- Cara Di Edwardo
- James Edmondson
- Frank Grießhammer
- Grendl Löfkvist
- Tânia Raposo
- Rob Saunders
- Sumner Stone
- Christine Celic Strohl
- Nicolas Barker
- Ewan Clayton
- Stephen Coles
- Carl Crossgrove
- Roberto de Vicq
- Michael Doret
- John Downer
- Colin Ford
- Bethany Heck
- Jessica Hische
- Jerry Kelly
- Bruce Kennett
- Donald Knuth
- Valerie Lester
- Ellen Lupton
- Erik Marinovich
- Victor Moscoso
- Amy Papaelias
- Jim Parkinson
- Jesse Ragan
- Dan Rhatigan
- Carl Rohrs
- Mindy Seu
- Christopher Slye
- Sara Soskolne
- John Stevens
- Simran Thadani
Speakers and guest instructors
Christine Celic Strohl is a co-founder and principal at Strohl, a San Francisco based firm specializing in brand identity and hospitality design. She uses her degrees in both Graphic Design and Psychology to combine thoughtful visual design with an empathic approach to consumer experiences. Formerly a Senior Art Director at New York City firm Mucca Design, Christine has been nominated for three James Beard awards for Restaurant Graphics, and her work has been recognized by the AIGA, TDC, ADC and CA. This spring, she served as a judge for the 2017 Communication Arts Design Competition.
• Strohl, Inc.
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).
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
• Ewan Clayton
Stephen Coles is an editor and typographer living in Oakland and Berlin. He publishes Fonts In Use and Typographica, helps type foundries with editorial content and marketing, and consults with various organizations on typeface selection and licensing. Stephen is author of the book The Anatomy of Type, and serves on the board of the Letterform Archive. He was formerly a creative director at FontShop and a member of the FontFont TypeBoard.
Carl Crossgrove has been fascinated with letterforms since learning to read as a tot. He experimented with alphabet systems, biological illustration and calligraphy as a child. He studied fine art, printmaking, and book arts, eventually focusing on typeface design at Rochester Institute of Technology. He fulfilled internships at Adobe's type design group in the 1990s, and has been designing typefaces for Monotype since 2001. Carl's background in calligraphy and drawing infuses his typefaces with humanism. His typefaces include Mundo Sans, Segoe Script, Burlingame, Cavolini, and the award-winning Beorcana and Biome.
Roberto de Vicq de Cumptich enjoys the research part of the design process of branding restaurants at the expense of his waistline. This is the bad part, the good part is he is currently principal at his own design firm in SF specializing in publications, restaurant design, and branding. He has an MFA by Pratt Institute and graduated from Type@Cooper. He is also the author of several books featuring his own work. His most recent book To All Men of Letters and People of Substance was selected as one of the AIGA’s 50 best books of 2008. He has received numerous awards from the Art Directors Club, AIGA, D&AD, Communication Arts, Eye, Graphis, How, Print, Type Directors Club and two Webby Awards. He was Vice President of the Type Directors Club and a judge for the typography annual of Communication Arts in 2014 and the chairman for the TDC type competition of 2015.
• Roberto de Vicq
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 has served 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.
After graduating from California College of the Arts, James received a masters from the TypeMedia program at The Royal Academy of Art in The Hague, Netherlands. James lives in San Francisco, and runs OH no Type Company, an independent foundry focussed on display faces and expressive lettering.
• OH no Type Co
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.
Frank Grießhammer has been working as a type designer and font developer with Adobe since 2011.
Before coming to California, he graduated from the Type and Media masters program at the Royal Academy of The Hague in 2010, worked for FSI FontShop International in Berlin, and studied graphic design at Saarbrücken, Germany, and Florence, Italy.
• Frank Grießhammer
Bethany Heck is the Executive Design Director of Product at Vox Media and the creator of the Eephus League brand of baseball scorebooks. She strives to create powerful visual experiences with strong typographic elements regardless of medium, and her work spans traditional printing techniques to the digital realm. She’s worked with the likes of Microsoft, FiveThirtyEight, IBM, EA Sports, ESPN, and more, and her work has appeared in New York Magazine, the New Yorker, Wired, Smashing Magazine and several other international publications and art exhibitions.
• Bethany Heck
Jessica Hische is a lettering artist and author working in San Francisco and Brooklyn. She has had the pleasure of working for clients like Wes Anderson, The United States Postal Service, The New York Times, and Penguin Books and her work has been featured again and again in design and illustration annuals both in the US and internationally. She’s been named a Print Magazine New Visual Artist (20 under 30), one of Forbes 30 under 30 in Art and Design two years in a row, an ADC Young Gun, and a “Person to Watch” by GD USA. Aside from her illustrious client work, she has created numerous side projects including Daily Drop Cap, Should I Work for Free?, Mom This is How Twitter Works, and Don’t Fear the Internet (created along with Russ Maschmeyer), and has traveled the world speaking at conferences about her work and ideas. Her first book, In Progress, is available through Chronicle Books.
• Jessica Hische
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
Book designer, photographer, and teacher Bruce Kennett lives in rural New England. After earning a B.A. in humanities and working as an architect and printer, he moved to Austria to study calligraphy and book design with Friedrich Neugebauer, and later translated Neugebauer’s The Mystic Art of Written Forms. During the 1980s, he was the managing director of Maine’s renowned Anthoensen Press, and since then has maintained his own studio with clients that have ranged from the Folger Shakespeare Library, Boston College Law School, and the Grolier Club to L.L. Bean and the Mount Washington Observatory. In the peaceful surroundings of his country studio, Bruce designs illustrated books and exhibition graphics, and makes large-scale murals of his photographs.
Bruce has collected the work of W. A. Dwiggins since 1972, and has been writing and lecturing about him since 1980. His comprehensive biography, W. A. Dwiggins: A Life in Design (Letterform Archive, 2017), captures the inspiring accomplishments and wit of this amazing artist.
My main life's work has been to write The Art of Computer Programming, a work-still-inprogress that attempts to organize and summarize what is known about the vast subject of computer methods and to give it firm mathematical and historical foundations. (The four volumes published so far have been translated into many languages and more than a million copies have been sold.) As a researcher in computer science, I am more or less the "father;' of several subareas called the analysis of algorithms 1 LR(k) and LL(k) parsing 1 attribute grammars, empirical study of programming languages, and literate programming. My best-known research in mathematics is represented by the Knuth-Bendix algorithm for word problems, the Robinson-Schensted-Knuth correspondence between matrices and tableaux, and an analysis of the big bang that occurs in the evolution of random graphs. As a university professor I introduced a variety of new courses into the curriculum, notably Concrete Mathematics, and I supervised the dissertations of 28 excellent students. And as a programmer, I wrote software systems called TEX and METAFONT that are used for the majority of today's mathematical publications and now have more than a million users worldwide.
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
Grendl Löfkvist is an instructor in the Visual Media Design Department at City College of San Francisco, where she teaches the history of graphic design, bookbinding and book arts, calligraphy, and letterpress printing. She also offers a variety of courses at the San Francisco Center for the Book, including blackletter calligraphy, traditional letterpress printing, and the history and practice of printing with wood type.
Löfkvist was a press operator for 13 years at Inkworks Press in Berkeley, a collectively owned, politically progressive offset printing company that just recently closed its doors. She does letterpress and printmaking work under the imprints of Red Star Agitprop and Cloven Hoof Press, and she is currently the President of the American Printing History Association's Northern California Chapter.
Her interests include the study of printing as a subversive “Black Art,” and she is always on the lookout for bizarre, unusual, or macabre print and type lore.
Ellen Lupton is a writer, curator, educator, and designer. She is Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum in New York City. Recent exhibitions include Beauty—Cooper Hewitt Design Triennial (with Andreas Lipps), How Posters Work, and Beautiful Users. Lupton also serves as director of the Graphic Design MFA Program at MICA (Maryland Institute College of Art) in Baltimore, where she has authored numerous books on design processes, including Thinking with Type, Graphic Design Thinking, Graphic Design: The New Basics, and Type on Screen. Her next book, Design Is Storytelling, will be published by Cooper Hewitt in 2017. Lupton earned her BFA from The Cooper Union in 1985.
Erik Marinovich is a San Francisco based lettering artist and designer, and is a co-founder of Friends of Type. Since 2009 he has drawn letters, logos and type for nice folks like: Nike, Target, Google, Hilton, Facebook, Sonos, Sharpie, The Criterion Collection, Air Canada, Gap, Ford Motor Company. In 2012 he co-founded Title Case, a creative work space that conducts workshops and lectures. Between client work, teaching and side-projects, you’ll find him on the road promoting Keep Fresh Stay Rad and Let’s Go Letter Hunting, two new releases from Friends of Type published by Princeton Architectural Press.
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.
Amy Papaelias is an Assistant Professor of Graphic Design at the State University of New York at New Paltz. She has written for The Recorder, Typographica, Type Network, and co-edited a special issue of Visible Language. Her work has been presented at the Type Directors Club, TypeCon, Face Forward Dublin, Theorizing the Web, and the College Art Association. She helps keep the lights on at Alphabettes.org, a network that promotes and supports the work of women in type-related fields.
Photo credit: Tom Smith.
Jim Parkinson has been lettering and designing typefaces all his life. At least it seems that way. In the 1960s, he did greeting card lettering for Hallmark Cards in Kansas City. Later, back in Oakland, as a freelancer, he did lettering for just about everything including sign painting, lettering for packaging, book covers, editorial lettering, drum heads for bands, posters, movie titles, etc. In the 1970s, he designed the logo for Ringling Bros. and Barnum & Bailey circus. Today, he specializes in designing typefaces and typographic logos. He was one of the designers of ITC Bodoni and he drew Parkinson Electra for Linotype. Jim has designed custom fonts for newspapers and magazines, including Rolling Stone, The San Francisco Chronicle, and The National Post. He has also designed dozens of retail fonts. Many of them are released by his one-person company, Parkinson Type Design. Other font designs have been published by Adobe, Monotype, FontShop, Linotype, The Font Bureau, and ITC. His typographic logos appear on the covers of many magazines and newspapers, including Rolling Stone, Newsweek, Esquire, InStyle, El Grafico, Men's Journal, Texas Monthly, Variety, The Detroit Free Press, Excelsior, The Los Angeles Times, and The National Post.Jim loves lettering. It keeps him out of trouble.
Jesse Ragan runs the small type foundry XYZ Type with business partner Ben Kiel, and designs custom typefaces and lettering independently in Brooklyn, New York. He has served on the board of directors for AIGA/NY and has taught at Type@Cooper (which he co-founded) and Pratt Institute. After graduating from Rhode Island School of Design, Jesse started his career at Hoefler & Frere-Jones. Notable past design collaborations include Gotham, Archer, and Omnes.
• XYZ Type
Tânia Raposo is a type and graphic designer from Portugal. She received her Graphic Design BFA at ESAD.IPL, Portugal and her Type and Media Master’s degree at KABK, Netherlands. She has worked as a graphic designer for the studios Itemzero in Lisbon and Atlas in Palma de Mallorca and as a curatorial assistant at the Letterform Archive. At the moment she is the Program Coordinator for Type@Cooper West and works as a freelance graphic and type designer.
After moving around Europe and the US she has now settled in the Bay Area.
She buys too many books, collects stamps that look good
and wishes one day Nick Sherman will take her to a Monster Truck Show. This wish has been granted.
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.
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.
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
Mindy Seu is a designer working between San Francisco and New York City. She currently works on the Interactive Media team at 2x4 and teaches Interactive 2 at California College of the Arts. Her archival art practice includes a comprehensive archive for Avant Garde Magazine with the Herb Lubalin Study Center, and a digitization of Emmett Williams’s concrete poem Sweethearts. With Jon Gacnik, she developed Archival Club, a workshop series that highlights the contents of local libraries with neighboring academic institutions. Her work has been featured on Open Culture, Creative Applications, Boing Boing, Under Consideration, Fastco Design, Dazed, and is included in the Library of the Printed Web and the Frick Collection. In Fall 2016, she will start as a student at the Harvard Graduate School of Design.
Christopher Slye is Business Manager for Adobe Type and Typekit. Since joining Adobe’s typographic staff in 1997, he has worked in the design and production of Adobe Originals typefaces, helped guide Adobe’s type-related technology and initiatives, contributed to the development of open web font standards, and managed all aspects of Adobe’s type licensing programs.
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.
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
Simran Thadani served on Letterform Archive’s Board of Directors before taking on the role of Executive Director in June 2015. She has worked extensively with special collections (rare books, manuscripts, fine press, and the book arts) and has served on the summer staff at Rare Book School, from which she earned a Certificate of Proficiency in the History of Letterforms.Sim's sustained interest in letterforms began when she taught herself gothic calligraphy in middle school; she has since also trained in paleography (the study of old handwriting), learned letterpress printing, and written a dissertation on the history of handwriting textbooks in England. She is a graduate of Wellesley College and the University of Pennsylvania.