TypeCon:[[[[[[[[ 2016[[[[ Resound.[[[[[[[[ \\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. \\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. \\\\\\\\\Presented[[[[[[[[[ \\\\\\by[[[[[[ the \\\\\\\\\\Society[[[[[[[[[[ of \\\\\\\\\\\Typographic[[[[[[[[[[[ \\\\\\\\\\\\Aficionados.[[[[[[[[[[[[

[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Welcome.[[[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[Welcome!

If it is your first time joining us, or your tenth time (or more!)... welcome. We are genuinely excited to have everyone join us back in Seattle for what is our 18th TypeCon.

I mentioned “back in Seattle.” This year marks the first time TypeCon has ever returned to a city it had previously traveled to since the early days of the conference. Be it nostalgia, be it the city, or the program in 2007, many still say this city was their favorite. Seattle Then set a standard. Seattle Now will likely redefine that standard for many of us. As Seattle has grown and expanded, its creative community has too. Pick a category: design, technology, music, architecture, food, business, or many others and you’ll easily agree… Seattle is world-class.

And so is this year’s program. Span­ ning the globe, our presenters come from everywhere, infusing them­selves and their unique culture into our typographic community and making it whole. This year our presenters and workshop leaders total well over 80 (that’s double the amount in 2012) — all volunteering their time, their wisdom, their humor. We are all a part of this community, and it’s humbling to find so many are willing to share. Let’s celebrate this as we explore, learn, and make many new friends. We all are responsible for making TypeCon what it is, and for this, I thank you.

Earlier this year, I was asked how we managed to put TypeCon on each year. The answer was simple. Generosity. The tireless generosity of a small group of volunteers that comprise the SOTA Board, the locals in and around our host city, presenters, our amazing sponsors, and you. If any one of these didn’t exist, the conference would fail. So, on behalf of the SOTA Board of Directors, I’d like to extend a respectful thank you to each and every volunteer, organization, company, sponsor, collaborator, and attendee. You make TypeCon great, thank you.

Now, let’s enjoy the conference and have a great time!

Neil Summerour, Chair Board of Directors The Society of Typographic Aficionados (SOTA)

1 [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Program[[[[[[[[[[[[[[[[[[[ [[[[[[[[Overview.[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[[Wednesday 24 August

[[[[[[[[[[[09.00–16.30 [[[[[[[[[[[[[[[[[[Full-Day Workshops

Block Caps with Serifs & Roman Caps Without John Downer & Paul Herrera

Python 101 for Type Designers Rainer Erich Scheichelbauer

Wine & Whiskey ... Rescripted Neil Summerour & Emily Conners

Type Under Pressure Jenny Wilkson & Kate Fernandez

Arabic–Latin Logo Matchmaking Azza Alameddine

[[[[[[[[[[[09.00–12.00 [[[[[[[[[[[[[[[[[Morning Workshops

TruFont Extensions Adrien Tétar

[[[[[[[[[[[13.30–16.30 [[[[[[[[[[[[[[[[[[[Afternoon Workshops

Hand Lettering with Traditional Pens Randall M. Hasson

FontLab VI for FontLab Studio 5 Users Thomas Phinney

[[[[[19.30 [[[[[[[[[[[[[Evening Event

Why We Design: Looking in from the Outside Nadine Chahine Presented by Type Directors Club

[[[[[[[[[[[[[[[[[[Thursday 25 August

[[[[[[[[[[[09.00–17.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[Type & Design Education Forum

[[[[[[[[[[[09.00–16.30 [[[[[[[[[[[[[[[[[[Full-Day Workshops

Block Caps with Serifs & Roman Caps Without John Downer & Paul Herrera

Brush Lettering Laura Worthington & Debi Sementelli

Textile Text Agnes Barton-Sabo

Engraving Ornamental Wood Type & Printing on the Iron Handpress Carl Montford & Juliet Shen

3 [[[[[[[[[[[[[[[[[[Thursday 25 August [[[[[[[[(cont’d)

[[[[[[[[[[[09.00–12.00 [[[[[[[[[[[[[[[[[Morning Workshops

Making Icons & Icon Fonts at Microsoft Si Daniels

Developer Q & A for Type Designers Georg Seifert

[[[[[11.00 [[[[[[[[[[[[[[[[[[[[[[[[Type Walk with Paul Shaw

[[[[[[[[[[[13.30–16.30 [[[[[[[[[[[[[[[[[[[Afternoon Workshops

Hinting & Fine Tuning Autohinting for Great Looking Webfonts Michael Duggan

Letterpress Typographic Treasures Tour Laura Bentley

Take Care of Your EULA and Your EULA Will Take Care of You Joyce Ketterer

[[[[[19.30 [[[[[[[[[[[[[Evening Event

Keynote Presentation Lance Wyman Presented by the Society of Typographic Aficionados

[[[[[[[[[[[[[[[[Friday 26 August

[[[[[08.00 [[[[[[[[[[[[[[[[[[[[[Continental Breakfast

[[[[[08.30 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Opening Remarks: State of the Union

[[[[[08.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Empty Space Characters In Modern [[[[[[[[[[[[[[Character Sets Richard Fink

[[[[[09.30 [[[[[[[[[[[[[[[[[[[[[[[[[[[[Typewood: The Declaration of [[[[[[[[[[[[[[[[[[[[[[[[Deconstructed Typography Mark van Wageningen

[[[[[09.50 [[[[[[[[[[[[[[[[Never Use Futura Douglas Thomas

[[[[[10.10 [[[[[[[[[[[[Coffee Break

[[[[[10.40 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Visual Translation: Typographic Study [[[[[[[[[[[[[[[[[[[[[[[[[[on Cross-cultural Branding Yvonne Cao

4 [[[[[[[[[[[[[[[[Friday 26 August [[[[[[[[(cont’d)

[[[[[11.00 [[[[[[[[Typo9010 Petra Docˇekalová

[[[[[11.25 [[[[[[[[[[[[[[[[[[Type Incommunicado Sibylle Hagmann

[[[[[12.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Hollywood Remakes: Type’s Relationship [[[[[[[[to Story Lucas Czarnecki

[[[[[12.25 [[[[[[[[[[[Lunch Break

[[[[[14.00 [[[[[[[[[[[Neon Nights Ana Monroe

[[[[[14.40 [[[[[[[[[[[[[[[[[[[[[[[[Out of Print: Lo-Fi in a [[[[[[[[[[[[[[High Tech City Jenny Wilkson

[[[[[15.05 [[[[[[[[[[[[[[[[[Multi-vernacular: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Designing a Typeface for Seattle Jayme Yen

[[[[[15.25 [[[[[[[[[[[[[[[[[[[[[[The Math of Typography Michael Stinson & Rachel Elnar

[[[[[15.45 [[[[[[[[[[[[Coffee Break

[[[[[16.10 [[[[[[[[[[[[[[[[[[[[[[[[[[Typographic Connections to [[[[[[[[[[[[Square Kufic Mamoun Sakkal

[[[[[16.50 [[[[[[[[[[[[[[[[[[Building Community Thomas Jockin

[[[[[17.10 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[SOTA Catalyst Award Presentation

[[[[[18.00 [[[[[[[[[[[[[[[[[The SOTA Spacebar Presented by Adobe Typekit

[[[[[[[[[[[[[[[[[[Saturday 27 August

[[[[[08.00 [[[[[[[[[[[[[[[[[[[[[Continental Breakfast

[[[[[08.30 [[[[[[[[[[[[[[[Opening Remarks

[[[[[08.35 [[[[[[[[[[[[[[[[[[[[The Monograph Mullet Thomas Eykemans

5 [[[[[[[[[[[[[[[[[[Saturday 27 August [[[[[[[[(cont’d)

[[[[[08.55 [[[[[[[[[[[[[[[[[[[[[[[[[[Before Desktop Publishing: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Democratization of Typesetting [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Methods Before the Desktop Computer Briar Levit

[[[[[09.15 [[[[[[[[[[[[[[[[[[[[[Panel: Seattle in the [[[[[[[[[[[[[[[[[[[[Phototypesetting Age John D. Berry

[[[[[09.55 [[[[[[[[[[[[Coffee Break

[[[[[10.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[When Words Matter: Writing About Type Sally Kerrigan

[[[[[10.45 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[TTFAutohint: Making Hinting Fast, [[[[[[[[[[[[[[[[Easy, and Global Dave Crossland

[[[[[11.10 [[[[[[[[[[[[[[[[[[[[[[[[[[The Phonografik Collectivo Ashley John Pigford & Tricia Treacy

[[[[[11.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Creating a Better Reading Experience Bruno Maag

[[[[[12.10 [[[[[[[[[[[Lunch Break

[[[[[14.00 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[A Journey to the Dark Side of Contrast Nina Stössinger

[[[[[14.40 [[[[[[[[[[[[[[[[[[[Resident Alien Type Pouya & Pegah Ahmadi

[[[[[15.00 [[[[[[[[[[[[[[[[[[[[[Re(visualizing) Sound Meaghan Dee

[[[[[15.20 [[[[[[[[[[[[Coffee Break

[[[[[15.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Applied Color Label Soda Bottles: [[[[[[[[[[[[[[[[[[[[[[[[A Collection & Obsession JP Porter

[[[[[16.10 [[[[[[[[[[[[[[[[[[[[[[[[[[[[Typography in the Search for [[[[[[[[[[[[[[[[Perfect Language Paul McNeil

[[[[[16.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[SOTA Typography Award Presentation

[[[[[20.30 [[[[[[[[[[[[[[[[[[[[[[The Infamous Type Quiz [[[[[[[[[[[[[[[[& Silent Auction Sponsored by Adobe Typekit Hosted by Allan Haley

6 [[[[[[[[[[[[[[[[Sunday 28 August

[[[[[08.00 [[[[[[[[[[[[[[[[[[[[[Continental Breakfast

[[[[[08.30 [[[[[[[[[[[[[[[Opening Remarks

[[[[[08.35 [[[[[[[[[[[[[[[[[ITC Zapf Dingbats Nick Sherman & Frank Grießhammer

[[[[[09.15 [[[[[[[[[[[[[[[[[[[[[[[[[[[Joseph Fry; a Type Founder, [[[[[[[[[[[[[[[[[[[[[[[[[Soap Maker, a Chocolatier Toshi Omagari

[[[[[09.40 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Designing N’ko Type and the Challenges [[[[[[[[[[[[[[[[[[[[[of an Emerging Market Mark Jamra & Neil Patel

[[[[[10.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Type on Track: Rio de Janeiro, [[[[[[[[[[[[[[[[[[[[[[[[[[[[[Tramways & Carioca Letterform Alvaro Franca

[[[[[10.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Best of Clients at the Craziest [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Time: Hand-lettering & Font Design [[[[[[[[[[[[[[[[[[[[for the Trump Hotels Jill Bell

[[[[[10.45 [[[[[[[[[[[[Coffee Break

[[[[[11.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Font Purchasing Habits Survey Results Mary Catherine Pflug

[[[[[11.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[To Protect and Defend: EULAs, [[[[[[[[[[[[[[[[[[[[[[[[[[Copyrights & Infringements Stuart Sandler

[[[[[11.50 [[[[[[[[[[[Bestsellers Radek Sidun

[[[[[12.10 [[[[[[[[[[[[[[[[[[[[[[[[[Doug Fast: Unsung Hero of [[[[[[[[[[[[[[Seattle Design Norman Hathaway

[[[[[12.30 [[[[[[[[[[[[[[[Closing Remarks

[[[[[14.00 [[[[[[[[[Type Crit

[[[[[15.30 [[[[[[[[[[[[[[[[[[[[[Typographic Pub Crawl Andrea Leksen

[[[[[19.00 [[[[[[[[[[[[[Closing Event Sponsored by AIGA Seattle

7 [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Pre-[[[[[[[[[[[[[[[[ [[[[[[[[Conference[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[Program.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[[Wednesday 24 August [[[[[[[[[[[[[[[[[[Full-Day Workshops

[[[[[[[[[[[09.00–16.30 [[[[[[[[[[[[[[[[[Lunch 12.00–13.30

[[[[[[[[[[[[[[[[[[[[[[[[Block Caps with Serifs & [[[[[[[[[[[[[[[[[[Roman Caps Without John Downer & Paul Herrera Location: School of Visual Concepts Paul Herrera and John Downer will again team up to teach brush lettering for two consecutive full-day classes. A flat lettering brush will be used to apply water soluble paint. Brush control will be practiced, and guid- ance will be provided for proper let- ter construction, with an emphasis on stroke sequence, and stroke direction. Letterform proportions will also be discussed. This is a two day workshop.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Python 101 for Type Designers Rainer Erich Scheichelbauer Location: School of Visual Concepts Learning Python is easier than you think. Python plays a significant role in the realm of type technology, and Glyphs allows you to easily automate tasks with it. If you have found your- self doing the same thing over many times, and you don’t feel like wasting your time again, then this workshop may be just for you. The instructor will introduce you to basic coding concepts, and show you how to apply them in Glyphs. We will write scripts that spot, report, and fix problems in your font.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Wine & Whiskey ... Rescripted Neil Summerour & Emily Conners Location: School of Visual Concepts Have you ever wanted to design the lettering for a whiskey or wine label? Well now’s your chance. Come explore the nuances that various script let- tering styles can have on a bottle, the same way subtle notes in a sip of wine can either make it enjoyable or sour the experience. Join Neil Summerour (Positype) and Emily Conners (Emily Lime Design) in a laid-back script pencil lettering workshop that focuses on technique and proper decision making for script lettering compositions. Explore exag- gerated roundhands, formal and casu- al cursives, or even a retro brush script… from form to flourish. The decision is yours. Technique and real-project presen- tations, demonstrations, one-on-one instruction, and critiques will help you see the letterforms you create in a new way. Reference materials from a wide range of sources will be ­present

9 to work from — we’re even bringing the wine (bottles). So, pick up your favorite No.2 (and maybe a glass) and dive in.

[[[[[[[[[[[[[[[[[[[Type Under Pressure Jenny Wilkson & Kate Fernandez Location: School of Visual Concepts Whether you’re new to letterpress printing or know the lay of a type case like the back of your hand, you’ll enjoy playing with SVC’s ­collection of wood type and imagery, experimenting both on and off press with the serendipitous effects of hand-inking and overprinting as you crank out as many original typographic compositions as possible.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Arabic–Latin Logo Matchmaking Azza Alameddine Location: School of Visual Concepts Methodology: In order to get familiar with the script, participants will be introduced to the differences between the six traditional Arabic calligraph- ic styles and the context in which they are most commonly used today. Afterwards, participants will be asked to choose a Latin logo from a list provided and associate the most convenient calligraphic style to its Arabic counterpart, based on the posi- tioning of the brand and its target group. Once the style is set, they will copy the transliterated word using traditional calligraphic letters that they will have on a reference sheet. Then, they will make the modifications in order to match the Latin more, whether by reducing or exaggerating the calligraphic feel or by changing the weight, width or contrast. This workshop will bring awareness about how to translate Latin features into Arabic in smarter ways than just copying. The theoretical part will take around an hour then we will ded- icate the rest of the day to the prac- tical part.

[[[[[[[[[[[[[[[[[[[Wednesday 24 August [[[[[[[[[[[[[[[[[Morning Workshops

[[[[[[[[[[[09.00–12.00

[[[[[[[[[[[[[[[[[[TruFont Extensions Adrien Tétar Location: Crowne Plaza Hotel TruFont is a cross-platform font ­editor written in Python and geared towards easy extensibility and interoperability with third-party apps, as has been the ambition of the UFO (Unified Font Object) ecosystem, which it builds upon.

10 Attendees will experience how to create TruFont extensions tailored to one’s particular workflow, with inter- active guidance by the app’s lead developer. Going over several prac- tical examples, we will see how to automate tasks by making use of the RoboFab-like scripting model and we will build graphical interface ele- ments using Qt that extend the soft- ware’s capabilities.

[[[[[[[[[[[[[[[[[[[Wednesday 24 August [[[[[[[[[[[[[[[[[[[Afternoon Workshops

[[[[[[[[[[[13.30–16.30

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Hand Lettering with Traditional Pens Randall M. Hasson Location: School of Visual Concepts This session will introduce letter designers to the various pens used to create letters in both calligraphic and commercial lettering styles. This hands-on session will begin with a context for historical hand lettering: the tools and traditions of calligra- phy will be discussed, leading to the modifications in lettering pens of the early 1900s that led to the invention of commercial lettering tools like the Speedball pen. Participants will experiment with a variety of these tools to make marks for lettering, and will discuss their application to letterforms both commercially and ­artistically.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[FontLab VI for FontLab Studio 5 Users Thomas Phinney Location: Crowne Plaza Hotel Learn what is new in FontLab VI, what is different, how your workflow can speed up with the new tools, and avoid that “who moved my cheese?” feeling with this half-day workshop. • How Shapes are better Components • Rapid tool vs Pen tool: why use Rapid? • What is replacing multiple masters and how is it more flexible? • Improvements in class kerning • How to use Power Nudge, Power Guides, Smart Corners, Tunni Lines, and other new editing tools • Other workflow changes

11 [[[[[[[[[[[[[[[[[[[Wednesday 24 August [[[[[[[[[[[[[Evening Event

[[[[[19.30 [[[[[[[[[[[[[[Why We Design: [[[[[[[[[[[[[[[[[[[[[[[[[[[Looking in from the Outside Nadine Chahine Presented by Type Directors Club Location: Amazon’s Doppler Meeting Center There is a tremendous amount of effort needed to transform inert shapes into living letterforms. It is hard work, to create typefaces that speak to the reader. So why do we do it? Is it because we have something to say? But what if that what we want to say has already been said many times before? There have been voices raised in ­complaint regarding a stagnation in creativity in Latin type design today. Some call it “infillism”. Some are hopeful, others not.

[[[[[[[[[[[[[[[[[[Thursday 25 August [[[[[[[[[[[[[[[[[[Full-Day Workshops

[[[[[[[[[[[09.00–16.30 [[[[[[[[[[[[[[[[[Lunch 12.00–13.30

[[[[[[[[[[[[[[[[[[[[[[[[Block Caps with Serifs & [[[[[[[[[[[[[[[[[[Roman Caps Without John Downer & Paul Herrera Location: School of Visual Concepts Paul Herrera and John Downer will again team up to teach brush lettering for two consecutive full-day classes. A flat lettering brush will be used to apply water soluble paint. Brush control will be practiced, and guid- ance will be provided for proper let- ter construction, with an emphasis on stroke sequence, and stroke direction. Letterform proportions will also be discussed. This is a two day workshop.

[[[[[[[[[[[[[[[Brush Lettering Laura Worthington & Debi Sementelli Location: School of Visual Concepts Learn the basics and beyond in this brush lettering workshop. We’ll start with the essentials, from tools and materials to brush manipulation and handling, creating core letterforms and structures, adding flourishes, refining your lettering and finally, putting it all together in one or more completed words for your portfolio. Learn from experienced lettering art- ists and script typeface designers. Previous experience in hand lettering isn’t necessary, and all supplies will be provided.

12 In this workshop, you will: • Learn how to use a brush to create letters and understand the brush lettering process • Understand the structure and ductus of cursive script forms • Explore a variety of lettering methods and styles

[[[[[[[[[[[[Textile Text Agnes Barton-Sabo Location: School of Visual Concepts Step away from the computer and put down your pens! When I say hand-let- tering this time, I mean REALLY handsy. You’ll need both hands. How does your penmanship on paper trans- late to letters on linen? Let’s trade in our writing implements for a needle and thread and spend a day creating tangible, touchable letterforms. We’ll look at art and design specimens which use lettering on textiles and touch on basic skills for embroidery and appli- que. A variety of tools and techniques will help you explore your favor- ite aspects of type and letters in this medium, whether you prefer grids and straight lines or a more free- hand approach. Participants will have the chance to experiment with dif- ferent materials and start stitching their own sample creations. No sewing experience necessary! Complimentary ­bandages provided.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Engraving Ornamental Wood Type & [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Printing on the Iron Handpress Carl Montford & Juliet Shen Location: School of Visual Concepts During this full-day workshop, you will learn to engrave an ornament- ed letter on a wood block, using end- grain maple that can hold fine detail in the style of Thomas Bewick, the 18th century master. You may ­create an original letter or utilize an image from design resources provided. ­Several methods of transferring your design to the block prior to engraving will be demonstrated. Engraving tools are loaned by the instructor, and the type-high maple is generously provid- ed by the Hamilton Museum of Wood Type & Printing. Participants will print a keepsake broadside of their ­ornamented letters on a Washington-style ­Reliance handpress, ca. 1895. All are wel- come and no previous experience is required.

13 [[[[[[[[[[[[[[[[[[Thursday 25 August [[[[[[[[[[[[[[[[[Morning Workshops

[[[[[[[[[[[09.00–12.00

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Making Icons & Icon Fonts at Microsoft Si Daniels Location: Crowne Plaza Hotel Learn how we made the icon fonts for the Windows 10 wave of Microsoft prod- ucts. In this workshop you’ll get the low down on the tools, process and philosophy behind this work and get to draw some icons in the Windows 10 style and take them away as a TrueType font.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Developer Q & A for Type Designers Georg Seifert Location: School of Visual Concepts Type designers using Glyphs! In this personal and exclusive feedback and Q & A session with the developer of Glyphs, Georg Seifert, you can discuss problems you encountered, or ideas you have for improving the software. Either Georg will show a solution for your problem, fix that annoying bug, or add that much-coveted feature, per- haps even right away. Don’t miss this chance, and book early: seating is limited.

[[[[[[[[[[[[[[[[[[Thursday 25 August

[[[[[11.00 [[[[[[[[[[[[[[[[[[[[[[[[Type Walk with Paul Shaw See the TypeCon website for details: typecon.com/events

[[[[[[[[[[[[[[[[[[Thursday 25 August [[[[[[[[[[[[[[[[[[[Afternoon Workshops

[[[[[[[[[[[13.30–16.30

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Hinting & Fine Tuning Autohinting for [[[[[[[[[[[[[[[[[[[[[[Great Looking Webfonts Michael Duggan Location: School of Visual Concepts Learn how to hint and fine tune your Webfonts for the best onscreen ­rendering. The workshop will cover hinting fonts for the newer Direct- Write ClearType rendering, as well as using the right approaches to achieve the best results on a range of screens with a focus on higher resolution. The workshop will also cover fine tuning the hinting produced by the New Visual TrueType Autohinter. (VTT 6.10) Learn how attention to detail, can have a

14 big impact on making the most legi- ble type for the screen. Workshop is a teaching format. Note taking advised, but no laptop required.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Letterpress Typographic Treasures Tour Laura Bentley Location: School of Visual Concepts Join letterpress printer Laura Bentley for a historical tour of the metal type collection at the School of Visual Concepts’ letterpress studio. With type from the 1870s up through present day, we’ll discover the oldest, rarest, and most eccentric metal typefaces in the school’s collection. Together, we’ll uncover unique alternate characters, ligatures, catchwords, and streamers fonts from the age of printing with metal. We will examine the fonts, see historical examples of their use, and hear the stories of the people who created them.

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Take Care of Your EULA and Your EULA [[[[[[[[[[[[[[[[[[[[[Will Take Care of You Joyce Ketterer Location: Crowne Plaza Hotel Many foundries have a love hate rela- tionship to their End User License Agreement (EULA) – it costs a lot to write and maintain and it can be hard to see what value it brings. Using real world examples, I will per- suade you that the EULA is a tool that is worth your trouble because (not despite) of the fact that almost no one reads it. Together we will read and analyze a selection of type found- ry EULAs. As we read I will share insights one can only gain from field testing specific EULA clauses and help you to begin thinking about your EULA from the prospective of the user.

[[[[[[[[[[[[[[[[[[Thursday 25 August

[[[[[19.30 [[[[[[[[[[[[[[[[[[[[Keynote Presentation Lance Wyman Presented by the Society of Typographic Aficionados See the TypeCon website for details: typecon.com/events

15 [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Type[[[[[[[[[[[[[[[[[[ & [[[[[[[[Design[[[[[[ [[[[[[[[ [[[[[[[[[[[[Education[[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[Forum.[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[Thursday 25 August

In conjunction with TypeCon2016, SOTA will be presenting its eleventh annual [[[[[[[[[[[[[[[[[[[[[[[[[[[[[Type & Design Education Forum, a day of special programming devoted to addressing the pressing needs of design educators.

[[[[[[[[[[[[[[[[[[[Re Sound or Resound

In teaching typography and design, some lessons need to be reinforced and some are resounding. What sort of lesson benefits from reiteration, and what methods are employed for sus- tained learning? What sort of les- son need only be given once, and what makes it resonate? In addition (and new this year), recent and current graduate students were invited to submit a proposal on their thesis. We were interested in the process undertaken to acquire a thesis topic as well as the method of development of the thesis.

[[[[[08.30 Continental[[[[[[[[[[[[[[[[[[[[[ Breakfast

[[[[[09.00 [[[[[[[[[[[[[[[Opening Remarks

[[[[[09.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[Type Design as a Team Sport Karen Cheng Within the academic system, it can be difficult to take a full class of 20–24 students through the complete process of designing a typeface (a single weight and style, including upper and lower case letters, numbers and basic punctuation). A typical studio course meets for three hours twice a week, leaving approximately eight minutes for each student during a single class session. One way to make the teaching of type design more efficient is to organize the activity into groups. In theory, with increased manpower, groups could design more glyphs and more weights in comparison to a single student. Moreover, students in groups could have a stronger learning experience; they might become more aware of the factors that drive unity and variety within a typeface system due to the natural variation that occurs within a group effort. On the other hand, group dynamics and varied levels of interest and ability in type design present significant challenges when teaching “Type Design as a Team Sport.” This presentation will look at the process

17 and outcomes of a series of group type design projects, and discuss what, how and why students learned (or did not learn) using this approach.

[[[[[09.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[From Pencil to Production: Introducing [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Type Design to Graphic Design Students [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[by Creating a Modular Alphabet Ryan Clifford & Joseph Galbreath For most graphic design courses, the notion of designing a typeface can seem far too ambitious. However for students to develop an appreciation and sensitivity to typographic form, designing a font can be a fantastic way to kick start conversations about typography and how type is used. This presentation explores an approach that Clifford and Galbreath have collabora- tively developed to incorporate type design in early conversations about graphic design and typography. The project’s process emphasizes research, formal investigation, iteration, and visual testing over several rounds of critique. Students explore a number of grid modules which then become the basis of their alphabet. Students draw the entire typeface by hand in pencil and marker on grid paper before rendering it digitally. Once a full alphabet is finalized, they are introduced to Fontstruct, where they create a fully functioning digital typeface. The presenters have used this proj- ect with high school students as well as undergrads and despite having this project in their rotation for several years, they are consistently surprised with their students’ ability to create innovative, beautiful and sometimes weird fonts.

[[[[[09.45 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Experimental Typography as a Method of [[[[[[[[[[[[[[[[[[Sustained Learning Tyler Galloway & Rebecca Tegtmeyer If civilization and culture continu- ally evolve and grow, so must visual language. We would never expect sci- ence or other disciplines to focus only on existing knowledge. If design educators only teach “taste”, “the classics”, and existing design knowl- edge, our students become ill-equipped to engage in their own sustained learning. We have not educated them at all, for they cannot teach themselves. By utilizing Postman and Weing- artner’s “Inquiry Method”, students can focus on “… the active investiga- tion of structure and relationships …” rather than memorizing the typographic canon as an end unto itself. Teach- ing students to ask critical questions

18 is paramount to sustained learning because it provides a method for con- stant reinvention, new making, new learning. Students identify an inter- est area, break down its constituent parts, and ask “what if” and “how” questions about it to provoke under- standing through making and to gener- ate knowledge, in turn, prompting more questions. This 20-minute presenta- tion will review the rationale for the Inquiry Method, examine it in relation to typical typographic teaching, and show student outcomes as a means to generate discussion.

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[[[[[10.15 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Typographic Form Through Gestural [[[[[[[[[[[Exploration Peter Bella For one to Re Sound or Resound implies one needs to be aggressive enough to resonate and be distinctive, or outright in their message. I find in educating students on typogra- phy and design reinforcing process and content is essential. Present- ing the constructs of typographic form can be demanding for beginning design students. Typographic Form Through Gestural Exploration delivers an underpinning procedure that sup- ports a resounding lecture, in-class explorative lessons and a collective project. The initial lesson problem involves reducing elements to their simplest gestural form to visually communicate their essence to an audi- ence as interpretation of a thing. Using various mediums representational of early mark making an investigation of texture, gesture, form and coun- terform, and gestalt are discovered. Gestural marks are initially studied using graphite on paper then each is recreated with tools symbolic to the development of letterforms throughout the history of typography that con- clude as an experimental mark of the student’s choice. Through these ges- tures and mediums—starting with image research and observation—students dis- cover early typographic form, shape, and line.

[[[[[10.35 [[[[[[[[[[[[[[[[[[[New Crystal Goblets Ann Bessemans This presentation will explain vari- ous assignments given to Bachelor and Master students at University College PXL-MAD (Media, Arts and Design) in Hasselt, Belgium. These assignments revolve around type design, treating both experiment and research (legibil-

19 ity aspects) as thoughts and actions that are in constant interplay with each other. Besides learning purely general typography skills, ­students acquire critical understanding of the creation and perception of contem- porary type design. The curriculum ­ranges from introductory assignments in type design (at the start of the program) towards assignments deal- ing more and more with legibility (in their final Bachelor year). The out- comes of the various assignments are bundled in 2 booklets —‘New Crystal Goblets’— one concerning manual skills (lettering, calligraphy) and the other concerning digital type.

[[[[[10.55 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Learning to See: A Cross-Cultural [[[[[[[[[[[[[[[[[[[[[[[[[[[[[Comparison of Typeface Design [[[[[[[[[Education Patrick Gosnell This presentation will compare differing modalities of pedagogical practice as they relate to typeface design in global higher education systems. A gradual progression towards openness since the fifteenth century has fostered numerous modes of ingress for learning typeface design, including post-baccalaureate and graduate-level education. The scope of this research covers pedagogical and curricular approaches currently found in England, the Netherlands, and the United States. Primary research consisted of face-to-face interviews with those instructors who run the selected typeface design programs, and visits to all four case study locales, which afforded a practical awareness of available resources. Attributes of the programs to be discussed include their cultural makeup, curricular praxes, educational constructs, and aspirational trajectories. Successful techniques for empirical evidence collection will also be covered. This presentation will argue for even greater diversity within global typeface design education, and will benefit students and/or instructors who wish to conduct academic research on an international scale.

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20 [[[[[11.35 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Korean Alphabet, Neo-Confucianism, [[[[[[[[[[[[[[[[[[[[[[[[[[[and Complementing Opposites Alice Lee My thesis research topic began with a question: what is the relationship between literacy and power? More spe- cifically, how can an alphabet free a people? I studied the Korean alphabet and its historical context as well as the linguistic analysis of the spoken language. The Korean alphabet was designed in the 15th century, and the prevalent ideology of the time, Neo- Confucianism, inspired the structure and graphic forms of the new alphabet. I designed a book for my thesis research document. In this project, I explored how aspects of the Neo- Confucian ideology could be given form within a print format. In my thesis exhibition project, I honed in on one aspect of Neo- Confucianism: Complementing Opposites, (ying and yang). To better understand this concept of being both complementary and opposing, I conducted a series of experiments. The process began as an exploration of contradictory and harmonious dynamics and resulted in creating an experience of surprising juxtapositions of cultural symbols. Concepts explored include chaos vs order, analog vs digital, interconnectedness, and mindfulness.

[[[[[11.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Modularity, Permutation, and Open [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Form: Generating Type for Visual [[[[[[[[Identity Jason Murdock Visual identities are no longer considered static and immutable. In the emerging fluid identity paradigm, a visual identity is considered to be a dynamic system of constantly changing elements. With the introduction of algorithms that can incorporate data input by designers or external processes, logos, typefaces, and colors become more than modular components: they become organic actors that can metamorphose in interesting and unexpected ways. This presentation will feature a summary of thesis research currently being conducted for the degree of MFA in Visual Communication Design at Kent State University. A number of experi- ments have been run using an invented process to generate elements of a per- sonal visual identity system that can change over time based on input from naturally occurring phenomena. The central focus of the presentation will

21 be two experiments that involve the discovery of letterforms within pre- existing chemical structures, and the metamorphosis of letterforms based on natural cycles.

[[[[[12.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Graphic Design Techniques [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[and Cultural History of Radical [[[[[[[[[[[[Publications Jessica Meoni While some historians trace the radi- cal press back to the colonial days of Thomas Paine’s Enlightenment leaflet, Common Sense, others look to earlier prints such as Martin Luther’s dis- putation piece, The Ninety-Five The- ses. Both of these documents served as prominent, controversial beneficiaries of Gutenberg’s printing press. Later, during the Dada and Surrealism move- ments of the early 1900s, avant-garde mail art such as weeklies, monthlies, letters, and pamphlets added an addi- tional layer of letterpress explora- tion through collage and découpage. These ephemera championed motives of students in the 1930s, who sought to craft self-published opinion pieces on the newly integrated Platen printing press model and typewriters. The radical press described these groups, encompassing those who print- ed countercultural literature and art that challenged social norms. Chron- icling underground school newspapers, science fiction fan clubs, Amateur Press Associations, labor unions, punk rockers and more, the capability to self-publish played a major role in the promotion and historical conser- vation of many diverse groups, subcul- tures, and social movements.

[[[[[12.20 [[[[[[[[[[[[[[[[[[[[[[[[[[Hands On-Again, Off-Again: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[A Paradigm of Typographic Pedagogy [[[[[[[[[[[[[[[[[[in Hybrid Learning Silas Munro & David Peacock Despite an expansion of voices in the discourse on educating typographers, there is scant discussion around how the post-digital learning environment has changed the pedagogy of type, and how classrooms have become a hybrid of physical and digital learning space. Case studies of student work from Vermont College of Fine Arts MFA in Graphic Design program, (one of very few low-residency programs in design), and an aggregation of models in typographic pedagogy (Bayer, Gonzales-Crisp, Lupton, Ruder), together offer a paradigm for 21st-century typography education. The result, “Hands On-Again, Off-Again,” merges the predominantly bifurcated

22 practice of (1) learning based on apprenticeship and (2) learning based on self-study. This “Hands On-Again, Off-Again” approach ultimately is one that is transferable to all typographic learning contexts. While about typography, this fusion of tacit and digital strategies also merges faculty guidance and self-search that is more agile and relevant than the previously mentioned dichotomy of “do-it-yourself” and the handing down of a fixed body of knowledge from “master” to “student.”

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[[[[[14.10 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Data Typographics and Literature Guy Villa Jr Incorporating typography lessons with a love of literature lead to a course project in data typographics. Favored books resound in the mind; in utiliz- ing them in the curriculum, the goal was to make the typography lessons resound as well. The objective of the project was to gather data about books and learn to use information design as a structure for complex content. As a conceptual underpinning, an avant-garde text regarding the arrangement of books in a personal library is provided to students for critical reading. Then students are instructed to research the books in their own collection and create a pub- lication to document findings. Through the search, accumulation, sorting, editing, sequencing, and presentation of information, a narrative emerges; personal biases and individual pref- erences regarding reading material become revealed. Summarily, data mod- ules are strung together to form a story, a database becomes a narrative, design and typography set the pace and tone.

[[[[[14.30 [[[[[[[[[[[[[[[[[[[[[[[[[[[[The Elements of Style: Using [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Collaboration, Peer Critique, and [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[a Book About Grammar to Reinforce [[[[[[[[[[[[[[[[[[[[[[[[[[[Core Typographic Principles Charmaine Martinez In teaching typography, it can be difficult to strike a balance between focusing on the big picture—design hierarchy and communication goals— while also emphasizing attention to details in typesetting and layout. There are many ways in which typographic skills can be reinforced, including: repeated practice and revision, reading and writing about

23 best practices, analyzing a wide range of typographic work, and critique. This presentation will demonstrate how a two-week class project builds core skills in typography through having students engage in collaboration and peer critique while creating a series of booklets based on William Strunk Jr’s The Elements of Style. When students begin transitioning from introductory type projects to more complex typesetting and layout projects, they have a tendency to get overwhelmed with all the details that need to be addressed when dealing with large passages of text that have several layers of information. Complex content requires a sophisticated and informed approach to typography— students who are in their first or second year of learning typography often struggle with how to approach text-heavy projects.

[[[[[14.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Sound, Voice, Language, Typography Amir Berbic This project engages sound, voice, and language to explore the poten- tials for expressive typography. While many exercises in editorial design typically start with the analysis of written content, this project expands the study to include spoken language. The goal is to translate the form and content of a given podcast recording into an engaging piece of typographic design. How something is said may be as important as what is being said. ­Tempo, rhythm, pitch, or timbre are essential to our experience of speech, in addition to the meaning of words, sentences, and concepts. Although the assigned sound recording exists in a time-based medium, this project inten- tionally remains print-based. Notions of time and movement are reflected in the spatial arrangement of typo- graphic elements on each page and across multiple spreads. Similarly, the variations in the form of speech and the expression of language are an ­opportunity for the exploration of type size, weight, and style.

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[[[[[15.20 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Obey the Grid: Do Once, Do Again, [[[[[[[[[Do Better Gabriel Solomons Grids are everywhere. From maps to architecture and city planning, grids help us to organise space and orient our place within it. Graphic design too has made effective use of grid

24 based systems to construct form, organise information, impose hierarchy and support navigation pm – whether in the design of a typeface, on a single page, 3D environment or online interface. Over the past five years we have been running a poster project for our level 2 BA graphic design students at UWE, Bristol which is rooted in the traditions of the International Typographic Style, a design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Each year we aim to tie the project in with a major national or international event (past years have focussed on the 2012 Olympics, London Underground’s 150th Anniversary and the Centenary Commemoration of World War 1) and we encourage the students to employ Swiss inspired dynamic composition, simple colour schemes and hierarchy of information using san serif typefaces, letterforms and shapes rooted in architectural structure.

[[[[[15.40 [[[[[[[[[[[[[[[[[[[[[[Web Type for Designers Lara McCormick & Justin Beaudry Design educators are tasked with keep- ing up in the industry, which is not always easy, especially when it comes to code. In order to effectively teach typography it’s important to include Web type and its relationship to the screen. In their workshop, develop- er (Justin Beaudry) and designer (Lara McCormick) team up to talk about type on the web. They discuss where print and digital cross over and where they differ, and highlight best practices for coding type and things to consid- er when choosing web fonts (font load times, rendering of screen fonts, and more). Justin and Lara address the question “as non-developers, what do you need to know in order to effec- tively work with (and teach) type?”

[[[[[16.00 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Conference Poster Project: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Incorporating Reiterative Practice [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[into a Methodology for Student [[[[[[[[[[[[[[[[[[[[[[[[[[[Advancement with Typography Hans Schellhas Practicing graphic designers most fre- quently engage with typography in the form of text. Fluency can take years to develop. As such, it is essen- tial for educators to teach typography principles in ways that both reinforce the basics through repetition and also deliver lessons that routinely layer these fundamentals in the process of learning new next-level skills.

25 This presentation will provide a detailed look into the methodology of a multiple stage learning process that effectively leads to reinforce- ment of foundational lessons while students progressively advance their skills. The context of the project is a conference poster, which provides the opportunity to build complex text content and imagery upon simpler type- setting variation studies. The end result is a large and sophisticated poster, but the gradual process pre- vents students from being overwhelmed and allows a focused investigation for sustaining learning outcomes.

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[[[[[16.45 [[[[[[[[[[[[[[[[[[[[[[[[Design in Nature Retreat Lauren Meranda & Anna Filbert As new design professors at a small university, we were struck by how much fear of failure held our students back. Prior to our arrival, the design program had been run by adjuncts, and we were forced to redevelop it from scratch. We took stock of our students’ motivations and areas that needed improvement and developed a weekend creative retreat focusing on removing the students from the traditional classroom atmosphere. In early fall, we led a group of 15 students on a two day retreat to the rustic, scenic, Camp Wandawega in Elkhorn, WI, which provided a natural canvas, as well as opportunities to share campfires and home-cooked meals. The first day began with individu- al, reflective exercises to help the students acclimate to the new envi- ronment. During the second day, they worked in teams, designing and build- ing creative responses using found materials, rather than technology, which were critiqued on the third day. Upon return to usual academic life at our university we recognized a significant change in all areas of our students’ work from their overall creative process to their typographic treatments to their general design outcomes.

[[[[[17.05 [[[[[[[[[[[[Do It Again: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Experimental Typography Workshop Matthew Wizinsky & Reneé Seward Most design curricula sequential- ly build upon foundational studies, including typography, toward increas- ingly complex conceptual applications of these foundations. However, it is

26 not uncommon for students in their final year to lose sight of these foundations, even neglecting the core competencies that brought them to that point. This presentation shares the process and results of an experimental typography workshop that unifies accu- mulated conceptual abilities with fun- damental competencies. The three-week workshop tasks graphic communication design students in their final semes- ter to revisit fundamental typograph- ic and compositional ideas and engage in directed play to nurture an ongoing personal and iterative relationship with letterforms. The objective is to fuse conceptual and fundamental compe- tencies as students prepare to produce their capstone projects. One of the most significant parameters is that students must work with their hands to draw and manually manipulate forms and compositions, culminating in a poster that depicts “process as narrative.” The spirit of the workshop is: play first, rationalize second, judge last.

[[[[[17.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Points of View: Cultivating Creativity [[[[[[[[[[[[[[[[[Through Community Aoife Mooney Community and communal learning is a defining feature of most undergraduate design programs, creating pathways for reinforcement of learning outcomes in the classroom and laying the groundwork for a professional who has an ability to articulate, discuss, and collaborate. However, this fundamental part of a designer’s education is often a function of the design school format rather than actively embedded in curricula and its importance to student learning usually only evident in its absence. Being a great designer requires a full immersion in the visual mode, engaging with information and environments through this lens and this can be cultivated through community. With these goals in mind, a film club was founded: ‘Points of View’. Screening a curated selection of classic films alongside design- related ‘trailer’ shorts, the club is intended to initiate debate and conversation. This presentation will outline the considerations in creating a springboard for these less tangible lessons and reflect on the successes and failures of the endeavor.

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27 [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Main[[[[[[[[[[[[[[[[ [[[[[[[[Program.[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[Friday 26 August [[[[[08.00 Continental[[[[[[[[[[[[[[[[[[[[[ Breakfast Exhibits[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ & SOTA Marketplace Open

[[[[[08.30 [[[[[[[[[[[[[[[Opening Remarks [[[[[[[[[[[[[[[[[[State of the Union

[[[[[08.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Empty Space Characters In Modern [[[[[[[[[[[[[[Character Sets Richard Fink There was, perhaps, a time when type designers could work under the assumption that their lovingly crafted letterforms would find their way next into the hands of graphic arts professionals: folks who would, with care and expertise, prepare those letterforms for final transfer onto a fixed medium — be it a card, a book, a flyer, or what-have-you. But that notion — as comfort- ing as it might be — is mostly myth these days. It’s a lot safer to assume your font’s going to be converted, crunched, expanded, compacted, and slapped around every which way by peo- ple with bad taste who know nothing about design. But don’t worry! Once you know what to do, there’s absolutely no reason not to embrace this new reality. This presentation will introduce you to some simple and effective changes you can make to your fonts and do it as painlessly as possible, by examining characters that you don’t even need to draw and that cost you next to noth- ing to include in your font. It’s just whitespace!

[[[[[09.30 [[[[[[[[[[[[[[[[[[[[[[[[[[[[Typewood: The Declaration of [[[[[[[[[[[[[[[[[[[[[[[[Deconstructed Typography Mark van Wageningen In January 2015 Novo Typo start- ed the Typewood project. Typewood is a research project about design- ing, deconstructing and transforming multi-colored digital typefaces into wooden type for letterpress. Typewood jumps from digital to analogue tech- niques, from CMYK to RGB color modes, and from computer screen to letter- press. Typewood will show the future of multi-colored typography by re-in- venting and deconstructing history. In January 2016, as an extension of the Typewood project, Novo Typo designs a new chromatic typeface which will be produced in lead for letterpress and will be available as chromatic font as OTF/WOFF file for computers. Color will be the new Italic.

29 In 2016, the Typewood project received a Certificate of Typographic Excellence of the Type Directors Club, New York, USA and an Award of Excel- lence of Communication Arts magazine.

[[[[[09.50 [[[[[[[[[[[[[[[[Never Use Futura Douglas Thomas You thought you knew everything there is to know about Futura, but you’re wrong. Futura not only went to the Moon, and advertised for countless companies, it has been the face of German communism, British conserva- tism, and American politicians of all stripes. Futura became one of the most popular and iconic designs of the twentieth century in spite of a world- wide economic depression, trade embar- goes, political boycotts, government prohibitions, and many knockoffs and competitors. *Never Use Futura* chron- icles the cultural history witnessed (and recorded) by the typeface ­Futura from its avant-garde beginnings to its mid-century triumph and investigates its present-day nostalgic, ­critical, and forward-looking uses. Even now, Futura remains the iconic typeface of tomorrow. Countless designers have used the type to signal progress and promise change but also to critique capitalism and subvert authority. Futura has sold millions of people their dreams and hopes (and shoes and cars), and ever since the Apollo mis- sions it has embodied our cosmic aspi- rations. The story of Futura is more than a story of geometric shapes and Paul Renner, it is the secret history of modern public life.

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[[[[[10.40 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Visual Translation: Typographic Study [[[[[[[[[[[[[[[[[[[[[[[[[[on Cross-cultural Branding Yvonne Cao When an American brand attempts to expand its market overseas, it needs to translate the brand into the local language in order for it to be understood by the new market. It is often difficult, however, for graph- ic designers to find a typeface in the local language to match the look of their English brand identity. This difficulty is particularly signif- icant in Asian and other countries that do not use the Roman alphabet. My research “Visual Translation” seeks to identify US brands that require more work on their overseas brand identi- ties and to provide creative solutions for the problems.

30 In my presentation, I will pro- vide: 1) case studies of successful and unsuccessful cross-cultural brand- ing examples, such as Coca Cola and Subway; 2) a brief history of type- face design in difference languages; 3) a new type design methodology for non-Latin language based on existing Roman typefaces.

[[[[[11.00 [[[[[[[[Typo9010 Petra Docˇekalová TYPO9010 unites an encyclopaedic col- lection of Czech digitised typefaces starting from 1990 to 2010. Designed specimen book that can also be read end to end as a series of linked his- torical essays by some of the lead- ing figures of Czech typography. Text written by various designers includ- ing Veronika Burian (Type Together), ­František Štorm (Storm Type), Bas Jacobs (Underware) place the book in international context. Over 400 type- faces are displayed, many carefully reconstructed from source materials especially for this book, and illus- trated with a wealth of archival mate- rials: drawings, photographs, posters and magazines. The presentation will show the five years long-going process of collection data and preparing book. It will also explain the specific and unique local conditions, where small country and close community of designers made book like this possible. Thanks to the com- prehensive and complex concept we can also use the book as interesting over- view of exiting years when computers were starting to replace phototypeset- ting and copying letters by hand.

[[[[[11.25 [[[[[[[[[[[[[[[[[[Type Incommunicado Sibylle Hagmann After the descending of an iron curtain by the Soviet Union’s policies, design and production of type in Eastern Bloc affiliated countries were inadvertently influenced by a dogmatic economical and cultural environment. Independent foundries steeped in tradition and once blossoming, became nationalized with strict adherence to five-year plans. But how did the East keep up with Western typographic fashions? Who was the most prominent type spy, and how did material shortages contribute to a generated typographic aesthetic confined incommunicado? This lecture recounts some findings of brief typographic fieldwork accomplished in former eastern Germany, and presents some resulting new type design.

31 [[[[[12.05 [[[[[[[[[[[[[[[[[[Hollywood Remakes: [[[[[[[[[[[[[[[[[[[[[[[[[[[[Type’s Relationship to Story Lucas Czarnecki Book after book explain the effect of type on the experience of novels, but we pay relatively little attention to the media of today and tomorrow — film. Every day, movie-goers fill cinemas around the world to watch renditions of stories they’ve already seen. From Jurassic Park to Ghostbusters to Annie, Hollywood seems intent on recreating every good film in history. When they do, it’s not only the actors, props, scripts, and sets they replace — it’s often the type, too. Through a brief analysis of great- er than a dozen original/remake pairs, I will try to answer questions like: What does a change in title say about the remake’s plot? What do captions expose about the characters’ physi- cal and psychological setting? And how does the in-film typography relate to the narrative?

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[[[[[14.00 [[[[[[[[[[[Neon Nights Ana Monroe Neon typography floats, unmoored, in the air. Brightest in blackest night, its glowing messages both draw us in and repel us. Looped, turned, knotted, illustrative, cartoonish: neon type can, and, indeed, has been, turned into any linguistic form, incorporat- ing pictures, illustrations, and ani- mations within them. What about neon captivates us? Why do we continue to gravitate towards it, even as its practical application has lapsed? My presentation will touch on three distinct points of entry to these questions: 1) a brief history of neon in its applied forms; 2) the technical capabilities and drawbacks of it as a material; and 3) its current use in cultural production, both in fine art as well as in advertising. Illustrating this presentation will be a photographic essay of neon in the cityscape of Los Angeles as well as diagrammatic sketches and installation photos of artworks incorporating neon. Through this talk, I hope to approach and question the enduring allure of neon in typographic prac- tice, its distinct uses within that practice, and electrified tubes of gas bent into letterforms continue to delight, attract, and intrigue us.

32 [[[[[14.40 [[[[[[[[[[[[[[[[[[[[[[[[Out of Print: Lo-Fi in a [[[[[[[[[[[[[[High Tech City Jenny Wilkson Like the Dowager Countess of graphic design, letterpress printing cleaves to tradition yet holds surprises at every turn. In a city that’s expe- riencing a tech boom of epic propor- tions, how do you make letterpress printing resonate as something worth holding onto? Jenny Wilkson, the founder and director of the letter- press program at Seattle’s School of Visual Concepts promises to entertain with the story of the little print shop that could. Hear tales of the legendary SVC Wayzgoose, relive the drama of the Steamroller Smackdown, and find out how SVC’s letterpress shop has stayed nimble and relevant in these changing times.

[[[[[15.05 [[[[[[[[[[[[[[[[[Multi-vernacular: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Designing a Typeface for Seattle Jayme Yen Can a city’s essence be boiled down into a single typeface? Contempo- rary examples range from experimen- tal commissions (Twin Cities) to self-initiated projects (Chatype for Chattanooga) to reinvention campaigns undertaken by a city marketing depart- ment (the typeface for the Dutch city of Eindhoven). What elements from a physical place influence the visual style of these typefaces? What about their function influences their form? Can one typeface speak for a city or does it instead speak for a moment in time? Last year the City of Seattle decided to launch its own typeface project to unify the visual lan- guage of internal documents and for use on the city’s official website.​ “Multi-vernacular” is a conversation between Schema Design (Christian Marc Schmidt, Jayme Yen) and Village (­Tracy Jenkins, Chester Jenkins) and the pro- cess around developing this typeface for the City of Seattle. Schema and Village will discuss the research and development of a resulting type pro- gram for Seattle​ ​that balances the need for a unifying system with the desire to include difference and vari- ation.

[[[[[15.25 [[[[[[[[[[[[[[[[[[[[[[The Math of Typography Michael Stinson & Rachel Elnar We all recognize good design, but how can we execute it? People tend to think designers have to have a natural talent for typesetting, but Michael

33 Stinson and Rachel Elnar believe the answer is in the numbers. Michael and Rachel will describe and demonstrate their core approach in digital type- setting to ensure optimal reading, all done with simple mathematics. Many of these methods are derived from processes handed down in the phototypesetting years, and the rest is what Michael has formulated on his own while translating the mechanical process to digital (that and refining his process over designing 75+ annual reports during his 20-year design career). It’s what we teach students at TypeEd.

[[[[[15.45 Coffee[[[[[[[[[[[[ Break

[[[[[16.10 [[[[[[[[[[[[[[[[[[[[[[[[[[Typographic Connections to [[[[[[[[[[[[Square Kufic Mamoun Sakkal Square Kufic calligraphy is one of the simplest styles of Arabic calligraphy. Developed in the 12th century and reached its highest level of popularity in the 15th and 16th centuries, it covered the façades of entire buildings such as mosques and palaces during the Timrid dynasty in Samakand and other cities of Central Asia. This unique style of Arabic calligraphy is enjoying renewed interest due to its clean, minimalist forms and the geometric beauty. After a brief overview of the history of Square Kufic and the principles of the script, I will present some of its most attractive traditional motifs and the script’s use in medieval manuscripts. I will then review a little known phenomenon where Square Kufic is composed using fleurons and other typographic ornaments, that originated in Europe, to produce ornate title pages for printed books published in Cairo between 1880 and 1950. The last part of the presentation will include examples of Square Kufic typefaces and a number of book covers with Square Kufic designs.

[[[[[16.50 [[[[[[[[[[[[[[[[[[Building Community Thomas Jockin A sense of place and belonging is critical to personal and professional development. But many of us feel excluded or isolated in our practice. It can feel overwhelming how to tackle this issue. TypeThursday organizer, Thomas Jockin, shares insights from growing what was a casual 3 person hangout to a cultural institution for typeface designers and users.

34 [[[[[17.10 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[SOTA Catalyst Award Presentation The Society of Typographic Aficiona- dos will bestow Roxane Gataud with the 2016 SOTA Catalyst Award, followed by her presentation.

[[[[[18.00 [[[[[[[[[[[[[[[[[The SOTA Spacebar Presented by Adobe Typekit Join us for the debut of SOTA’s new mixer event, Spacebar. Best described as: A game, wrapped in a conversation, finished with a selfie. Suffice it to say that you’ll have every reason to meet some people you’ve always wanted to, make some friends you never expected to, and connect with people in our industry — all in a casual setting. Also, you’ll have a chance to be one of the first to see a rough/ fine cut of Briar Levit’s upcoming documentary Graphic Means — which explores graphic design production of the 1950s through the 1990s. See the TypeCon website for details: typecon.com/events

[[[[[[[[[[[[[[[[[[Saturday 27 August

[[[[[08.00 Continental[[[[[[[[[[[[[[[[[[[[[ Breakfast Exhibits[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ & SOTA Marketplace Open

[[[[[08.30 [[[[[[[[[[[[[[[Opening Remarks

[[[[[08.35 [[[[[[[[[[[[[[[[[[[[The Monograph Mullet Thomas Eykemans The scholarly monograph is the cornerstone of academic book publishing. A century of guaranteed sales and subsidies lulled university presses into a a sense of complacency that has been completely upended in recent years. Marketing strategies have become more central to a scholarly book’s success than at any time in the past. Book designers are now faced with the conflict of designing clever, attention- grabbing covers for dry, esoteric subject matter. Classic and clear typography is still all business on the inside, while there’s a fun new party happening on the outside. I will be discussing my own experiences with this identity crisis while sharing a variety of examples.

35 [[[[[08.55 [[[[[[[[[[[[[[[[[[[[[[[[[[Before Desktop Publishing: [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Democratization of Typesetting [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Methods Before the Desktop Computer Briar Levit In the photosetting days of the 60s 70s, and early 80s, getting type set was quite the expense. You were pay- ing for the skills of a typesetter, as well as the materials used to print out galleys, not to mention the over- head for running a type shop! What was a small business with regular adver- tising needs and little budget to do? Or what about underground publica- tions of social movements like The Black Panther newspaper, or the Whole Earth Catalog running on a shoestring? Before the so-called digital revolu- tion of Desktop Publishing, a smaller — albeit important — ­democratization of design production had already occurred with a selection of afford- able, commercial quality in-house typesetting methods. This talk will explore a selection of cold typeset- ting methods that were used by small businesses and organizations to get their messages out, despite having little-to-no budget.

[[[[[09.15 [[[[[[[[[[[[[[[[[[[[[Panel: Seattle in the [[[[[[[[[[[[[[[[[[[[Phototypesetting Age John D. Berry, Art Chantry, Olav Martin Kvern & Maire Masco Working as a phototypesetter in a small printshop in Seattle in the late 1970s, I unknowingly had my finger on the pulse of Seattle’s most interest- ing cultural life. Keying in the texts for most of the city’s left-wing and counter-cultural publications, includ- ing the alternative weekly Seattle Sun and the music monthly The Rocket, the Seattle Gay News, the Pacific North- west Review of Books, and most of the local political brochures, ads, and flyers for both the Democratic ­party and more radical movements, I found myself at the nexus of more cross-­ currents than I could keep straight. I’ve already spoken, at the Portland TypeCon, about the career of Chris Stern, who went from phototypesetter to experimental letterpress printer and publisher. This year I’d like to trace some of the many threads that began in that era when type was keyed in by hand and output on photo paper then pasted up for offset printing. Both the technology of phototypesetting and the culture of publishing at that time set the stage for Seattle’s future typographic prominence.

36 [[[[[09.55 Coffee[[[[[[[[[[[[ Break

[[[[[10.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[When Words Matter: Writing About Type Sally Kerrigan What do you need to emphasize when you’re writing about a typeface? How do you avoid platitudes, but still establish a broad appeal? Who’s reading this stuff, anyway? Typeface marketing has come a long way from the days when it was sold alongside brass rules in hardcover catalogs. It must have been nice not to worry about fitting sales pitches into 140 characters, or fighting for attention in a Facebook news feed — but, here we are. And in truth, there’s good reason to be excited about being here. If there’s one thing you can count on, it’s that good writing sticks in people’s minds, no matter the medium. And with the right message, you might accomplish even more than publicity; you just might inspire more people to make typography a part of their lives. Sally Kerrigan is the content editor at Adobe Typekit, and in this talk she’ll share with you what she’s found makes for the most effective writing about typography — and some common pitfalls you can avoid.

[[[[[10.45 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[TTFAutohint: Making Hinting Fast, [[[[[[[[[[[[[[[[Easy, and Global Dave Crossland Hinting TrueType fonts can be a slow and expensive process, especially for multiscript projects with 1,000s of glyphs, but it is required by ­Windows. Sadly, many TTFs completely lack hint- ing after a simple conversion from OTF. TTFAutohint provides reasonable quality hinting in an instant, and sets a foundation for hand adjusting for ultimate hinting quality. In 2010 Dave Crossland suggested to Werner Lemberg, the primary develop- er of FreeType, the idea of extending FreeType’s rendering system into a TTF autohinter, so that all fonts could look good on Windows. Werner made a prototype that had promising results, and he since raised over $100,000 from individual profes- sional type designers and with support from Adobe, Microsoft, Google, Exten- sis WebInk (RIP), FontLab, RoboFont and Glyphs. In this session you will see the quality of hinting that TTFAutohint can produce for various scripts, learn tips on using it with your favor- ite font editor, and hear about the ­project’s future.

37 [[[[[11.10 [[[[[[[[[[[[[[[[[[[[[[[[[[The Phonografik Collectivo Ashley John Pigford & Tricia Treacy Organized by Ashley John Pigford, ­Tricia Treacy and Roman Wilhelm, the intention of this project is the cre- ation and exchange of original, exper- imental, typographic/hand-lettered/ calligraphic artworks as translations of our languages’ common phonemes, derived from the Phoenician alphabet. Treacy, Pigford and Wilhelm approached 19 international participants to receive an assigned Phoenician glyph and paper, in exchange for the produc- tion of an edition of original art- works. Each participant translated the assigned glyph not only through their personal style, but through their unique knowledge and history of their written language, (i.e. hebrew, arabic and english). This collection of orig- inal artworks expresses our languag- es’ common ancestral core, bridging cultures and unifying global cre- ative expression through typographic ­experimentation.

[[[[[11.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Creating a Better Reading Experience Bruno Maag The ability to make and control fire, and the invention of the wheel are undoubtedly key milestones in the history of humans. But no invention has been as important to the cultur- al advancement of humanity as that of writing and reading, emerging around 5,000 years ago. The ability to read and write reshaped our brains, and allowed us to record and accurately recall. Today many people around the globe read daily on screens, with the Kindle and Fire tablets from ­Amazon being the most popular device for e-reading. In its continuing ambition to improve the customer experience for its popular family of digital prod- ucts, Amazon embarked on a two-year project to develop new fonts: Booker- ly for the Kindle e-reader, and Amazon Ember for UI across all of Amazon’s consumer devices and services. Scott Boggan of Amazon and Bruno Maag of Dalton Maag will discuss the design thinking, technology challenges, and testing that led to the resounding success of these two font families, and muse what their future may be.

[[[[[12.10 Lunch[[[[[[[[[[[ Break

38 [[[[[14.00 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[A Journey to the Dark Side of Contrast Nina Stössinger Verticals are generally heavier than horizontals — that is one of the fundamental conventions in Latin type design. But what if they aren’t? Over the past two centuries, designers have repeatedly challenged this rule, often focusing on the outrageous strangeness of letters made thick and thin in the ‘wrong’ places. But is ‘reversed contrast’ just a recurring (but ultimately useless) provocative trend — or can it unlock a neglected quadrant of design space that might also yield useful, perhaps even beautiful new solutions? A look at where the idea of reversing traditional rules of stroke contrast came from, and how it’s been received; at what has been tried, and what hasn’t so much; at models (what exactly do we mean by ‘reversed’?) and mechanics (how does this work in the texture of text?); and at my own process of designing a serif text face with subtly reversed contrast, and the questions this particular design problem has prompted.

[[[[[14.40 [[[[[[[[[[[[[[[[[[[Resident Alien Type Pouya & Pegah Ahmadi Can a typeface represent a persona in a context of narrative structure? How can a typeface visualize activist concepts? These are the questions we asked ourselves before our first collaborative project was born. Resident Alien/Alien Resident — the legal term for immigrants in the Untied States — is a project inspired by our lives as immigrant designers facing both challenges of design and immigration on a day to day basis. We authored and designed a book on immigration incorporating a total of four custom Farsi and Latin typefac- es to showcase the cultural, polit- ical, and social similarities and differences, while investigating the ­possibilities of making connota- tion stronger than denotation typo- graphically. Our goal was to produce a piece where the interplay of both ­writing systems and their variations can reveal the underling signifi- cance of the subject matter rather than the syntax of the narrative. Our ­presentation will discuss the conse- quences of the designer as controller of meaning and examines the scope of the relationship between visual and verbal language within the contexts of content-driven type design.

39 [[[[[15.00 [[[[[[[[[[[[[[[[[[[[[Re(visualizing) Sound Meaghan Dee In the words of Robert Bringhurst: “writing is the solid form of lan- guage.” In addition to capturing the human language, designers and typog- raphers also face the challenge of documenting other sounds, such as music and the language of animals. How do designers visually capture these ­other heard experiences in a meaning- ful way? In this presentation, I would explore various examples of codified systems that visually display sound with the use of typographic forms and ­symbols. One example is a design that I ­created for Oceans Initiative, where the visuals were created by playing a whale song into a cymatic visualizer — and while at first glance the ­poster appears to be abstract, in reality each form corresponds to a different musical note. Throughout history humans have found many ways of visually document- ing sound. While this is primarily done through the use of letterforms, many other visualizations are com- mon. One example is the musical score, which is a very accurate portrayal of sound, as it takes into consideration the loudness, length, and tone of sound. And yet in the realm of design there is often there is a disconnect between the sounds we hear and the designs we see.

[[[[[15.20 [[[[[[[[[[[[Coffee Break

[[[[[15.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Applied Color Label Soda Bottles: [[[[[[[[[[[[[[[[[[[[[[[[A Collection & Obsession JP Porter You know me as the person in the back of the room … but I’ve mustered up the gumption to submit to you a Type in 20 to cleanse your palette and share one of my collections (I have many). Before I began my 14 year journey as TypeCon’s AV Director, I was into type, letterforms, and design. So becoming a part of your conference was like dangling crack in front of an addict. I was an easy mark. I appreciate all things old. I have been into “vintage” before the term has become overused. My love affair with Applied Color Label (ACL) soda bottles began in the late 1980s with a little monetary gift from my Grandmother, Adelaide. She told me to “buy some stock” and “blue chip stocks are always a good choice”. So I did. I bought some Pepsi stock. To commemorate this purchase, I spot- ted an ACL Pepsi bottle in an antique

40 store … and that, my friends, was the beginning of this journey and obses- sion with these little gems. From West to East, North to South … thousands of towns across the US had a Soda brand. I’ll give you some history points of the applied color label process, and some other interesting tidbits…but mostly…I want you to sit back, allow me to geek out, and enjoy the pretty picture show.

[[[[[16.10 [[[[[[[[[[[[[[[[[[[[[[[[[[[[Typography in the Search for [[[[[[[[[[[[[[[[Perfect Language Paul McNeil The search for perfect language is almost as old as language itself. The notion of its perfectibility through deliberate action can be traced across many cultures and through many eras, although most attempts to achieve it have been as quixotic as they are visionary. This talk will centre on a sur- vey of the contribution of writing and typography to this endeavour. Working with an eclectic variety of histori- cal projects which might be considered to occur at a level of design activity far deeper than that usually described as “experimental typography”, the talk will cover the many ways in which the form of text has been configured, at a fundamental level, to enhance expres- sion in human communication while also adapting to technological changes. It will proceed to outline more profound and ambitious interventions, ranging from orthographic and linguistic reform programmes to the field of asemic writing. Historically, language reformation has involved a wide variety of design strategies ranging from careful improvements to existing writing systems to their complete re-invention; radical new ways of conveying language in its solid, textual form that are also found in systems devised for preliterate societies. By contrast, asemic writing completely abandons the requirement for text to carry meaning or to represent anything but itself. Predicated on the analysis of writing systems that are the product of conscious agency rather than cultural evolution, the talk will outline a provisional technical framework for the construction of text and will conclude with a number of speculative projects in the field by students from the MA Contemporary Typographic Media course at the London College of Communication.

41 [[[[[16.50 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[SOTA Typography Award Presentation

The Society of Typographic Aficionados will present the 2016 SOTA Typography Award to this year’s recipient.

[[[[[20.30 [[[[[[[[[[[[[[[[[[[[[[[[The Infamous Type Quiz & [[[[[[[[[[[[[[Silent Auction Sponsored by Adobe Typekit Hosted by Allan Haley See the TypeCon website for details: typecon.com/events

[[[[[[[[[[[[[[[[Sunday 28 August

[[[[[08.00 Continental[[[[[[[[[[[[[[[[[[[[[ Breakfast Exhibits[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ & SOTA Marketplace Open

[[[[[08.30 [[[[[[[[[[[[[[[Opening Remarks

[[[[[08.35 [[[[[[[[[[[[[[[[[ITC Zapf Dingbats Nick Sherman & Frank Grießhammer Zapf Dingbats, Hermann Zapf’s popular collection of graphic symbols and ornaments, occupies a unique position in the history of modern typography and typographic technology. Zapf is well-known for designing classic typefaces like Optima, Zapfino, and Palatino, but his collection of dingbats is often overlooked as a quirky curiosity — something weird at the end of the font menu. Since their original release in 1978 and subsequent bundling with the first Apple LaserWriter printer, the Zapf Dingbats series has had a surprisingly strong influence on the world of typographic technology — enough for some of the symbols to be immortalized in Unicode’s universal standards for character encoding, even though their design language is so specific. This joint presentation will explore the politics behind Zapf Dingbats’ ubiquity, their influence on other digital typefaces, their use for typographic symbols decades before emoji, plus a close look at many of the most interesting dingbats that have slipped through the cracks of time and technology.

[[[[[09.15 [[[[[[[[[[[[[[[[[[[[[[[[[[[Joseph Fry; a Type Founder, [[[[[[[[[[[[[[[[[[[[[[[[[Soap Maker, a Chocolatier Toshi Omagari Joseph Fry was an English type found- er and is perhaps best known for his version of Baskerville, which ATF Baskerville was based on. He had lots of other businesses though, and what kept him busier than typography was

42 ­chocolates. This presentation walks through the life of Joseph Fry and his influence in both of his businesses. It will conclude with a sweet, sweet ending.

[[[[[09.40 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Designing N’ko Type and the Challenges [[[[[[[[[[[[[[[[[[[[[of an Emerging Market Mark Jamra & Neil Patel N’ko is a relatively new script which was invented in the 20th century to provide the Mande language group with an appropriate writing system. It’s currently serving over a million people in three extensive language communities in six West African countries and continues to expand as a vehicle of literacy and identity in post-colonial sub-Saharan Africa. Beginning with a brief overview of the writing system, this presentation tells the story of how we came to design a respectful N’ko typeface and create an innovative type family, while attempting to take distribution and market-building into our own hands. While it’s still too early to judge the success of our strategies, what makes them unusual is our approach from a type designer’s position in an emerging marketplace.

[[[[[10.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Type on Track: Rio de Janeiro, [[[[[[[[[[[[[[[[[[[[[[[[[[[[[Tramways & Carioca Letterform Alvaro Franca This project researches the historiography of letterforms that have had a historical and cultural importance in Rio de Janeiro, Brazil. Considering the development of the city, the research turns to the network of tramways that ran there between 1868 and 1966 and which had a fundamental impact in the social and spacial configuration of Rio. In this realm, the research turns to the destination roll signs of the tramways. These kept a cohesive style for over 60 years, even though they were hand painted, and presented a set of sophisticated typographic solutions to the problem of legibility in vehicles and of space occupation, by following legibility theories of the time and utilizing letterforms that were specially suited for horizontal expansion and compression. The outcome of this research is the description and contextualization of a historic and culturally important mod- el of lettering from Rio de Janeiro. Understanding this historic model may inform new type designs for a contexts

43 of similar adverse legibility, as well as offering a new set of historic and ingenious solutions to the problem of width variation in a type family.

[[[[[10.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[The Best of Clients at the Craziest [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Time: Hand-lettering & Font Design [[[[[[[[[[[[[[[[[[[[for the Trump Hotels Jill Bell It began with creating a logotype for The Spa by Ivanka Trump. The lettering was so well received by Ivanka, their ad agency and others running the Trump hotel empire that Bell’s lettering quickly became the de facto style for their current advertising and branding: from hand- lettered headlines to a font to be used throughout the Trump hotels. Bell will share a few ideas (when should you use hand-lettering? when is it better to create and use a font? and how do you convince your client?), and will show and discuss her work in its development and application.

[[[[[10.45 Coffee[[[[[[[[[[[[ Break

[[[[[11.05 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Font Purchasing Habits Survey Results Mary Catherine Pflug Join me for the first public look at the results of the Font Purchasing Habits Survey. These results provide some answers to common questions about the effectiveness of discounts, licensing misuse, pricing strategy, the power of free fonts, typeface marketing strategies, and more. As a part of an International Business honors thesis, this extensive survey received over 550 responses from industry professionals who download and use type. Additionally, this talk will include other components of the thesis including financial information about the font industry as a whole, illegal font downloading and sharing, and lifespans of fonts. If you sell fonts, you won’t want to miss this.

[[[[[11.25 [[[[[[[[[[[[[[[[[[[[[[[[[[[[[To Protect and Defend: EULAs, [[[[[[[[[[[[[[[[[[[[[[[[[[Copyrights & Infringements Stuart Sandler Font designers work tirelessly creat- ing digital typographic masterpiec- es for buyers to enhance their design work. When they bring their typefaces to market, font foundries aren’t sell- ing fonts at all but rather entering a mutual agreement with the buyer of these works.

44 From that moment forward, the font creator has no control over their cre- ation and must look to establish its practices to protect its works. Via its EULA, filing software copyrights, regular policing of infringing font uses, the foundry must be prepared to defend itself in a court of law when it deems its agreement with the buyer has been violated. With nearly 20 years of font licensing experience under his belt, Stuart Sandler has worked tireless- ly to protect and defend not only his own library of 800+ typefaces, but many many more as the co-owner of font distributor Font Bros, the first font distribution company to have ever legally defended the rights of inde- pendent font designers. Get a jump start on how to protect your fonts and pursue infringing font uses to preserve the integrity of your foundry and future font licenses.

[[[[[11.50 [[[[[[[[[[[Bestsellers Radek Sidun Could a typeface be designed as a bestseller on a purpose? The Best- sellers project presents a serious experiment realised as a ­semester assignment at the Studio of type design and typography at the ­Academy of Arts, Architecture and Design in Prague. According to annual reviews of the biggest font distributors, ana- lytical research and various ques- tionnaires, students have selected top trending “best-selling” fonts and have tried to design the most signif- icant typefaces. The final product is 12 typefaces made by 12 students. An integral part of this task was a coop- eration with MyFonts, where all fonts are available for sale. In ­summer 2015 we summarised all results, sales numbers and financial incomes. We presented all these results of our “year-going” research at ATypI in Sao Paulo in October — great reac- tions from the audience confirmed that “up-to-dateness” and importance of this topic. We believe that US audi- ence would be interest to see the results of our research as well.

[[[[[12.10 [[[[[[[[[[[[[[[[[[[[[[[[[Doug Fast: Unsung Hero of [[[[[[[[[[[[[[Seattle Design Norman Hathaway One of the key figures in Northwest design, Doug Fast has worked in Seattle for fifty years, quietly creating work for internationally known clients. Fast rejected his traditional design training to become

45 a hippie sign painter, reinvigorating a flagging trade with his exuberant early 20th century sign and mural work. At the peak of his popularity he chucked it all in for a career designing trademarks and identities for clients such as K2, Starbucks, New Balance and Red Hook. Historian Norman Hathaway will interview Fast about his career and his working process.

[[[[[12.30 [[[[[[[[[[[[[[[Closing Remarks

[[[[[14.00 [[[[[[[[[Type Crit

The fifteenth iteration of the popu- lar Type Crit, featuring analysis and elucidation by Matthew Carter, John ­Downer, and Akira Kobayashi.

[[[[[15.30 [[[[[[[[[[[[[[[[[[[[[Typographic Pub Crawl Hosted by Andrea Leksen See the TypeCon website for details: typecon.com/events

[[[[[[[[[[[19.00–23.00 [[[[[[[[[[[[[Closing Event Sponsored by AIGA Seattle See the TypeCon website for details: typecon.com/events

46 [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Speaker[[[[[[[[[[[[[[[[[[[ [[[[[[[[Information.[[[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[[[Pouya & Pegah Ahmadi

Pouya and Pegah Ahmadi are Per- sian-bred Swiss educated Chicago-based brother and sister. They serve as editorial board members for Neshan (bilingual graphic design quarterly based in Tehran). Pouya is a design director at Studio/lab and adjunct professor at UIC School of Design. Pegah is a visual and interaction designer at Morningstar Inc. They both graduated from The Basel School of Design.

[[[[[[[[[[[[[[[Azza Alameddine

Azza Alameddine has been working as a graphic designer for six years in Lebanon, the Netherlands and the UK. She holds a BA in visual communication from Creapole, Paris and a Masters in Typeface Design from the University of Reading. She’s interested in typefaces from a cultural point of view and the feelings they convey to people who can read them and to those who can’t. Her goal is to bring more awareness to graphic and type designers about the added value of good Arabic typography in the Arab world.

[[[[[[[[[[[[[[[[[Agnes Barton-Sabo

Agnes Barton-Sabo, also known as Bet- ty Turbo, was raised by grizzly bears in Alaska. She earned a BFA in pho- tography from RIT, and then moved to Nashville to get down and dirty with the type spirits of the universe at Hatch Show Print. After letterpress heaven and other miscellaneous adven- tures, she now focuses full-time on art ­shenanigans from her headquarters in Oregon. Her personal campaign for joy and tasty things is spread through original art, greeting cards, plush sculptures, home décor items, and clothing featuring her illustrations. She considers writing swear words on cakes an important typographic skill.

49 [[[[[[[[[[[[[[Justin Beaudry

Justin approaches software design (UX and UI) from a users perspective breaking down the idea into consum- able requirements. As an engineer his focus is on simplicity and efficiency, choosing his tools and frameworks by the task.

[[[[[[[[[Jill Bell

Jill Bell creates hand-lettered logo- types, titles, and headlines for busi- nesses, ad agencies, design studios, and their clients — encompassing a range of styles and applications from warm, beautiful, personal ­messages, to dynamic and powerful corporate statements. With a background in ­calligraphy, sign painting, advertis- ing, and graphic design (she worked for Saul Bass in the ’80s), Bell has created typefaces for Letraset ­Fontek, ITC, Adobe, and Monotype as well as numerous proprietary fonts. Bell’s work has been featured in the ­usual places: shows, annuals, books and journals. She has spoken at numerous schools and universities, professional ­organizations (e.g. AIGA, AAF, TDC), at ­conferences such as ATypI, TypeCon, and TypoBerlin and was the keynote speaker at Typotechnica2003.

[[[[[[[[[[[Peter Bella

Peter Bella is an Assistant Profes- sor of Graphic Design in Visual Com- munication and Design and Coordinator of Graphic Design at IPFW. His recent work and research focus on the human experience with visual communication design and the responsibilities it carries within society. The results of his exploration have been published in his self-published book Design’s Social Responsible Manifesto Re-imag- ined. His current research examines how technology, socioeconomics, cul- ture, and directive has affected

50 typography in form and symbolism in society throughout the twentieth cen- tury. He has taught a variety of cur- riculum in graphic design ranging from Branding and Advertising to Typogra- phy and Intro to Graphic Design, as well as Packaging Design and Editorial Design to History of Graphic Design.

[[[[[[[[[[[[[Laura Bentley

Laura Bentley assists with letterpress classes at the School of Visual Concepts in Seattle, and is the proprietor of Pinwheel Press. Her passion is printing with handset type. At Pinwheel Press, Laura prints on an 1863 Gordon platen press and enjoys a growing type collection that includes metal and wood type from the 1880s. Her interest in where and when a font was made has led to a collection of books on type foundries and vintage type catalogs, and she can’t resist a game of “Can you identify this type?”

[[[[[[[[[[[Amir Berbic

Amir Berbic is an Associate Professor of Graphic Design at the University of Illinois at Chicago, School of Design, and is an Associate Dean in the College of Architecture, Design and the Arts. His research interests are place identity, dimensional typography, and design pedagogy. Prior to joining UIC, he taught design at the American University of Sharjah, in the UAE, where he examined branding campaigns for Dubai’s architectural developments. Amir’s design work and writing have been featured in many academic and professional publications, conferences, and exhibitions. He holds a BFA in graphic design from UIC and an MFA in visual communication from The School of the Art Institute of Chicago. He serves on the AIGA Chicago Board of Directors as an Education Co-Chair.

51 [[[[[[[[[[[[[John D. Berry

John D. Berry is a typographer, book designer, design writer/editor, and typographic consultant. He is past president of Association Typographique Internationale and former Editor & Publisher of Upper & lower case. His books include Language culture type: international type design in the age of Unicode, U&lc: influencing typography & design, and Thesen zur Typografie: Gedanken zur Gestaltung. He speaks and writes frequently about typography and design, and teaches those subjects as an adjunct professor at Cornish College of the Arts. He is founder and director of the Scripta Typographic Institute, which is dedicated to establishing higher typographic standards for onscreen reading. He started out as a phototypesetter at a small printshop in Seattle.

[[[[[[[[[[[[[Ann Bessemans

Ann has a MA in graphic design. She works as a researcher at PXL-MAD (Media Arts & Design), where she also teaches graphic design, typography and type design. Recently Ann set up a research group called READSEARCH. Ann is also involved in European COST Action that studies the evolution of Reading in the age of Digitisation. Ann Bessemans was elected member for the following five years of the Young Academy. In March 2016 Ann is one of the TEDx speakers. Ann is also an award winning independent designer. In 2014 she designed a postage stamp for the Belgian postal company that contained 606 words, a Guinness World Record. Her research/design interests: typography, font design, legibility, reading, graphic design, book design, letter press and modular systems.

52 [[[[[[[[[[[[Scott Boggan

Scott Boggan is a Creative Director for the Amazon Digital Products group. In addition to leading Amazon’s custom typography initiatives, he manages a design team working on Amazon Echo and related voice products.

[[[[[[[[[[Yvonne Cao

Yvonne Cao is a graphic designer, typographer, and educator and holds an MFA in Graphic Design from Loui- siana State University. She has been teaching Graphic Design since 2009, and currently serves as an ­Assistant professor of Graphic design at ­Texas Christian University in Fort Worth, TX. Her scholarly interests include cross-cultural design, branding, and typography, and the history of Asian art. In her most recent research “Visual Translation”, she focuses on how to facilitate a smooth visu- al transition in western branding by using typography. Her professional graphic design work has received rec- ognition from AIGA, American Advertis- ing Federation and HOW magazine.

[[[[[[[[[[[[[[Matthew Carter

Matthew Carter is a type designer with fifty years of experience in 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, the digital type foundry, 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.

53 [[[[[[[[[[[[[[Nadine Chahine

Dr. Nadine Chahine is an award winning Lebanese type designer working as the Arabic and Legibility Specialist at Monotype. She has won several awards including two from Type Directors Club in New York in 2008 and 2011. Her work is featured in Megg’s History of Graphic Design and in 2012 she was selected for Fast Company’s 100 Most Creative People in Business, and again to its Most Creative People in Business 1000 in 2014. Her typefaces include: the best-selling Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic, Koufiya, and BigVesta Arabic.

[[[[[[[[[[[Karen Cheng

Karen Cheng is Professor of Visual Communication Design at the University of Washington in Seattle. Her book, Designing Type, was published by Yale University Press in Spring 2006, and has been translated into French, German, Spanish, Korean and Chinese. Appealing to both educators and practitioners, it has been received as a seminal work in the field, and is a required course text at several universities.

[[[[[[[[[[[[[Ryan Clifford

Ryan Clifford believes the next gen- eration of design leaders can make a positive impact on society. He is an advisor for Project M, an internation- al social design initiative which is committed to helping young designers use their skills to create positive change in the world, and leads year- ly design intensive, community-based Project M Blitzes. Ryan has worked as a creative designer at General Motors

54 in Detroit, Michigan where he was responsible for branding implementa- tion, identity design, and environmen- tal graphics.

[[[[[[[[[[[[[Emily Connors

Emily Conners, better known as Emily Lime, began her type-design career nearly 5 years ago when she launched her Atlanta-based foundry Emily Lime Design. This sales director & trainer turned self-taught font designer has a B.S. in Biology from the University of South Carolina (which was clearly only useful when playing Jeopardy or crossword puzzles!) proving that passion and a desire to learn new skills can be life-changing. Lilly Pulitzer, Trader Joe’s, Martha Stewart & Sephora are just some of the companies that have used her fonts.

[[[[[[[[[[[[[[Dave Crossland

Dave Crossland is an English type designer who set out in 2006 to liberate typography, studying and working to realise his dream of an unrestricted culture of graphic communication. He initiated the “Cantarell” type project as an MATD student in 2009 that was included in the launch of Google Fonts and selected as the GNOME3 desktop UI type family. Working as a consultant with the Google Fonts team he has commissioned hundreds of typefaces for dozens of scripts. He co-founded the Crafting Type project to offer type design workshops for beginners around the world, and proactively participates in libre software projects such as FontForge, TruFont and ttfautohint. (He does not represent any of his consulting clients.)

55 [[[[[[[[[[[[[[[Lucas Czarnecki

Lucas Czarnecki is a designer, educator, and marketer with a passion for type. Over the past four years, he has created websites and branding for startups, designed his first typeface, typeset research journals and books, and taught the first-ever course on Typography and Graphic Design at the University of Virginia. He spends his work hours as an apprentice at the Virginia Art of the Book Center, home to the largest collection of moveable type in the state, and working as Marketing Manager for Tom Tom Founders Festival. Outside of work, Lucas is currently co-founding a local AIGA chapter, writing a design blog— Type365, and designing his second typeface.

[[[[[[[[[[Si Daniels

Si Daniels is a program manager in Microsoft’s Office Design team. He formerly managed Microsoft font and icons team in the Microsoft Operating Systems Group. He’s a graduate of the Typography &Graphic Communication pro- gramme at the University of Reading.

[[[[[[[[[[[Meaghan Dee

Meaghan Dee is an Assistant Professor and Chair of the Visual Communication Design Program at Virginia Tech. Dee received her BFA in Graphic Design from University of Illinois at Champaign-Urbana and her MFA in Design from Virginia Commonwealth University. Her design focus is on branding, typography, editorial design, and packaging. She often collaborates on Freelance Design projects and Grant research. Her work has been awarded nationally and internationally by the American Advertising Federation, the American Institute of Graphic Artists, Graphic Design U.S.A., Graphis, and Hiii Typography.

56 [[[[[[[[[[[[[[[[Petra Docˇekalová

Petra studied at the Academy of Arts, Architecture and Design in Prague. Since 2013 she is a member of Suitcase/Briefcase Type Foundry team, working on all activities associated with foundries. She is focused on editorial work such as book about Jaroslav Benda and his typefaces, Scripts for Shop Windows and recently the Typo 9010 book. She is also a type designer and continues her master studies with a project dealing with the Czechoslovak calligraphy and new lettering forms.

[[[[[[[[[[[John Downer

John Downer has been a journeyman sign painter since 1973. He has degrees in art from Washington State University, BA ’73; and The University of Iowa, MA ’74, MFA ’76. In 1983, he entered the field of type design. His typefaces have been published by Bitstream, Font Bureau, Emigre, and House Industries. Currently, he serves as a visiting instructor at art schools and universities in the U.S. and abroad. He also runs the Sign Painting Support Group on Facebook.

[[[[[[[[[[[[[[Michael Duggan

Mike Duggan is a lead typographer in the ClearType and Advanced Reading Technologies team. Mike has a degree in Visual Communications from the National College of Art & Design in Dublin, Ireland.He plays a key role in the development and hinting of new typefaces targeted for screen legibility. Mike was the typographic technical lead on the ClearType Font Collection project. Mike was the lead program manager on the recent optically scaled Sitka font family, designed by Matthew Carter.

57 [[[[[[[[[[[[Rachel Elnar

Rachel Elnar is a co-founder, pro­ ducer, marketer, and general support for all that is TypeEd. She’s served as an adjunct professor in motion graphics, user experience, and inter­ active design at Art Center College of Design in Pasadena and Cal Poly University in Pomona. She currently teaches advanced interaction design at Cal State University Los Angeles and serves as Secretary at AIGA Los Angeles and works as the Interactive Director at Ramp Creative.

[[[[[[[[[[[[[[[Thomas Eykemans

Thomas Eykemans has been a book designer at the University of Washington Press in Seattle since 2007. He has won numerous awards for both cover and interior designs, including AIGA’s 50 Books / 50 Covers. Previously he freelanced in print, film, and digital media for several years. Before that he received a BFA in Visual Communications from the University of Washington’s School of Art. He is originally from the scenic town of Port Angeles, Washington, and is the son of Dutch immigrants.

[[[[[[[[[[[[[[Kate Fernandez

Kate Fernandez is a visual artist and cultural entrepreneur who has been spreading the gospel of letterpress for nearly ten years, teaching printing throughout the Pacific Northwest. Fernandez is currently an exhibit developer at the Museum of History & Industry (MOHAI) in Seattle. She received a BA in Comparative History of Ideas from the University of Washington and studied typography and design at the School of Visual Concepts.

58 [[[[[[[[[[[[Anna Filbert

Anna Filbert works as Assistant Professor of Graphic Design at Judson University, and has a Masters of Design in Graphic Design from the University of Illinois at Chicago and a BFA in Graphic Design with a minor in Art History from the State of New York University at Fredonia. Prior to moving to Chicago, Anna worked as a graphic designer at corporate branding studio, Chermayeff, Geismar, & Haviv, in NYC. In addition to teaching, Anna also runs her own studio, Anna Jane Design.

[[[[[[[[[[[[Richard Fink

Richard Fink is a web developer, writ- er, and consulting font technologist, aggregating and commenting on Medi- um and Facebook under the column name Font Friday. He developed EOTFAST, a tool for producing true compressed Embedded Open Type fonts in a way that avoided copyright or patent infringe- ment. He collaborated to develop the backward-compatible “#iefix” @font- face syntax. More recently, Rich has been involved with quality control efforts at Google Web Fonts with a focus on best practices, the devel- opment of advanced HTML web font test pages, and font character sets. He’s a frequent contributor to Typedrawers, and the Google Web Fonts Forum, Rich has also written for the long-running online publication AListApart.

[[[[[[[[[[[[[Álvaro Franca

Álvaro Franca is a type designer and researcher based in Rio de Janeiro.

59 [[[[[[[[[[[[[Joe Galbreath

Joe Galbreath began his design career as an art director at a public rela- tions firm creating annual reports, branding campaigns, strategic graphics and identity work. His interests in graphic design include exploring and documenting vernacular design tradi- tions, manual design making processes and independent publishing. He is the director of the GramLee Collection of commercial wood engravings.

[[[[[[[[[[[[[[Tyler Galloway

tyler galloway is an Associate Professor in the department of Visual Communication at the University of Kansas, with research and practice interests focused on participatory and public interest design processes. He has presented papers at multiple AIGA national design education conferences, the recent “MoDE” conference in Dublin, and was an invited participant in the “leap” symposium on design for social innovation at Art Center College of Design. His design work has appeared in several national and international political/social poster exhibitions and been published in the books “The Design of Dissent”, “Reproduce and Revolt” and the Turkish socio-political design magazine “No Tasarim”. tyler holds a BFA from Missouri State University and a MGD from North Carolina State University.

[[[[[[[[[[[[[Roxane Gataud

Roxane Gataud studied Graphic Design at the École Estienne School of Paris where she discovered her great inter- est in type design. She went on to earn a Masters in Graphic Design at the École Supérieure D’Arts ­Appliqués (ÉSAAB) in Bourgogne, France and a Post Graduate Degree in Typeface Design from École Supérieure d’Art et de Design (ÉSAD) in Amiens, France.

60 Now working as an independent design- er, Roxane has collaborated with Type Factory, Production Type, and Typo­ fonderie. She lives in Paris where she also collects fruit labels, dinosaurs, and pictures of type in the wild.

[[[[[[[[[[[[[[[Patrick Gosnell

Patrick Gosnell is an award-winning graphic designer and Assistant Professor of Graphic Design at Austin Peay State University in Clarksville, Tennessee, where he lives with his wife and two daughters. He earned a BFA in Fine Art Photography from the University of Georgia, and an MFA in Communication Design from Texas State University. With an ever-watchful eye, Patrick captures images of vernacular type in each city that he visits, and his research concentrates on international typeface design education. A member of the Society of Typographic Aficionados (SOTA), the Southeastern College Art Conference (SECAC), and the American Institute of Graphic Arts (AIGA), Patrick is also the faculty advisor for Austin Peay’s AIGA student group.

[[[[[[[[[[[[[[[[[Frank Grießhammer

Frank Grießhammer is a type design- er and font developer working in the Adobe Type team. He graduated from the Type and Media masters program at the Royal Academy of The Hague (KABK) in 2010, and has worked for FontShop International before and after. Prior to that, he studied graphic design at HBKsaar in Saarbrücken, Germany; and at ISIA in Florence, Italy.

[[[[[[[[[[[[[[[Sibylle Hagmann

Sibylle Hagmann began her career in Switzerland and explored her passion for anything type related in California, while completing her MFA at CalArts. During this time she

61 developed typefaces, most notably the award winning Cholla family, originally commissioned by Art Center College of Design, and released soon after by the type foundry Emigre in 1999. Cholla was among the winning entries of bukva:raz!, the type design competition of the Association Typographique Internationale (ATypI) in 2001. The typeface family Odile, first published in 2006, was awarded the Swiss Federal Design Award in the same year. Sibylle Hagmann founded Kontour in 2000, a creative studio with focus on type design. She is a professor at the University of Houston’s School of Art since 2002.

[[[[[[[[[[[Allan Haley

Allan Haley is a consulting typo­ grapher and storyteller with expertise in fonts, font technology, type and typographic communication. He held the position of director of words and letters at Monotype for fifteen years and has six books and hundreds of articles to his credit. He is a past president of the Type Directors Club and was executive vice president of International Typeface Corporation.

[[[[[[[[[[[[[[[[[Randall M. Hasson

Randall M. Hasson is an artist, calli­ grapher, instructor and speaker who has appeared on the faculty of Arts, Lettering Arts, and Educational Conferences in the United States, Canada and England. His most recently completed project was the 24th (Centennial) Edition of The Speedball Textbook, which he co-edited. He has spoken for the C.S. Lewis Foundation in Oxford England, and has appeared on the faculty of fifteen International Calligraphy conferences as a main- stage presenter and/or teacher with lecture topics covering Public Art, Art History, the Painting Process, Collaborative Art Projects, and the History of Writing. He is currently writing the history of Ross George, William Gordon and the Speedball story, due to be published in 2017.

62 [[[[[[[[[[[[[[[Norman Hathaway

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 wide­ ly on the history of design and typography for the London College of Printing, The Royal College of Art, and Goldsmiths College.

[[[[[[[[[[[[Paul Herrera

Paul Herrera’s calligraphy and letter- ing training was done exclusively with Reverend Edward M. Catich beginning in 1967. Paul worked as inscription cut- ter and calligraphy seminar assistant with Father Catich until the time of his death in 1979. During his forty year career Paul has conducted numer- ous lettering seminars for calligraphy organizations throughout the Midwest and Canada. He continued inscrip- tion work for Wichita State University and an architectural firm in Chicago as well as individual clients. Addi- tionally, he was watercolor and cal- ligraphy instructor at the former Davenport Municipal Art Gallery from 1973 – 1984. He now works full time in his studio and offers workshops in ­calligraphy and stone inscription.

[[[[[[[[[[Mark Jamra

Mark Jamra is a type designer and pro- fessor at Maine College of Art, who has designed and produced typefaces for over 30 years. He is the founder of TypeCulture, a digital type foundry and academic resource, and is a found- ing partner of JamraPatel, a studio for collaborative type design proj-

63 ects. Mark has taught graphic design, lettering, typography and type design at colleges and workshops in the U.S. and Germany. His typefaces have received recognition from the Type Directors Club and the Association Typographique Internationale.

[[[[[[[[[[[[[Thomas Jockin

Typeface Designer interested in com- munity. Graduate of Parsons School of Design and the inaugural Type@Cooper program.

[[[[[[[[[[[[[[Sally Kerrigan

Sally is the content editor at Adobe Typekit, where she learns a new typo- graphic term weekly, is frequently distracted by something on Twitter, and seriously geeks out when she hears about a new library. She manages the Typekit blog and writes a healthy pro- portion of their web content. An East Coast transplant, she lives in San Francisco.

[[[[[[[[[[[[[[Joyce Ketterer

As the COO of Darden Studio, in coop- eration with the studio’s attorney, Joyce is responsible for writing and enforcing the studio’s EULA.

[[[[[[[[[[[[[[[Akira Kobayashi

Akira Kobayashi studied at Musashino Art University in Tokyo, then took a calligraphy course at the London College of Printing. He took Best of Category and Best of Show for Clifford in the 1998 U&lc magazine type design competition. Kobayashi was awarded first prize, text category, for Conrad in Linotype Library’s

64 Third International Digital Type Design Contest. He took honors in the TDC type design competitions in 1998, 1999, 2000, and 2001 — for ITC Woodland, ITC Japanese Garden and ITC Silvermoon, FF Clifford, and Linotype Conrad, respectively. Since May 2001, Kobayashi has served as Type Director for Linotype Library GmbH.

[[[[[[[[[[[[Alice J. Lee

Alice Lee is a Chicago-based graphic designer and Visiting Assistant Pro- fessor at The University of Illinois at Chicago. Her professional experi- ence includes book design, branding, digital, and video work. Her research focuses on language, culture, and technology.

[[[[[[[[[[[[[Andrea Leksen

A graphic designer since 2003, Andrea Leksen has freelanced and worked in-house for corporations and design firms, with a short break to receive her Master of Design degree from ­Duncan of Jordanstone College of Art & Design in Scotland. The combination of catering to a diverse client base through her business, Leksen Design, along with teaching as an adjunct pro- fessor at Seattle Pacific University, allows her to apply her design meth- odologies in a variety of ways. In her spare time, she immerses herself in music, art, tango, friendships, ­pasta-making, traveling and parenting and dreams up ways to support her new- est obsession, type design.

[[[[[[[[[[[Briar Levit

Briar Levit is an Assistant Professor at Portland State University, and graduate of Central St. Martins College of Art & Design. Originally from the California Bay Area, her graphic design practice consists primarily of page design, with a

65 special interest in independent mag­ azine publishing, small presses, and walking guides (which she has self published). Most recently, she embarked on her biggest project to-date—directing and producing the feature-length film, Graphic Means: A History of Graphic Design Production.

[[[[[[[[[[Bruno Maag

Bruno Maag is a trained typesetter from Zurich, Switzerland. After gradu­ ating 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.

[[[[[[[[[[[[[[[[[[Charmaine Martinez

Charmaine Martinez teaches graphic design and typography at California Polytechnic State University in San Luis Obispo. She brings a love of creative experimentation, a passion for typography, and an interest in design advocacy to her teaching. With a background in graphic design, book arts, printmaking, and mixed media installation, Charmaine embraces an interdisciplinary approach in both her teaching and her own creative practice.

66 [[[[[[[[[[[[[[Lara McCormick

Lara McCormick is a nationally recognized designer and educator, and currently Head of Design at CreativeLive in San Francisco, CA. She is the author of ‘Playing with Type: 50 Graphic Experiments for Exploring Typographic Design Principles’ published by Rockport Press. Her work has been featured in several notable design publications including HOW magazine, Print, Graphic Design USA, DesignObserver.com and highlighted in numerous graphic design books. She is a two-time recipient of the Sappi ‘Ideas that Matter’ award. Lara received her Masters of Fine Art in Design from the School of Visual Arts, and a post-graduate degree in typography from Cooper Union. She is committed to design education, social activism and investigating change.

[[[[[[[[[[[Paul McNeil

Paul McNeil is a British graphic designer and typographer with exten­ sive experience in brand communi­ cations and corporate identity. In 2010, with Hamish Muir, he co-founded MuirMcNeil, a collaboration focussed on exploring parametric design systems to generate solutions to visual communication problems. He also works as a researcher and Senior Lecturer in Typography at the London College of Communication.

[[[[[[[[[[Jess Meoni

Jess Meoni is a graphic designer, writer, educator, and arts activist from Scranton, Pennsylvania. Organizer of the Scranton Zine Fest for six years running, Meoni gathers artists and writers from all along the east coast for one day to celebrate the radicalism of type and image. Her own music-focused zine, Ruthless, has been in circulation since 2009. She is also

67 the host of Grrrls Night, a seasonal mic night for women to express their poetry, comedy, and music. Meoni earned her MFA in graphic design from Marywood University in 2015 with her thesis focusing on the historic design of radical publications.

[[[[[[[[[[[[[[Lauren Meranda

Lauren Meranda resides in Chicago, Illinois where she runs a multi- disciplinary design practice special­ izing in projects for cultural institutions, social activism, civic engagement, and public memory through experimental media, collaborative storytelling, and interactive design for physical spaces. Lauren also works as Assistant Professor of Graphic Design at Judson University. She has a Masters of Design from the University of Illinois at Chicago and a BFA in Visual Communication from Northern Illinois University.

[[[[[[[[[[Ana Monroe

Ana Monroe earned her A.B. from Columbia University (NYC, 2004) and began her design education as a Production Designer for the still photography and motion picture industries. She was a mentee in the inaugural class of AIGA’s Los Angeles Mentorship program (2015) and is currently a Thesis Scholarship recipient in ACCD’s MFA-STEM program. She learned of TypeCon through the TypeEd & General Assembly Los Angeles Is Just My Type (#LAIJMT) Typography event (2015), and is thrilled to share her love of typography, neon, and camera hacks. Yes, her hair really is gray, but, no, she has no idea why.

68 [[[[[[[[[[[[[Carl Montford

Carl is an accomplished wood engrav­ er and letterpress printer. He established his first private press, the Montford Press, in the early 1970’s. He is self taught in both respects, and is still producing limited edition wood engraving prints and letterpress items such as broadsides. He teaches private students out of his home based studio in West Seattle, and also teaches at the School of Visual Concepts (SVC) in Seattle. Engraving in endgrain woods and other materials is and has been a joy of Carl for years as well as hand setting type and printing on his many presses in his studio, including his restored Reliance Iron Handpress.

[[[[[[[[[[[[Aoife Mooney

Aoife Mooney is a teacher, writer, researcher and typeface designer and holds the rank of Assistant Professor at the School of Visual Communication Design at Kent State University, Ohio where she teaches classes in typo/graphic, identity and typeface design. Aoife holds a BA in Visual Communications from Dublin Institute of Technology (Ireland) and an MA in Typeface Design from the University of Reading (UK). Aoife also teaches workshops in typeface design as part of the migratory Crafting Type team and has previously worked as a typeface designer for Hoefler & Co., Frere-Jones Type and Google.

[[[[[[[[[[[Silas Munro

Silas Munro earned his BFA from RISD and holds an MFA from CalArts. His design studio, Poly-Mode primarily works with cultural institutions and community based organizations including The Center for Urban Pedagogy, Housing Works, MoMA, Walker Art Center, and Wynwood in Miami,

69 Florida. A seasoned and dedicated educator, Munro’s pedagogy focuses on formal and typographic systems in our present experience ecology that includes existing and emerging technologies from the laser cutter to the letterpress. Munro serves as Assistant Professor of Art and Graduate Director, Experience Design, Miami University and Core Faculty in the MFA Program in Graphic Design at Vermont College of Fine Arts.

[[[[[[[[[[[[[Jason Murdock

Jason Murdock is an MFA candidate and graduate teaching assistant in the School of Visual Communication Design at Kent State University in Kent, Ohio. He earned a BFA in Visual Commu- nication Design from Herron School of Art & Design in Indianapolis, Indiana. Jason’s research interests include typography and typeface design, visu- al identity design, and design pro- cesses. He is currently investigating the application of generative design methods to the creation of ­visual identities—particularly the use of algorithms that incorporate natural cycles and processes as a way of cre- ating and modifying identity elements over time.

[[[[[[[[[[[[[Toshi Omagari

Toshi Omagari is a type designer born in Japan. After graduating from Musashino Art University in Tokyo, he went on to join MA in Typeface Design at the University of Reading in 2010– 2011. Since then, he has been working full-time as a typeface designer at Monotype in the UK. He also translates typographical contents to Japanese, such as Fred Smeijers’s Counterpunch, Doug Wilson’s Linotype: the film.

70 [[[[[[[[[[Neil Patel

Neil Patel is a type designer and former semiconductor process engineer based in Portland, Maine. He is the founder of Tetradtype, an independent type foundry, and partner of JamraPatel, a studio which focuses on non-Latin type design. Neil’s collaborative logotype designs with local studios has been featured in How Magazine and Communication Arts. He also has been known to dabble with programming, which he occasionally ties back into his design practice.

[[[[[[[[[[[[Dave Peacock

Dave Peacock is a designer and edu­ cator based in Seattle, Washington. He is an Associate Creative Director at LiveAreaLabs, a creative, marketing and technology agency with a focus on interaction design and digital retail for consumer brands. Dave serves on the faculty at Vermont College of Fine Arts, where he teaches in the Graphic Design MFA program. An active member of the design education community, he is a former Education Director for the Seattle chapter of AIGA. Dave has guest lectured throughout the Northwest about the benefits of AIGA for students as they transition from school to professional practice. A Colorado native, Dave holds an MFA in Visual Communication Design from the University of Washington and a BFA from the University of Utah.

[[[[[[[[[[[[[[[[[[[[Mary Catherine Pflug

Mary Catherine Pflug works for ­Monotype as part of the MyFonts found- ry support team. This is her third year as a SOTA board member and cur- rently serves as the treasurer and volunteer coordinator. A recent gradu- ate from the honors program at Rollins College, her thesis focused in font sales, marketing, and distribution,

71 and she continues this research in her spare time. Hobbies include: searching for the perfect doughnut, volunteering with AIGA, and cycling.

[[[[[[[[[[[[[[Thomas Phinney

Thomas Phinney is President of Font- Lab, the font software tools compa- ny. Previously he was product manager for fonts and global typography at ­Adobe, and senior product manager for Extensis (Suitcase Fusion, WebINK web fonts). Thomas is also a type design- er and educator involved in consult- ing, writing, teaching, technology/ standards, history, and forensics of fonts. His typeface Hypatia Sans is a Latin/Greek/Cyrillic Adobe Original with over 3000 glyphs per font, while Cristoforo was funded via Kickstarter. Thomas has a MS in printing from the Rochester (NY) Institute of Technol- ogy, and an MBA from UC Berkeley. He has been an ATypI board member since 2004 (treasurer 2006–2015, secretary 2015–present).

[[[[[[[[[[[[[[[[[[[Ashley John Pigford

Ashley John Pigford is an Associate Professor of Graphic and Interaction Design at the University of Delaware focused on design/creative processes that interrogate meaningful relation- ships between technology, materi- als and human experience. He has been recognized internationally for both his academic research and commercial design work.

[[[[[[[[[JP Porter

JP has been producing, directing & calling high-end Corporate Business Theatre and Video for over 30 years. She brings a unique combination of client management skills, production trenches experience, and technical savvy to every project. She has perfected the art of staying on the

72 balls of her feet, since “change” is a minute-by-minute occurrence in live production. She has managed multi- million dollar budgets and led high profile projects for many Fortune 500 companies. She is an award winning Producer/Director, Documentarian, and published Photographer. She is strong team player, a detail stickler, and mostly, grace under pressure.

[[[[[[[[[[[[[Mamoun Sakkal

Dr. Sakkal founded Sakkal Design in Bothell, Washington. His firm has focused on Arabic calligraphy and typography since the 1990s and has received several awards for calligraphy, graphics, and type design including four awards of excellence from the Type Directors Club of New York and one from IRCICA in Istanbul. Sakkal Design was commissioned to design the corporate Arabic typefaces for Burj Khalifa and Armani Hotel in Dubai, and several of his Arabic fonts are now widely used as Windows system fonts. Dr. Sakkal’s interest in Kufic calligraphy started in the 1970s and culminated in the comprehensive study titled “Square Kufic Calligraphy in Modern Art, Transmission and Transformation” for which he received his Ph.D. degree from the University of Washington in 2010.

[[[[[[[[[[[[[[Stuart Sandler

Stuart Sandler launched the Font Diner in 1996 and has inspired generations of designers with retro design software products influenced by 1950s popular culture. He has created more than 800 original typefaces. Sandler launched Mister Retro in 2004 featuring Photoshop plug-ins and original clipart. He later acquired and began revival of both the Filmotype and Lettering Inc phototype libraries with over 200 revival releases to date. In 2006, he co-founded and launched Font Bros as a distributor of high quality typefaces specializing in OEM licensing and retail sales. With its strong focus

73 on OEM font licensing, Font Bros has earned a reputation as the leading font licensing agent among independent font foundries.

[[[[[[[[[[[[[[[[[[[[[[[[[[[Rainer Erich Scheichelbauer

Rainer Erich (‘Eric’) Scheichelbauer was born in Vienna. He creates type- faces, works as a digital punchcutter for other type designers, teaches type design and typography at a graphic art school, gives type design workshops. Since he has joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as the Glyphs blog and the hand- book. Eric recently completed both a ­philosophy and a Dutch studies degree. He lives and works in Vienna, where he runs his type studio Schriftlabor.

[[[[[[[[[[[[[[Hans Schellhas

Hans Schellhas is a visual communi­ cation designer and film-maker. He is currently an Associate Professor at Northern Kentucky University in the Department of Visual Arts. Prior to teaching, he was employed at Landor Associates, specializing in visual identity and branding. Schellhas holds a Master of Design degree from the University of Cincinnati. His film and design work has been published and recognized by the American Inter­ national Film Festival, Graphis, Creativity International, Rockport Publishers, Creative Quarterly Journal and was recently selected as one Creative Quarterly’s top 100 artists, photographers and designers for the 2015 100 Best Annual.

[[[[[[[[[[[[[Georg Seifert

Bauhaus University graduate Georg ­Seifert (b. 1978 in Halle an der Saale, Germany) is a type designer and a software developer. His typeface families Graublau Sans and Graublau

74 Slab have become international best- sellers. He co-developed the typeface for the new Berlin Airport. He is most well known, however, for the font edi- tor ‘Glyphs’, first released in 2011. Seifert lives and works in Berlin.

[[[[[[[[[[[[[[[Debi Sementelli

Debi Sementelli is a professional let- tering artist and font designer based in Dallas, Texas. She’s had a romance with letters for the past 25 years. Her favorite moments are spent amongst pens, inks, paints, and brushes, wild- ly flourishing her way through an alphabet. In 2011, she moved from let- tering artist to font designer ­basing all of her fonts on her own unique hand written lettering styles. She loves coming up with swashes, flour- ishes and ornaments to give design- ers a variety of choices to play with. She’s been fortunate to watch her fonts make the Hot New Fonts, ­Rising Stars and Best Sellers list. But her greatest thrill is seeing someone use one of her typefaces in a uniquely creative way. That feeling of collab- oration is what inspires her to keep creating more hand lettered fonts.

[[[[[[[[[[[[Reneé Seward

Reneé Seward is an Associate Professor and Program Coordinator of the Com­ munication Design program at the University of Cincinnati’s College of Design, Architecture, Art, and Planning. Her research focuses on the development of digital and physical multi-sensory tools that seek to address literacy problems in our society. Currently she is starting a non-profit company to market her reading tool called See Word Reading. See Word Reading is a multi-sensory tool that uses dynamic letterforms to teach early reading principles through a suite of digital iPad applications, which consists of two separate iOS applications. The teacher app is used to distribute customized curriculum and monitor student results while the student app delivers the curriculum to students.

75 [[[[[[[[[Paul Shaw

Paul Shaw teaches calligraphy and typography at Parsons School of Design; and history of graphic design and history of type at the School of Visual Arts. He has been a calligra- pher for over 40 years, specializing in commercial work including script work for Campbell Soup, Avon, Clairol and Lord & Taylor. He is the author of A Black Letter Primer (1981), ­Letterforms (1986), The Calligraphic ­Tradition in Blackletter Type (2001), and Helvetica and the New York City Subway System (2009). In 2012 Shaw was appointed editor in chief of Codex magazine. He is currently working on several projects, including a criti- cal biography of W.A. Dwiggins, a book on script typefaces, and a book about lettering in New York City.

[[[[[[[[[[[Juliet Shen

Juliet Shen is a typeface designer and fine artist. She incorporated iron handpress printing with Carl into her typography classes at SVC and wrote the brochure, “Resurrection of a Reliance,” documenting the restoration of the press. Her typefaces are in the collections of Font Bureau, Type­ Together and the Tulip Tribes. Her 24-year Chinese New Year print series was exhibited at TypeCon last year.

[[[[[[[[[[[[Nick Sherman

Nick Sherman is a typographer and typographic consultant based in New York City. He is a co-founder of Fonts In Use and a graduate of the Type@­ Cooper typeface design program at ­Cooper Union. He serves on the board of directors for the Type Directors Club, the Adobe Typography Customer Advisory Board, as well as the artis- tic board for the Hamilton Wood Type & Printing Museum. He has taught typog- raphy, typeface design, letterpress

76 printing, and responsive design at MassArt and Cooper Union. He previous- ly worked at Font Bureau, Webtype, and MyFonts, directing web design and pro- motional material for typefaces.

[[[[[[[[[[[Radek Sidun

Radek focuses primarily on fonts and typography. His graduation thesis at the Prague Academy of Arts, Archi- tecture and Design (Graphic Design and Visual Communication, MgA. 2010) dealt with the issue of diacritics in world languages. As a result, he is a sought-after consultant to font designers and foundries world over. He has worked at Cornel Windlin’s Zurich studio; he is currently based in Prague. Radek is also a member of the Komfort magazine editorial team. He serving as a pedagogue at the Type Design and Typography studio of the Prague Academy of Arts, Architecture and Design (UMPRUM). He has received several awards for his various proj- ects. He is also a member of editorial and design team of the TYPO9010 book.

[[[[[[[[[[[[[[[[Gabriel Solomons

Gabriel Solomons is both a practicing graphic designer and senior lecturer at the Bristol School of Creative Arts. He has been responsible for developing a number of trade publications that cover areas of film, design, fandom and fashion. He is currently innovation manager and book series editor at Intellect, a UK based publisher specialising in the fields of creative practice and popular culture. Gabriel received his BA in Graphic Design from the University of the West of England in 2000 and subsequently went on to set up his own publishing company, Decode Publishing, and a multi-faceted media company, Decode Arts and Media Ltd in 2002. Gabriel has delivered papers, lectures and speeches on design, film and book production at various venues worldwide.

77 [[[[[[[[[[[[[[[Michael Stinson

Michael is the lead instructor at TypeEd and Creative Director at Ramp Creative. Over the course of 20 years in the field of design, his work for brands such as Quiksilver, Wet Seal, Agostoni Chocolate, CWS Capital Part- ners and others has been recognized by numerous publications and industry organizations, including Communication Arts, Mohawk Paper Show, TDC, Black- Book, Graphis and The One Show. Con- versely, he has served on the juries for Graphis Annual Reports, the One Show Design Competition and the One Show Young Ones College Competition.

[[[[[[[[[[[[[[[Nina Stössinger

Nina Stössinger, type-obsessed designer & overall curious person. Originally from Basel (Switzerland), Nina studied multi-media design in Halle (Germany) and type design in Zurich & The Hague; she stayed on in the Netherlands, where she founded Typologic, her studio for type design, typography, and code.

[[[[[[[[[[[[[[Neil Summerour

Neil Summerour is an independent type designer and lettering artist based in Georgia. Born in Portugal, raised in the United States, and with one foot in Asia, he graduated from The University of Georgia in Graphic Design, started a type and lettering studio, lectures, draws letters and lived happily ever after. He has won the Type Directors Club Certificate of Typographic Excellence 6 times and was a 2012 recipient of the People’s Choice Award in the Morisawa Type Design competition for his Japanese typeface Tegaki. Neil’s type and lettering work is used by such renowned brands as Victoria’s Secret, Revlon, Girl Scouts of America, Facebook, Oculus, PINK,

78 Good Housekeeping, id Software, David Bowie, BBC, L’Oreal, Panera, Maxis, Britax, Colliers International, and ABC, to name a few.

[[[[[[[[[[[[[[[[[Rebecca Tegtmeyer

Rebecca Tegtmeyer is a graphic design educator and practitioner. Through her active research, writing, making, and teaching agenda she investigates the role of a designer and the design process through a variety of forms— from static to dynamic, time-based to print. Working both individually and collaboratively she approaches design as catalyst in facilitating systems that preserve, protect, and provide—further extending the capabilities and responsibilities of a designer in today’s complex world. Currently, Rebecca is an Assistant Professor in the Department of Art, Art History, and Design at Michigan State University. Rebecca holds a BFA in Visual Communication from the University of Kansas and a Master of Graphic Design (MGD) from NC State University College of Design.

[[[[[[[[[[[[Adrien Tétar

Adrien Tétar (born December 1st, 1995) is a French software engineer and typeface designer. After preparing competitive exams for entrance to the French Grandes Écoles, he is now studying to get an Engineer’s degree on the Paris East campus, majoring in Computer Science. He was awarded a Kudos by the Google Open- Source Programs Office for his work on FontForge in 2014, and launched an early version of his TruFont font editor in October 2015. He interned as typeface designer and software engineer at Production Type (Paris, France) before and will be in the Google Internationalization team (Mountain View, CA) this summer, working on font technology & text rendering.

79 [[[[[[[[[[[[[[Douglas Thomas

Douglas Thomas holds a MA in ­History from the University of Chicago and is completing a MFA in Graphic Design from the Maryland Institute Col- lege of Art. He has taught graphic design at Brigham Young ­University and the Maryland Institute College of Art. His design work has been fea- tured in Communication Arts, Print, and Graphis. He is the author of “Recasting ­Franklin as Printer” in Benjamin Franklin’s Intellectual World, (Farleigh Dickinson Universi- ty Press). He is currently writing/ designing a book, “Never Use Futura”, to be published by Princeton Archi- tectural Press, which will explore the full constellation of typograph- ic meanings embodied in the historical and contemporary uses of Futura.

[[[[[[[[[[[[[Tricia Treacy

Tricia Treacy is an interdisci- plinary designer and educator from ­Philadelphia. Her collaborative cre- ative practice tangles design, lan- guage, typography, printing and book design. Her creative work is collect- ed and exhibited worldwide. Current- ly, she is an Assistant Professor of Graphic Design at Appalachian State University in Boone, NC.

[[[[[[[[[[[[[[[[[[[Mark van Wageningen

Mark van Wageningen is the found- er / director of Novo Typo, a (typo) graphic design studio and type-found- ry based in Amsterdam. Mark studied graphic design at the Amsterdam Graph- ic School and at the Gerrit Riet- veld Academy in Amsterdam before he founded Novo Typo in 2012. The Novo Typo font collection is a wide vari- ety of ­typefaces designed for a number of international clients. The design output of Novo Typo is a mix between client related jobs and self-initiat-

80 ed projects. In January 2015 Novo Typo started the Typewood project. Typewood is a research project about design- ing, deconstructing and transforming multi-colored digital ­typefaces into wooden type for letterpress. Type- wood jumps from digital to analogue techniques, from cmyk to rgb color- modes, and from computerscreen to ­letterpress.

[[[[[[[[[[[[[[Guy Villa, Jr.

Guy Villa is a Lecturer and Coordi­ nator of Graphic Design at Columbia College Chicago. His research agenda includes experimental typography, self-authorship in design, semiotics, publication design and curriculum development. He lectures at international conferences, most recently at the 2015 International Conference on Education, Research and Innovation in Seville, Spain, and the 2015 Design Principles and Practices Conference in Chicago. He is also Chair of the STA Design Inspiration Weekend, an annual forum held by The Society of Typographic Arts.

[[[[[[[[[[[[[Jenny Wilkson

Jenny founded the letterpress pro- gram at SVC in 2001. Armed with an MA in Design from UC Berkeley, she keeps SVC’s creative karma alive and very well by overseeing the operations, curriculum, and community outreach of the letterpress shop.

[[[[[[[[[[[[[[[[Matthew Wizinsky

Matt Wizinsky is Assistant Professor in Communication Design at the School of Design, College of DAAP, Univer- sity of Cincinnati. His research and teaching—in both the undergraduate and graduate programs—covers ­territories that include interaction design, ­exhibition design, design approaches to the digital humanities, speculative

81 and critical design practices, as well as experimental media and data visu- alization. Wizinsky received a BS in Graphic Design from the ­University of Cincinnati, an MFA in graphic design from the University of Illinois at Chicago, and post-graduate certifi- cates in advanced design studies from the Hochschule für Gestaltung und Kunst (FHNW) in Basel, Switzerland.

[[[[[[[[[[[[[[[[[Laura Worthington

Laura Worthington has published more than 70 typefaces, and designed custom faces for Fortune 500 companies. Lau- ra’s faces are primarily based on her own hand-lettering and ­calligraphy, producing families of different ­display styles that work together to evoke a particular aesthetic, often including a broad variety of orna- ments, contextual alternates, and swash forms. Three of Laura’s type designs have received awards of excel- lence by Communication Arts, and Typo- graphica and MyFonts have featured her faces in their “best of the year” lists. Laura was an adjunct instructor in the visual communications program at Highline Community College. She has given workshops at TypeCon and Type Camp, and spoken at Adobe ­Creative Jam, Adobe Max, and The School of Visual Concepts.

[[[[[[[[[[[Lance Wyman

Best known for his legendary design work for the 1968 Mexico Olympics, Lance Wyman has become an unquestioned master of transforming space through branding and wayfinding over his 50+ year career as a designer and teacher. Through his designs for massive urban systems, airports, zoos, and museums, his thoughtful and culture- sensitive work has helped define the field of environmental graphics. Over the course of his career he has created systems for the Mexico City Metro, National Zoo, American Museum of Natural History, New York Penn Station, National Mall, Minnesota Zoo, among many others. His design work resonates today as much as it did in

82 the 60s when he first began. The first compendium of his work, Lance Wyman: The Monograph, was recently published by Unit Editions.

[[[[[[[[[Jayme Yen

Schema (schemadesign.com) is a research and design firm that creates tools and experiences that turn infor- mation into action. Village (vllg.com) is a type co-op and an independent distributor and publisher of type- faces. It is the union of eleven type foundries who have decided to go it alone, together.

83 [[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Sponsors.[[[[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[[Presenting Partners

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86 Get Some Quality face TimE TimE

The MyFonts team is at TypeCon again this year!

Come and find us for a chat at our table in the foyer or grab us for a drink in the bar.

MyFonts®

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MyFonts_fullpage.indd 1 19/07/2016 14:49 MuirMcNeil TypeCon 2016 identity design: MuirMcNeil for the Society of Typographic Aficionados muirmcneil. com

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[[[[[[[[[[[[[[[[ [[[[\\\\\\\\TypeCon:[[[[[[[[[[[[[[[[[[[[ [[[[[[[[\\\\2016[[[[ [[[[[[[[ [[[[[[[[[[[[\\\\\\\\Resound.[[[[[[[[ [[[[ [[[[[[[[[[[[[[[[\\\\\\\\\\\\Seattle,[[[[[[[[[[[[ WA. [[[[[[[[[[[[[[[[\\\\\\\\\\\Aug,[[[[[[[[[[[ 24–28. [[[[Information.[[[[[[[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[About SOTA

[[[[[[[[[[[[[[[[ [[[[[[[[[[[[SOTA Mission The Society of Typographic ­Aficionados (SOTA) is an international not-for- [[[[[[[[[[[[[[[[ profit organization dedicated to the promotion, study, and support of type, its history and development, its use [[[[[[[[[[[[[[[[ in the world of print and digital imagery, its designers, and its [[[[[[[[[[[[[[[[ ­admirers. [[[[[[[[[[[[SOTA Charter [[[[[[[[[[[[[[[[ The Society of Typographic Aficionados exists for the affordable education of its members and participants; [[[[[[[[[[[[[[[[ to further the development of type, typographical information and typography; and to appreciate on [[[[[[[[[[[[[[[[ multiple levels the attributes of type, typography, design, the book arts, and calli­graphy. [[[[[[[[[[[[[[[[ Furthermore, SOTA is committed to sponsoring relevant topics in pursuit of these goals through an [[[[[[[[[[[[[[[[ annual conference (TypeCon), held in a different host city each year.

[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[Executive Officers Neil Summerour, Positype Chair [[[[[[[[[[[[[[[[ Sharon Oiga, UIC School of Design Vice Chair Delve Withrington, Delve Fonts [[[[[[[[[[[[[[[[ Secretary Mary Catherine Pflug, MyFonts [[[[[[[[[[[[[[[[ Treasurer [[[[[[[[[[[[[[[[[[[[Members of the Board [[[[[[[[[[[[[[[[ Sara Spector Brown, MyFonts Theresa Dela Cruz, Monotype Corey Holms, Corey Holms Design [[[[[[[[[[[[[[[[ Grant Hutchinson, Typostrophe & Butter Label Frank J. Martinez, Esq., [[[[[[[[[[[[[[[[ The Martinez Group [[[[[[[[[[Ex Officio [[[[[[[[[[[[[[[[ Matthew Carter, Carter & Cone James Grieshaber, Typeco Allan Haley, Monotype [[[[[[[[[[[[[[[[ Richard Kegler, P22 Type Foundry David Pankow, Rochester Institute of Technology [[[[[[[[[[[[[[[[ Professor Hermann Zapf [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[ 101 [[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[Theresa Dela Cruz

Theresa Dela Cruz is a font licensing expert with a background in visual communications, music, and ethnic studies. She started her typographic career with FontShop in 2007 as part of their Sales and Support team. She is known for supporting the typo­ graphic community, championing type designers, saying “no”, and for her love of coffee. She currently works at Monotype on their Enterprise Solutions team and creates content for FontShop.

[[[[[[[[[[[Corey Holms

Located in Sequim, WA, Corey Holms has juggled working for large agencies and running a private practice for almost two decades. Focusing on the fields of identity, type and entertainment design, his clients range from small boutiques to large multi-national firms. He has been affiliated with the Society of Typographic Aficionados since 2010, when he designed the identity for the Los Angeles conference, Babel.

[[[[[[[[[[[[[[[[Grant Hutchinson

Grant Hutchinson photographs suburbia, noodles code, accumulates gadgets, and sweats the details in Calgary, ­Alberta. He enjoys black coffee, low- bit electropop, geometric shapes, ­single malt whisky, juggling, and the smell of a freshly tarred roof. A shelf in his office sports a ­Diploma in Visual Arts from the Alberta College of Art & Design (ACAD) and an Emmy Award for his technical work during the 1988 Winter Olympics. He is a partner in Butter Label and currently fills the role of head glyph monkey at both Typostrophe and Fairgoods.

102 [[[[[[[[[[[[[[[[[Frank J. Martinez Frank J. Martinez is founder of The Martinez Group PLLC, a Brooklyn-based law firm specializing in intellectual property protection. A former designer and Design Patent Examiner, Martinez earned a BFA in Fine Art from Pratt Institute in New York and served as Production Director for Landor Associates prior to attending law school. Having worked closely with design professionals for many years in both design and legal capacities, Martinez understands firsthand the business and intellectual property issues faced by designers.

[[[[[[[[[[[Sharon Oiga

Sharon Oiga holds BFAs (Graphic Design & Photography) from the UIC School of Design and an MFA from Yale. At multidisciplinary design firms, she worked for clients such as Motorola, Museum of Contemporary Art Chicago, ACCO Brands, and Fermilab. She is currently an Associate Professor at UIC. Her work is consistently recognized and funded, twice by Sappi Ideas That Matter. She was Programming Co-Chair of the third AIGA FutureHistory Conference, and she is presently co-chairing the STA- Chicago Retreat Conference (Jan 2014). Additionally, she is writing and has recently completed an article for UCDA’s Designer Magazine. She is also allergic to cats.

[[[[[[[[[[[[[[[[[[[[Mary Catherine Pflug

Mary Catherine Pflug works for Monotype as part of the MyFonts foundry support team. This is her third year as a SOTA board member and currently serves as the treasurer and volunteer coordinator. A recent graduate from the honors program at Rollins College, her thesis focused in font sales, marketing, and distribution, and she continues this research in her spare time. Hobbies include: searching for the perfect doughnut, volunteering with AIGA, and cycling.

103 [[[[[[[[[[[[[[[[[[Sara Spector Brown

Sara Spector Brown has a very diverse background, having spent time in graphic and web design, technology education, technical writing, IT management, consulting, system analysis and most recently, supporting and helping foundries with the successful transition of their fonts from designers’ desktops to marketing, licensing and sales presentations on MyFonts. She can be often found trouble-shooting a font issue, chatting up next priorities with co-workers in Woburn, Belgium or Berlin, walking the dog, drinking a large coffee, all while happily singing some new song her teens have been blasting through the house.

[[[[[[[[[[[[[[Neil Summerour

Neil Summerour is a Georgia-based type designer and lettering artist. He’s the founder of Positype, type foundry, and Swash & Kern, lettering studio. Summerour lectures, workshops, draws letters, makes typefaces and lives happily ever after, over and over. He’s won the Type Directors Club Certificate of Typographic Excellence 6 times and was a 2012 recipient of the People’s Choice Award in the Morisawa Type Design competition for his Japanese typeface, Tegaki. His type and lettering work is used by such renowned brands as Oculus, Facebook, Girl Scouts of America, Victoria’s Secret, Revlon, PINK, Good Housekeeping, id Software, David Bowie, BBC, L’Oreal, Panera, Audible, Molson Coors, Colliers International, and ABC.

104 [[[[[[[[[[[[[[[[[Delve Withrington

Delve Withrington has been crafting fonts for 20 years, is a former type designer for FontShop and Monotype and attended Savannah College of Art and Design in the pre-internet era of floppy disks and grunge. Delve creates bespoke type on commission and often collaborating, releases new type through his foundry, Delve Fonts. For SOTA, Delve serves as Secretary, secures sponsors, organizes the Catalyst Award and the TypeGallery. He enjoys painting, science fiction, cooking, and a well-timed pun. Delve lives with his family in Alameda, ­California.

[[[[[[[[[[[[[[[[Acknowledgements

Conference Identity Design: MuirMcNeil

Production & Collateral: Corey Holms, Grant Hutchinson, Christopher Slye

Technology & Communications: Grant Hutchinson, Theresa Dela Cruz

Sponsorship: Delve Withrington, Mary Catherine Pflug

Education Forum: Sharon Oiga, Neil Summerour

SOTA Marketplace: Grant Hutchinson, Corey Holms

Venue: Mary Catherine Pflug, Neil Summerour, Sharon Oiga, Theresa Dela Cruz

Volunteer Coordinator: Mary Catherine Pflug

Workshops: Neil Summerour, Sara Spector-Brown, Theresa Dela Cruz

Typegallery: Delve Withrington

Programming: Neil Summerour, Sharon Oiga, Grant Hutchinson

Audio/Visual Director: JP Porter, Shoot the Moon

105 [[[[[[[[[[[[[[[[Acknowledgements (cont’d)

2016 SOTA Typography Award Judges: Gareth Hague, Sibylle Hagmann, Ian Lynam, Yves Peters, Helen Keyes

SOTA Catalyst Award Organizer: Delve Withrington

2016 Catalyst Award Judges: Erik Marinovich, Joachim Müller-Lancé, Jill Pichotta, Rob Saunders, Steven Skaggs

Prototype Exhibition Organizers: Hrant Papazian, Alex Gilbert, and Delve Withrington, with special thanks to Corey Holms and Grant Hutchinson

Prototype Exhibition Judges: Huda Smitshuijzen AbiFarès, Timothy Donaldson, Joachim Müller-Lancé, Hrant Papazian, and Mariko Takagi, with special thanks to Erin McLaughlin, Krista Radoeva, Meir Sadan, Panos Vassiliou

Diversity Committee Coordinator: Erin McLaughlin

Type Crit: John Downer, Matthew Carter, Akira Kobayashi

Type Walk: Paul Shaw

Type Quiz: Allan Haley

Special Thanks: Laura Worthington, John D. Berry, Civilization, Michael Ellsworth, Molly Derse, Xerxes Irani, Peter Bella, AIGA Seattle, Blanchette Press, Alex Gilbert, Madeleine Holms, Andrea Leksen, Sara Flemming, Nathan Tremblay (Palette Industries)

[[[[[[[[Colophon

Typefaces: TwoLine and TwoPoint type families designed by MuirMcNeil Printing: Blanchette Press, Richmond, British Columbia, Canada

Thanks to Angus R Shamal for providing ARS Maquette for the TypeCon website.

Copyright 2016 The Society of Typographic Aficionados, Inc. All rights reserved. All trademarks contained herein are the property of their respective owners.

106 BOOKERLY At this very instant, you’re performing a miracle: your eyes are scanning a collection of tiny shapes distinguishing green from white and sending signals at blazing speed along your optic nerve to the brain. EMBER In a process almost as old as our species & just as baffling YOUR BRAIN PICKS OUT PATTERNS AMONG THE shapes and decodes them into words, phrases and SENTENCES somehow making sense of it all.

Bookerly + Ember Two custom typefaces comissioned by Amazon for Amazon with over 12,500 glyphs combined.

jobs.amazon.com/design