in the Society of Printers, ATypI, and American Printing History Association. Originally from Cape Cod, he is also a skateboarder, pizza enthusiast, printer, musician, and classic horror film buff.
David Shields is an Associate Professor and Chair of the Department of Graphic Design at Virginia Commonwealth University in Richmond.
David is currently focusing his research on 19th century typographic form and visual culture arising from investigations of Rob Roy Kelly’s American Wood Type Collection. He keeps a slow blog of his research at Wood Type Research (http://www.woodtyperesearch.com).
His writing has been published in Slanted Magazine, Printing History, Design Inquiry Journal, and Ultrabold the Journal of the St Bride Library. David’s work has been published in Rethinking Design, AIGA Fifty Books of the Year, Behind the Seen: Studio Dumbar, and has appeared in periodicals including Eye, Emigre, and Print Magazine. His work is also included in the permanent collections of the Cooper Hewitt National Design Museum and Museum of Modern Art.
Previously David was an Associate Professor of Design at The University of Texas at Austin where he served as the Head of the Design Program and as the Design Custodian for the Rob Roy Kelly American Wood Type Collection (www.utexas.edu/cofa/rrk). Before joining the UT Faculty in 2004, David lived in Brooklyn, NY, and taught at a number of institutions in the New York region including Rutgers, SVA, Pratt and University of the Arts.
He continues to practice as a designer at the studio he co-founded with Jennifer Elsner in Brooklyn in 2000, Viewers Like You (www.viewers-like-you.com), a full-service design studio that provides creative consultancy for graphic and editorial communications and specializes in branding, strategy and positioning of both start-ups and established companies.
Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art.
• Viewers Like You
Susan Skarsgard is an artist & designer from Ann Arbor, Michigan known internationally for her fine art works, artist books, design and calligraphy. Her art installation "Imagine/Align" blooms every spring at the University of Michigan’s Nichols Arboretum in a one-half mile long line of 20,000 yellow daffodils traversing the environment, mapping thought and inspiring contemplation: http://youtu.be/clml-k5Xy_k
She has been a featured speaker for many art and design organizations, conferences & events and has conducted workshops and classes traveling extensively throughout North America, Australia, and Europe. Her work is widely collected by individuals and institutions including the Library of Congress Rare Book Room, Newberry Library, University of Michigan Special Collections, University of Delaware, San Francisco Public Library and Smith College.
Skarsgard apprenticed in the late 1980s with Gerry Campbell, a masterful lettering and type designer from Detroit. She received her MFA in 2004 from the University of Michigan School of Art + Design.
Skarsgard has worked at General Motors Design since 1994. For 12 years she designed vehicle emblems and lettering for automotive nameplates and corporate & brand identity. Currently, she the manager of the GM Design Archive and Special Collections, which she and her staff founded in 2008.
• GM Design Archive and Special Collections
Sara Soskolne is senior designer at Hoefler & Co. Though originally a graphic designer in her home town of Toronto, after ten years of apparently never being able to find quite the right typeface for the job she finally decided to just learn how to make them herself, jumping careers and an ocean to study typeface design at the University of Reading where she earned her MA in the subject in 2003. Since joining H&Co she has contributed to the design of a wide range of typefaces including Verlag, Chronicle, Sentinel, Gotham, Tungsten and Quarto. She has taught typeface design at the Yale School of Art, at New York’s School of Visual Arts, and with Sumner Stone was a founding instructor of the Type@Cooper Condensed Program.
• Sara Soskolne on wikipedia.org
John Stevens is one of the most gifted and original letter artists on the international scene, renowned for his skill as a calligrapher, letter artist, and designer. Starting as a sign painter in New York, his insatiable inquiry into letters and their design led him into calligraphy and lettering as image, working with various pens, brushes, and later computer. By his mid-twenties, he had many nationally known clients in publishing, packaging, advertising, television, and film. John's work has graced book jackets, magazines, newspapers, libraries, museums, and churches. As an in-demand teacher, he has been invited to teach at many national and international letter-arts conferences throughout the United States, Europe, and Asia to teach his art. John's calligraphic artworks are included in the collections of the San Francisco Public Library; Berlin’s Akademie der Künste; and La Casa del Libro (San Juan, Puerto Rico), as well as in many private collections. People can easily find his works in dozens of books and publications from Asia, Australia, Europe, and the U. S. A. More recently, his book Scribe: Artist of the Written Word was published in 2013 to critical acclaim. You can follow him on Instagram, Twitter & Facebook.
John Stevens Design
Sumner Stone is a type designer, type founder, author, and teacher. From 1984–1989 he was Director of Typography for Adobe Systems where he conceived and implemented Adobe’s typographic program including the Adobe Originals. In 1990 he founded Stone Type Foundry Inc., now located in Rumsey, California. The Foundry designs and produces new typefaces and creates custom designs for a diverse range of clients including Hallmark Cards, Stanford University, The San Francisco Public Library, Daedalus: Journal of the American Academy of Arts and Sciences, The Greenwood Press, Arion Press, and Full Belly Farm. His type designs include the popular ITC Stone Sans and the prize-winning ITC Bodoni. His most recent type designs are Davanti, Sator, and Popvlvs.
• Stone Type Foundry
Irene Tichenor holds a PhD in American History and an MS in Library Science from Columbia University. She has written and lectured on the history of printing, focusing especially on nineteenth-century New York City. Her biography of Theodore Low De Vinne, No Art Without Craft, was published by David Godine in 2005. De Vinne was also the subject of her Grolier Club exhibition (co-curated with Michael Koenig) in February-April 2014.
Her career as a director of academic and research libraries has included two years at the Old Westbury campus of the State University of New York and nearly a decade at the Brooklyn Historical Society.
Dr. Tichenor is a past vice president of the Bibliographical Society of America, as well as a past president of the American Printing History Association, in which she has held numerous other offices over the years. She currently serves on the Council of the Grolier Club, where she also chairs the Committee on Public Exhibitions.
Alexander Tochilovsky is a graphic designer, typographer, curator and educator, with nearly 20 years of professional design experience, and 10 years experience teaching typography. He graduated with a BFA from The Cooper Union, and holds an MFA from Cranbrook Academy of Art. He is currently the Curator of the Herb Lubalin Study Center of Design and Typography. In 2009 he co-curated the exhibition Lubalin Now, and since 2010 he has curated five other exhibitions: Appetite (2010), Pharma (2011), Type@Cooper (2012), Image of the Studio (2013), & Thirty (2015). Since 2007 he has taught typography and design at the Cooper Union School of Art, and also teaches the history of typeface design at Type@Cooper, the postgraduate certificate program he co-founded in 2010.
• Herb Lubalin Study Center
Alex Trochut was born in 1981 in Barcelona, Spain. After completing his studies at Elisava Escola Superior de Disseny, Barcelona and working in the Spanish design studios Toormix and Vasava, Alex established his own design studio in Barcelona before relocating to New York City.
Through his design, illustration and typographic practice he has developed an intuitive way of working that has resulted in his expressive visual style. For Alex Trochut, typography functions on two hierarchical levels. First, there is the image of the word we see; reading comes secondary. As a designer, Alex focuses on the potential of language as a visual medium, pushing language to its limits so that seeing and reading become the same action and text and image become one unified expression.
Drawing equally from pop culture, street culture, fashion and music, Alex has worked for a diverse range of clients: Nike, The Rolling Stones, Katy Perry, Adidas, BBC, Nixon, British Airways, Coca-Cola, The Guardian, Wieden + Kennedy, Saatchi & Saatchi, BBH, Fallon, The New York Times, and many others. In 2008, he was named an ADC Young Gun for his lettering and design work. His monograph, More Is More, explores his working methodologies and influences and was published in 2011.
Alex has exhibited and given talks internationally at institutions, galleries and professional organizations. His work has appeared in publications worldwide and he has been honored by the Art Directors Club, the Type Directors Club, and Creative Review, among others. Alex lives and works in Brooklyn.
• Alex Trochut
Ferdinand Ulrich is a typographer and type historian. He is the assistant of Erik Spiekermann in Berlin, where he has been setting up an archive, designs books and spends time experimenting in the letterpress workshop. He is also an adjunct instructor at Burg Giebichenstein University of Art and Design in Halle/Saale (Germany). As a visiting scholar at Carnegie Mellon University in Pittsburgh/PA he began his research thesis on the typeface Hunt Roman which earned him a graduate degree at Berlin University of the Arts in 2012.
Born in Gouda, The Netherlands, in 1956, Petr van Blokland graduated Cum Laude from the graphic arts program at the Royal Academy of Fine Arts in the Hague. He has been a freelance designer since 1980. He specializes in systematic design – typically building directories, forms systems, corporate identity programs, etc. He has taught graphic design, typography, and type design for many years at the Royal Academy of Fine Arts in The Hague and at the Academy of Fine Arts, Arnhem. His first typeface is Proforma, a large series commissioned by Purup, Danish manufacturer of forms preparation systems, now released for general use by Font Bureau. His work brought him ATypI’s coveted Charles Peignot Prize in 1988. His statements on typeface design are well-known: On Quality “The same bottomline that applies to typography also applies to typefaces: when no one notices, the aim has been accomplished.” On Experience “To be accomplished in all aspects of the design process is the fundamental demand on the designer. Experience and talent counts, not the availability of equipment.” On Digitization “By carrying out the digitization as an integral part of the design process, maximum control is exercised over the eventual reproducing of the typeface, thereby avoiding any errors of interpretation.” On New Typefaces “Why design a new typeface? After all, there are so many. There is a misconception that typefaces are not designed. They are simply here. Yet new typefaces are designed and this need is increasingly present in view of the current technological advances.”
• Buro Petr van Blokland and Claudia Mens
An internationally acclaimed lettering designer with 40 years' experience, Julian Waters studied extensively with legendary calligrapher and type designer Hermann Zapf at RIT, starting in 1979. Zapf later chose Julian to take over his masterclasses there in 1990. Julian’s clients have included the U.S. Postal Service, National Geographic, and many agencies, design studios, institutions and memorials. His typefaces include Adobe Waters Titling Pro family and “ThJefferson” for Monticello. In the 1990s, he taught lettering and typography at the Corcoran School of Art in Washington, DC.
In 2001, he was featured in the “Zapfest” exhibition in San Francisco. For more than 35 years, he has taught lettering workshops all over Canada, USA, Europe, UK, Australia, Hong Kong and Japan. He has taught several times at Cooper Union, NY, and Wells College, NY, including digital font design. He has received many awards and his work has been widely published. In 2014, he was the culminating speaker at the Legacies international calligraphy conference and a lecturer at the “Making Sense” symposium at Texas A&M University. Julian’s parents are the renowned calligrapher, illustrator, author and teacher Sheila Waters and the late bookbinder and international library conservation and preservation expert Peter Waters.