TypeCon2012: MKE SHIFT · Typefaces for Cockpit navigation Steve Matteson 11:10 A.M. 25 Years of...

Welcome!We’re thrilled you could join us in Milwaukee for our 14th TypeCon conference!

A dedicated team of volunteers has once again worked together to create what we believe to be an exciting and inspiring five-day program.

Working with the Hamilton Wood Type and Printing Museum and the Peck School of the Arts we are able to offer two full days of fascinating workshops offsite, while SOTA continues to show its commit-ment to education with the Education Forum all day Thursday.

Our evening events start on Tuesday with a reception and exhibit of the work of John Downer at Hanson Dodge Creative where we’ll mingle and enjoy some music and lite bites.

Heads of State will inspire us on Wednesday evening and our Keynote Christian Helms on Thursday night will formally kick off the conference. The main con-ference features nearly 40 speakers, the TypeGallery and TDC show will again showcase type and design, and the SOTA store will offer items you won’t want to miss.

For those who have not yet seen Linotype: The Film you’ll be able to join the first Wisconsin showing on Friday night and of course the annual TypeQuiz, Silent Auction and party on Saturday will entertain us all. We’ll end our time together with a taste of Milwaukee at the Milwaukee Public Market on Sunday.

Enjoy the conference and have a great time!

Deb Gonet, Chair Board of Directors The Society of Typographic Aficionados (SOTA)

Pre-ConferenCe Program

TuesdayJuly 31

5:30 P.M. to 7:30 P.M.

Today’s Special: John DownerExhibition & Opening Reception

WednesdayAugust 1

9:00 A.M. to 4:30 P.M.

Pre-Conference WorkshopsFull-Day Workshops: 9:00 A.M. – 4:30 P.M.Morning Workshops: 9:00 A.M. – 12:00 noonAfternoon Workshops: 1:30 P.M. – 4:30 P.M.

5:30 P.M. to 7:30 P.M.

mIaD Typographic Showcase receptionat the MIAD Campus

8:00 P.M. to 9:30 P.M.

The Heads of Stateat the Milwaukee InterContinental Hotel

ThursdayAugust 2

9:00 A.M. to 6:00 P.M.

Pre-Conference WorkshopsFull-Day Workshops: 9:00 A.M. – 4:30 P.M.Morning Workshops: 9:00 A.M. – 12:00 noon

Type & Design education forumat the Milwaukee InterContinental Hotel

7:30 P.M. to 9:00 P.M.

Keynote PresentationChristian Helms

maIn Program Milwaukee InterContinental Hotel

fridayAugust 3

8:00 A.M. Continental BreakfastExhibits & Marketplace Open

8:30 A.M. Opening Remarks

8:40 A.M. from The monotype archivesDaniel Rhatigan

9:25 A.M. Inside ParagraphsCyrus Highsmith

10:05 A.M. Coffee Break

10:30 A.M. The Vista Sans Wood Type ProjectAshley John Pigford & Tricia Treacy

10:50 A.M. What’s our Vector Victor? optimizing Typefaces for Cockpit navigationSteve Matteson

11:10 A.M. 25 Years of german Typefaces, and the revivals Still With UsDan Reynolds

11:35 A.M. filing a Historical Blank: a Conspectus of nineteenth & Twentieth Century Wood TypeDavid Shields

12:15 P.M. Lunch Break

2:00 P.M. engraving and Type, a Beautiful but Somewhat Dysfunctional relationshipNancy Sharon Collins

2:50 P.M. H&fJ’s Landmark: Discoveries in Creating Inline and Dimensional TypeErin McLaughlin

3:10 P.M. Harmonization versus Standardization: The Case of air InuitJean-Baptiste Levée

3:30 P.M. Coffee Break

3:50 P.M. oz Cooper: fitting InIan Lynam

4:40 P.M. SoTa Catalyst award Presentation

5:00 P.M. Sneak Peek: The Sign Painter movie

8:30 P.M. to 10:00 P.M.

Linotype: The film

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maIn Program Milwaukee InterContinental Hotel

SaturdayAugust 4



8:40 A.M. Bustani: a Classic arabic Typeface with Calligraphic featuresPatrick Giasson & Kamal Mansour

9:25 A.M. Learning To Design The Cherokee SyllabaryMark Jamra


10:30 A.M. HTmL5 enabled: responsive Web fontsCraig Kroeger

10:50 A.M. PersonaType: Living Type SpecimensAmy Papaelias

11:10 A.M. Press Checks in the age of Web TypeErik Vorhes

11:35 A.M. mongolian Script: from metal Type to Digital fontJo De Baerdemaeker


2:00 P.M. my Type of BeerRafael Díaz & Ketty Miranda

2:20 P.M. The Daily PangramCraig Eliason

2:45 P.M. Kickstarter Panel DiscussionThomas Phinney


4:15 P.M. rea Irvin: The forgotten face of the new YorkerEmily Gordon

4:35 P.M. mcLuhan, fuller & fiore: an Inventory of electric InformationScott Boms

5:00 P.M. SoTa Typography award Presentation

8:30 P.M. to 11:00 P.M.

The Infamous Type Quiz & Silent auction

SundayAugust 5



9:25 A.M. Hamilton Wood Type & Printing museum PresentationBill Moran & Jim Moran


10:30 A.M. Before the Circus Came To Town: The Prairie Print Shop of andrew KingGillian Mothersill

10:50 A.M. Custom StopAntonio Cavedoni

11:10 A.M. Perception of Typefaces: a Quantitative Visual methodologyBeth Koch

11:35 A.M. mayan Writing reformSteve Ross


1:30 P.M. Tablets and Their Typographic ChallengesRicardo Martins

1:50 P.M. The future of font LicensingStuart Sandler


2:45 P.M. no alternative: The History and Challenges of alternates in the age of Stylistic SetsJeremy Mickel

3:05 P.M. Chromeography: a Brief History of Letters on CarsStephen Coles

3:30 P.M. Technological Shifts and Their effect on Letter ShapesIndra Kupferschmid

4:10 P.M. Closing Remarks

6:00 P.M. to 9:00 P.M.

eat, Drink, and milwaukee!

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Program Details

6 tuesDay July 31st

5:30 P.m. – 7:30 P.m.

Today’s Special: John DownerExhibition & Opening Reception

Presented by Hanson Dodge Creative & AIGA Wisconsin Location: Hanson Dodge Creative, 220 East Buffalo Street

Hanson Dodge Creative and AIGA Wisconsin present an exhibition of grocery special banners, hand-lettered by John Downer. These unique paper signs were originally created for Jack’s Country Store in Ocean Park, Wash-ington and will be available for purchase – all proceeds going directly to the Society of Typographic Aficionados. The exhibition will also showcase a series of smaller, hand-lettered signs commissioned by Hanson Dodge Creative. The signs express off-beat and fun slogans for active lifestyle enthusiasts such as “Get Lost. Enjoy the Outdoors.” The exhibition runs from July 10th through August 10th. This event is open to the public.

WeDnesDay August 1st

WorkshopsAll pre-conference workshops will be held at the University of Wisconsin with the exception of the full-day letterpress work-shops at the Hamilton Wood Type & Printing Museum.

Transportation between workshops and the conference hotel will be provided.

9:00 a.m. – 4:30 P.m.

Workshop Full-Day Sessions

Full day workshops break for lunch from 12:00 P.M. to 1:30 P.M.

Letterpress at the HamiltonBill & Jim Moran

Location: Hamilton Wood Type & Printing Museum, Two Rivers

Two simultaneous workshops will provide attendees with the opportunity to experience letterpress printing in the Hamilton’s 4000 sq. ft. printing studio. Attendees will use Show Card and Vandercook printing presses, plus selected type and printing plates from our collection. In another part of the museum, we will also offer a letter-form cutting workshop. Participants will work with hand presses to create one-of-a-kind letterforms and prints using thin wood veneer and X-acto knives.

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Workshop participants arriving from Milwaukee will be divided into two groups. One group will spend the morn-ing in the pressroom and the other group will be cutting and printing letterforms. Lunch will be provided in the museum. After lunch, the groups will switch workshop sessions. Sessions will be led by Jim and Bill Moran, with help from museum volunteers. The workshops will end at 5:00 P.M. and attendees will return to Milwaukee.

The cost of this workshop includes round trip transporta-tion from the conference hotel to the Hamilton, lunch (a vegetarian option will be offered), and supplies.

Pencil to Pixel: analog Techniques and Digital Practices of a recovering Lettering addictNeil Summerour

Location: University of Wisconsin, Milwaukee

In this day-long workshop, Neil Summerour will share common practices and techniques he uses to both produce unique lettering pieces and digital typefaces – with an emphasis on workflow, decision-making and achieving a balance between the analog and digital world. During the first half of the workshop, partici-pants will dive head first into the not-so-seedy world of lettering arts and get hands-on instruction with devel-oping and visualizing your concept through traditional pre-sketches, choice of media and medium and how to finalize through either analog or digital means. This could lead the participant to play with graphite, ink, sumi brushes, nibbed pens or even lipstick, yep, lipstick. Collective class and one-on-one critiques will yield final directions and an executed piece will develop during the second half of the workshop utilizing techniques of your choosing – wet, dry, nib or mouse (not wet mice, though)

… the choice is yours. Classwork will be featured during live-tweeting and on the Positype website.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Adobe Photoshop CS5 or later; Adobe Illustrator CS5 or later.

Having fun with Blackletter IIVince Mitchell


Vince Mitchell of Mystic Blue Signs presents a full-day, hands-on Blackletter (Gothic) workshop concentrat-ing the most on the majuscules (uppercase). In the 2011 edition, the workshop focused mainly on minuscules (lowercase). This year we will do a shorter session on the minuscules in the first half of the day and then proceed to the majuscule before the break. The latter half of the workshop will focus on the majuscules. There will be a brief discussion of Versals and their use in conjunction with the Gothic hand for beginning a document or as ornamentation. The gothic textura quadrata hand will be our guide. Materials will be provided, but participants are encouraged to bring their favorite broad-edged calligraphic pens.

8 experimental LetterpressCarey Watters


In this workshop we will learn the basics of letterpress printing. We will experiment with color, layering, and imagery using large scale wood type and a variety of antique wood and magnesium cuts (think old school clip art). Everyone will leave the workshop with many prints and a couple of books. We will take our printed paper and turn them into sketchbooks using simple bookbind-ing techniques. This is an “all hands on deck” workshop! Come prepared to collaborate, conspire, and create!

make Your own font with glyphs.appRainer Erich (Eric) Scheichelbauer


This workshop will get you started with Glyphs – “the font editor for the rest of us.” You will start a professional font project and go through all the steps necessary for producing an OpenType font. No type design experience required. Attendees can purchase Glyphs at a discounted price.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Mac OS X 10.6.6 or later; the latest version of Glyphs.app; Adobe InDesign CS5 or later.

9:00 a.m. – 12:00 P.m.

Workshop Half-Day Sessions: Morning

Drawing roman LettersYvette Rutledge


A font can be no better than its parent alphabet. Draw-ing letters forces one to observe them analytically in order to reproduce them. In this hands-on class, we will use pencils to draw Roman capitals, considering how structural variations affect the features of an alphabet or font. Participants will compare weight and shape of strokes and counters, spacing, serifs or their absence, and harmonious interaction of letters as groups.

Primitive TypographyBethany Armstrong


In this workshop, participants will be creating a typeface by only using primitive shapes, circle, square, triangle, dot and line through additive as well as subtractive meth-ods. Each alphabet will be unique, but also conforms to a system the participant devises. Various materials will be explored, as well as a variety of approaches to the systematic creation of the roman alphabet. By the end of the class everyone will have created A–Z and 0–9 and will be encouraged to create a promotional design for their type, using their new typeface.

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1:30 P.m. – 4:30 P.m.

Workshop Half-Day Sessions: Afternoon

Type and BodyBethany Armstrong & Amie Segal


In this class we will explore the creation of typography by using body as inspiration for form. Through experimental exercises we will create letterforms by using the dynamic body in motion, time and space, through impressions made from fingers, toes, arms and elbows, and through the creation of “handmade” stencils. Size, spacial rela-tionships, and how they relate to the human form will be discussed. Participants are encouraged to work collab-oratively. The final works will be in three series: photo-based, cut-paper, and ink on paper.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Adobe Photoshop CS5 or later.

evening Program

5:30 P.m. – 7:30 P.m.

mIaD Typographic Showcase receptionPresented by the Milwaukee Institute of Art & Design Location: MIAD Campus, Main Building River Level, 273 E. Erie Street

The Milwaukee Institute of Art & Design will be hosting an exhibition of their typography work, including a bever-ages and hors d’oeuvres reception for TypeCon attend-ees. MIAD is an easy 10 minute walk from the InterConti-nental Hotel.

This event is open to the public.

8:00 P.m. – 9:30 P.m.

The Heads of StatePresented by the Type Directors Club

Location: Milwaukee InterContinental Hotel

For ten years, Jason Kernevich and Dustin Summers have been working together as The Heads of State for clients as diverse as The New York Times, Starbucks, the School of Visual Arts, Penguin, and bands like R.E.M., Wilco, and The National. Throughout those years they’ve had an up and down relationship with typography. This talk will feature various typographic tales in which our heroes fall in love with letters, rebel against fonts, forsake letterforms to become illustrators, and then beg for forgiveness.

This event is open to the public.

10 thursDay August 2nd

Type & Design education forumSee page 27.

WorkshopsAll pre-conference workshops will be held at the University of Wisconsin with the exception of the full-day letterpress work-shops at the Hamilton Wood Type & Printing Museum.

Transportation between workshops and the conference hotel will be provided.

9:00 a.m. – 4:30 P.m.

Workshop Full-Day Sessions

Full day workshops break for lunch from 12:00 P.M. to 1:30 P.M.

Letterpress at the HamiltonBill & Jim Moran

Location: Hamilton Wood Type & Printing Museum, Two Rivers

Two simultaneous workshops will provide attendees with the opportunity to experience letterpress printing in the Hamilton’s 4000 sq. ft. printing studio. Attendees will use Show Card and Vandercook printing presses, plus selected type and printing plates from our collection. In another part of the museum, we will also offer a letter-form cutting workshop. Participants will work with hand presses to create one-of-a-kind letterforms and prints using thin wood veneer and X-acto knives.

Workshop participants arriving from Milwaukee will be divided into two groups. One group will spend the morn-ing in the pressroom and the other group will be cutting and printing letterforms. Lunch will be provided in the museum. After lunch, the groups will switch workshop sessions. Sessions will be led by Jim and Bill Moran, with help from museum volunteers. The workshops will end at 5:00 P.M. and attendees will return to Milwaukee.

The cost of this workshop includes round trip transporta-tion from the conference hotel to the Hamilton, lunch (a vegetarian option will be offered), and supplies.

Don’t Dog ear Your Books: Letterpress Bookmark makingN. Adam Beadel


Utilizing the collection of type and ornaments available at the UW-M letterpress studio, students will type set and print their own 2-color bookmarks. Skills covered

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will include: letterpress terminology, use of pica and composition sticks, setting up a form, use of California job case, proper printing technique with the Vandercook SP-15, and general discussions of typography as it relates to letterpress.

Switching to glyphs.appRainer Erich (Eric) Scheichelbauer


This workshop is intended for people with prior experi-ence in applications such as FontLab or Fontographer. Topics covered include exporting Fontlab projects into Glyphs, differences in the workflow, how to radically boost your efficiency with Glyphs, and nifty things you can do in Glyphs that you cannot do in any other soft-ware. Bring your own fonts! Workshop participants can purchase a full version of Glyphs at a discount price.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Mac OS X 10.6.6 or later; The latest version of Glyphs.app; The latest version of UnicodeChecker; Adobe InDesign CS5 or later.

9:00 a.m. – 12:00 P.m.

Workshop Half-Day Sessions: Morning

Using adobe InDesign to Create Beautiful TypographyJames Fritz


With the rapid release of software and technology many find themselves unaware of advances in type manipula-tion and design. In this session, you’ll learn practical tips for achieving consistently beautiful typography. We’ll cover topics such as selecting and manipulating type-faces, the anatomy of type, the proper use of white space and break characters, using special glyphs and ligatures, using the story editor, every type of style that you can imagine, plus tips and much more.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Adobe InDesign CS5 or later.

Web Typography now!Jason Cranford Teague


Typography on the web has undergone a Renaissance in the last few years with the advance of web fonts, allow-ing you – at least in theory – to choose from any font you could use in print. Web typography expert Jason Cranford Teague will lead you through recent advances in technology, helping you apply your own design skills to the medium. He starts with a quick review of the basics, and then goes into how to choose the best fonts

12for screen display, helping you understand the new web font service bureaus that simplify the process of finding and deploying fonts.

Requirements: Workshop attendees must bring their own laptops with the follow pre-installed software: The most recent versions of popular web browsers; HTML editing software (Coda, Dreamweaver, Espresso, or similar).

Type and the Identity of Public TransportationRafael Díaz & Ketty Miranda


Public transportation is a vital part of a city’s imagery. And the bus has for a long time been the best example of this; especially in Latin America where other forms of mass transit like subways and elevated trains are rare. Workshop attendees will get a sense of how buses look in Colombia. Of how each route has its own identity and how the driver has a say in how his bus looks. The result will be scaled paper toy bus reflecting a city in its places, names, imagery and visual identity through a borrowed aesthetic.

evening Program

7:30 P.m. – 9:00 P.m.

Keynote PresentationChristian Helms

Presented by AIGA Wisconsin & SOTA

We are very excited that creative powerhouse Christian Helms will be presenting this year’s keynote address. Christian owns and operates Helms Workshop, a design and brand development studio in Austin, Texas. He’s also co-owner and creative director of Frank and Standard Grit Textiles.

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main ProgramMilwaukee Intercontinental Hotel

FriDay August 3rd

8:00 a.m.

Continental Breakfast Exhibits & Marketplace Open

8:30 a.m.

Opening Remarks

8:40 a.m.

from The monotype archivesDaniel Rhatigan

Monotype Imaging’s UK office, based on the same site as the company’s former factory in Salfords, Surrey, holds a rarely seen stockpile of typographic history: the complete archives of British Monotype’s drawing office, document-ing its activities from 1897 onwards. Taking a look at an assortment of original artwork, master pattern drawings of the typefaces, technical documentation, and other ephemera from this archive, this presentation will show how a close look at the details of primary-source mate-rial reveals many layers of stories about the development of type in the 20th century.

9:25 a.m.

Inside ParagraphsCyrus Highsmith

A paragraph of printed text is where typography started from. Since then typography has evolved in all sorts of directions, some times leaving printing behind entirely. However, understanding what goes on inside a paragraph of printed text is still a solid foundation for strong typographic education. With this in mind, Cyrus Highsmith wrote the book, Inside Paragraphs: Typographic

14Fundamentals. It explains what goes on inside a para-graph of text, including how type works, how we read, and how the typographer works with different kinds of space within a paragraph. In this presentation, he will explain how and why he did it.

10:05 a.m. COFFEE BREAK — sponsored by Microsoft

10:30 a.m. TYPE IN 20

The Vista Sans Wood Type ProjectAshley John Pigford & Tricia Treacy

The Vista Sans Wood Type Project is a highly collaborative and experimental pursuit involving the creation of wood type of the Vista Sans typeface with a purpose-built CNC router and the dissemination of this type to the studios of 21 international artists, designers, printmakers, and letterpress operators with the intention of creating 38 sets of prints reflective of the post-digital and multidis-ciplinary nature of contemporary, collaborative artistic practice. Each participant received five letters of the same word: “touch” and 50 sheets of paper.

10:50 a.m. TYPE IN 20

What’s our Vector Victor? optimizing Typefaces for Cockpit navigationSteve Matteson

The history of cartography is a vast and complex story of calligraphy, illustration, iconography, typography, and now GPS technology. From Ptolemey’s famous

“Geographia” written in the year 150 AD to OnStar Turn-by-Turn navigation the once sacred art of cartography can be enjoyed on any family vacation from the seat of a rental car. However, aircraft pilots still lumber aboard jumbo jets carrying a suitcase full of paper approach charts, maps and other critical information about their flight plan. Steve Matteson worked with an industry leading producer of aviation charts as they adapted typefaces to best display this complex information on screen and print. The resulting comparative readability studies involving professional pilots produced satisfying

During TypeConBrian Hart, 3rd generation engraving pressman, will demonstrate a vintage press used to proof 1/2" thick engraved steel dies used in the engraved stationery industry for more than one hundred years. Nancy Sharon Collins will pretend to be Vanna White and help him.

Bill and Jim Moran of Hamilton Wood Type will give printing demonstrations on proofing presses during the conference. Using decorative, historic blocks, they’ll create colored prints for attendees to take with them. Printing blocks used come from Hamilton’s Globe Collec-tion, showing hand carved advertising and entertain-ment pieces from the ’30s, ’40s and ’50s.

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evidence for improved performance in next generation aviation charts. Heads up display panels, tablet comput-ers and iPads are the future of aviation and this project was a large step in advancing safety and accuracy in cockpit navigation.

11:10 a.m. TYPE IN 20

25 Years of german Typefaces, and the revivals Still With UsDan Reynolds

Around 1890, as Industrial Design formed into a profes-sion, German foundries began hiring external artists to create their new typefaces, instead of developing these in-house. By 1914, the type design profession was estab-lished. A virtual Schriftmania seems to have arisen: not only was new type more popular with printers than ever, but calligraphy was added to art school curricula, and the Blackletter/Roman question was even debated in parlia-ment. Today, we still use several designs from this period, including Akzidenz-Grotesk, Korinna, and Venus. Other gems are due for a comeback, like Nordische Antiqua or Breite Grotesk (FF Bau).

11:35 a.m.

filing a Historical Blank: a Conspectus of nineteenth & Twentieth Century Wood TypeDavid Shields

This main conference program presentation reports on the current state of my research project, the Conspectus of Nineteenth and Twentieth Century Wood Type. The new body of research grows out of my previous work cataloging the Rob Roy Kelly American Wood Type Collec-tion. The substantial work of correcting and updating the inadequate or inaccurate historical information for the types in the Collection has provided the groundwork for this much larger and more ambitious project. Initial phases of the work on the Conspectus include expanding the existing bibliography of known wood type specimen catalogs, indexing the contents of the specimen books and greatly expanding the known wood type manufac-turers of the 20th century.

12:15 a.m. LuNCH BREAK

2:00 P.m.

engraving and Type, a Beautiful But Somewhat Dysfunctional relationshipNancy Sharon Collins

This presentation will explore a chronology of how commercial engravers have interacted with more tradi-tional typographic communities – such as type foundries and publishing houses – and how these relationships are mutually beneficial. Examples will include: Introduc-tion to Hart Engraving – how a small engraving press currently functions; the process through which Steve Matteson and Terrance Weinzierl, Monotype Imaging,

16created two fonts from historic engravers’ lettering styles; how digital media exponentially changed the technology, and appearance, of legal stationery and branding; how, according to the 1923 American Type Founders Company catalog, ATF blatantly copied traditional engravers’ styles to stimulate new markets. Mr. and Mrs. Brian Hart own and operate Hart Engraving, the third generation Milwau-kee engraving press founded by Brian’s grandparents almost a century ago. Brian will talk about the challenges of maintaining a small engraving company, and demon-strate a hundred year old engraving proofing press that he can continue to operate at various times throughout the conference.

2:50 P.m. TYPE IN 20

H&fJ’s Landmark: Discoveries in Creating Inline and Dimensional TypeErin McLaughlin

How do you kern an invisible letter? What happens when shadows overlap? How do you inline-ify an outline? This presentation will highlight the unexpected amount of tears, trickery, and trompe l’oeil involved in creating

“Landmark”, a new typeface release by Hoefler & Frere-Jones. Regular, inline, shadow, and dimensional – four well-known approaches in display type, which were finely tweaked to improve upon the results of purely mathematical extrusions. For example: Weight issues with legal symbols and other small characters; alterations to overshoots and shadow direction angles; creating .alt versions of letters to eliminate shadow overlap problems.


Harmonization versus Standardization: The Case of air InuitJean-Baptiste Levée

Air Inuit is an airline company operating in the Cana-dian Great North. In 2011, a rebranding was initiated that implied the design of a custom typeface family. The Air Inuit rebranding project started with the following ques-tion: how to communicate efficiently in three languages and two scripts? How to preserve cultural sensibili-ties whilst retaining the essential need for consistency? during this presentation, various aspects of a multicul-tural typeface design project will be equally discussed: brief analysis, client relationships, work process, tryouts, failures, and successes.

3:30 P.m. COFFEE BREAK — Sponsored by Typekit

3:50 P.m.

oz Cooper: fitting InIan Lynam

The presentation is on the life and work of Oswald Bruce Cooper, the designer of Cooper Black and many other popular American typefaces. The presentation will high-light a large amount of Cooper’s development for his typefaces including a wide array of early sketches and

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press proofs, little-known history about his life, and wrap it all up in cultural context that helps to place Cooper as a designer, writer and educator in the continuum of American proto-Modernism. This will all be backed up by a wide variety of images of little-seen work of Cooper’s.

4:40 P.m.

SoTa Catalyst award PresentationThe Society of Typographic Aficionados will present Niko Skourtis with the 2012 SOTA Catalyst Award for his achievements and future promise in the field of typog-raphy. Niko will provide a presentation of his work, enti-tled Typograph. The result of his undergraduate graphic design thesis at California College of the Arts, Typo-graph is an interactive database cataloging thirty years of typography. Typograph presents each typeface that appears in the Type Directors Club annuals and their frequency through various interactive platforms that offer perspective, insight, and context. They range from an interactive chart that displays hard data for each type-face, a dynamic image-based timeline to view the type in context over the years, to a visual built with Process-ing that offers a more atmospheric overview on the past thirty years of typography.

5:00 P.m.

Sneak Peek: The Sign Painter movieStick around after the Catalyst Award presentation for a preview of The Sign Painter Movie. This independently produced documentary film co-directed by Faythe Levine and Sam Macon is due for release later this year.

evening Program

8:30 P.m.

Linotype: The filmPresented by uW Peck School of the Arts, SOTA, and Typekit

At the Milwaukee InterContinental Hotel

We are pleased to present the Wisconsin premiere of this feature-length documentary centered around the Linotype type casting machine. Called the “Eighth Wonder of the World” by Thomas Edison, it revolution-ized printing and society. The film tells the charming and emotional story of the people connected to the Linotype and how it impacted the world.

18 saturDay August 4th

8:00 a.m.


8:30 a.m.

Opening Remarks

8:40 a.m.

Bustani: a Classic arabic Typeface with Calligraphic featuresPatrick Giasson & Kamal Mansour

Early in the twentieth century, Amiryyah Press in Cairo was esteemed in the Arab world. Its Naskh typeface, rich in repertoire, was considered a paragon of Arabic text typography. Inspired by this model, we set out to create a new typeface that pays tribute to it while surpassing its hot-metal limitations. We labored to create Bustani, a font that is fluid and rich in calligraphic forms, yet still directly useable in OpenType-compliant applications. Bustani offers calligraphic Naskh style to a broad range of users, while staying within the bounds of pragmatic typography.

9:25 a.m.

Learning To Design The Cherokee SyllabaryMark Jamra

A presentation about the issues and questions that arise when designing non-alphabetic forms that lie outside a designer’s experience. How do the history, function and particulars of the Cherokee syllabary affect a type designer’s understanding of typographic communica-tion? Do any of the characteristics of the contemporary, multi-font family actually apply to a syllabary with such a unique history and purpose? This will be a personal account of the lessons being learned from a challenging project that’s leading to new typographic forms for this particular language.

10:05 a.m. COFFEE BREAK — Sponsored by MyFonts

10:30 a.m. TYPE IN 20

HTmL5 enabled: responsive Web fontsCraig Kroeger

With great power, comes great responsibility. This presentation will explore how a mobile first, responsive web design approach can be enhanced with web fonts. Topics to be covered include flexible grids, media queries, and web font deployment options. Focus will be placed on type optimized for mobile devices.

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10:50 a.m. TYPE IN 20

PersonaType: Living Type SpecimensAmy Papaelias

PersonaType: Living Type Specimens is an experiment in web typography that makes auditory and visible the emotive qualities of type. Through the magical wizardry of web fonts, CSS3 animation and a few sweet jQuery plugins, these “living” type specimens allow users to watch/listen to text speak/move, demonstrating the personified characteristics of a typeface. The project serves as an experimental prototype to model future methods for exploring the kinetic experience of web fonts, screen readers and voice recognition software. This presentation will include an explanation of the process for developing the site, a live demonstration of the PersonaType website and participation from a brave audience member to “record a specimen.”

11:10 a.m. TYPE IN 20

Press Checks in the age of Web TypeErik Vorhes

With the proliferation of webfonts over the past few years, the demands on web designers have increased. Instead of having a handful of typefaces from which to choose, a designer is faced with thousands of options, from more than a dozen sources. While this embarrass-ment of riches feels like the best thing to happen to web design since embedded images, not all webfonts are created equal. A wrong choice can doom a design. This presentation will discuss the challenges that webfonts present designers and web users and offer a practical approach to prevent the worst of them.

11:35 a.m.

mongolian Script: from metal Type to Digital fontJo De Baerdemaeker

This presentation introduces De Baerdemaeker’s postdoc-toral research project at the Department of Typography & Graphic Communication, University of Reading (UK). De Baerdemaeker’s research investigates the develop-ment of Mongolian writing practices and printing types, adopting a methodology tested in his work on Tibetan typeforms, and offers practice-oriented guidance for the design and development of new digital fonts for the Mongolian script. He will clarify the main objectives of the project and will highlight the descriptive framework that he developed for communicating about Mongolian typefaces. The talk will be supported by original and rare material especially collected for the project’s database.

12:15 a.m. LuNCH BREAK

20 2:00 P.m. TYPE IN 20

my Type of BeerRafael Díaz & Ketty Miranda

Beer has always been the most consumed drink in Colombia. Today, it’s a huge part of its collective identity; even to those who don’t drink it. It’s an important part of celebrations and sports; being a major sponsor of both. Bavaria, the nation’s biggest industrial brewery, is also the oldest and most influential company in Colombia. Through a tour along its beer labels, the recent history of a country and its people emerges. From the first signed and hand-drawn label of Bavaria Bogota, to the Helvetica-only designs of Bogota Beer Company.


The Daily PangramCraig Eliason

Type designers just love a-z idioms like ‘the quick brown fox…’ That sentence not only describes pangrams, but is a pangram itself, as it contains every letter of the alpha-bet. Pangrams have long been a useful tool for test-ing or exhibiting typefaces. In 2008 Craig Eliason began authoring original pangrams and publishing them every weekday on his Daily Pangram blog, which in January hit number 1,000 and is still going. Eliason will explain some of the history of the pangram, give a behind-the-scenes look at the Daily Pangram, and share some of his favor-ites from over four years of pangrams.

2:45 P.m.

Kickstarter Panel DiscussionModerator: Thomas Phinney (Cristoforo)

Panel: Jeremy Dooley (Chatype), Marcelo Magalhães Pereira (Londrino/Folk), Matt Griffin (Letterpress Wood Type Fonts)

Are we witnessing the rise of a new model of fund-ing font development? Many type designers have tried Kickstarter to “crowdsource” font funding; we can learn from their collective experience. How does it work? Does it work for type design? What are the main factors in successfully funding a typeface? Why do some succeed and others fail? How important has been the backing of Google Web Fonts, and how has Kickstarter worked for proprietary (rather than open source) fonts? How will it impact the financial and aesthetic future of type design? Thomas explains Kickstarter and discusses the results of his surveys and interviews; the panel discusses their Kick-starter font funding experiences and what they learned.

3:55 P.m. COFFEE BREAK — Sponsored by Frank Martinez


rea Irvin: The forgotten face of the new YorkerEmily Gordon

From its debut issue in 1925, The New Yorker’s striking typeface and graphical covers were as much the maga-zine’s signature as its witty and sophisticated prose. Thank Rea Irvin, the magazine’s first art editor, a seasoned

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bon vivant who educated founding editor Harold Ross about art, designed monocled mascot Eustace Tilley, and drew hundreds of covers (many of which featured playful type treatments) and illustrations. As for the oft-pirated

“Irvin type” – so iconic it’s an instant stand-in for High Class – it has a backstory that spans continents, art forms, and centuries, and puts Irvin in a fascinating new light.


mcLuhan, fuller & fiore: an Inventory of electric InformationScott Boms

Considered to be one of the great thinkers of the last century and “the oracle of the internet age,” McLuhan’s work is often cited as being almost incomprehensi-ble to anyone outside the academic world. But when viewed through the lens of the artist and the designer, his writing, supported by a unique group of collaborators, including designer Quentin Fiore, designer/artist Harley Parker, and poet Wilfred Watson, is carried to another level. While none of his books were directly about design, they have largely become inseparable from it. This brief talk will explore how a cinematic, mosaic approach around McLuhan’s writing transformed often confusing and opaque concepts into international best-sellers, and ushered in an entirely new category of books.

5:00 P.m.

SoTa Typography award PresentationThe Society of Typographic Aficionados will present the 2012 SOTA Typography Award to this year’s recipient.

evening Program

8:30 P.m. – 11:00 P.m.

The Infamous Type Quiz & Silent auctionPresented by Monotype Imaging

It’s time to put on your typographic thinking cap. This year’s brain-bending shindig will feature delicious desserts, refreshing cocktails, and the (in)famous Type Quiz with your host and quizmaster Allan Haley. It prom-ises to be a night filled with trivia, laughter, and some good eats.

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8:30 a.m.


9:15 a.m.

Opening Remarks

9:25 a.m.

Hamilton Wood Type & Printing museum PresentationBill Moran & Jim Moran

Our talk will encompass wood type design and it’s rela-tionship to the historical processes used to manufacture it. Beginning with Darius wells in 1828 and culminating with Hamilton Wood Type’s rare 1906 specimen book we’ll trace the development and aesthetics of wood type design. We’ll also examine the design modifications made by subsequent type makers who regularly stole patterns from each other. Finally we’ll discuss the demise of the company that was once Hamilton Manufacturing. Showing the last of the Hamilton employees and a heri-tage of craftspeople in Two Rivers, Wisconsin that goes back five generations.

10:05 a.m. COFFEE BREAK — Sponsored by Monotype Imaging

10:30 a.m. TYPE IN 20

Before the Circus Came To Town: The Prairie Print Shop of andrew KingGillian Mothersill

From seeding until harvest early 20th century Canadian farmers hoped that their crops would prosper. Although farm life was busy, summer entertainments such as the arrival of the circus were highly valued. Before the Circus Came to Town looks at the growth of a prairie printer in the small town of Rouleau, Saskatchewan (known as “Dog River” in CTV’s television show “Corner Gas.” Andrew King’s print shop became a central point for printing circus posters for many north American venues. This presentation will describe life in the print shop and explore the speaker’s family connection to Andrew King.

10:50 a.m. TYPE IN 20

Custom StopAntonio Cavedoni

From fast cars to Star Trek, Stop by Aldo Novarese is a typeface one can’t forget. Under those future-of-the-past shapes lies the perfect logo-making machine – by design. But what makes it so successful? Why is it such a ubiq-uitous and universal design? Unlock the secrets of the Custom Stop, let it guide you to a galaxy far, far away…

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11:10 a.m. TYPE IN 20

Perception of Typefaces: a Quantitative Visual methodologyBeth Koch

There are virtually no rules to empirically interpret the meaning inherent in typeface designs – people intui-tively decipher typefaces (Van Leeuwen, 2005). Termi-nology, methods, and scales used in typeface percep-tion research have been inconsistent. Recent scientific findings provided evidence about the role of emotion in visual processing, suggesting an alternative approach for design research. An animated interactive survey, PrEmo™, validated in product emotion research (Desmet, 2002) was adopted to collect emotion response to typeface samples. Paired t-Tests (α=.05) compared one typeface design’s features to another. The resulting quantitative approach proved a successful method for evaluating emotion response to visual design features.

11:35 a.m.

mayan Writing reformSteve Ross

An estimated 7.5 million Maya currently inhabit southern Mexico and Central America, and approximately 2 million of these speak Mayan languages. As a people, the Maya remain alive and well, although they will be forever linked to the grandeur of their ancient civilisation. One of the Maya’s greatest accomplishments was the original logosyllabic writing system the employed to record their ancient history. At the time of conquest, however, the use of such writing was forbidden, (nearly) all recorded histories were burned, and the Maya were forced to adopt the Latin alphabet to write their own language. This presentation aims to provide an analysis of both hieroglyphic and alphabetic writing systems, and also the crucial bridging process that permitted such a switch. This process remains one of the least studied facets of Maya research, and provides crucial insight into the current state of the written Mayan languages. Analyzing both social context and both writing systems will provide attendees with a greater appreciation of the magnitude of this writing reform.

12:15 P.m. LuNCH BREAK

12:45 P.m.

Type CritJohn Downer, Akira Kobayashi & Roger Black


Tablets and Their Typographic ChallengesRicardo Martins

Tablet devices have forced designers to “MKE A SHIFT” in the way they think about the layout and typography. In the printed matter, pages flow side by side. In tablets, they flow vertically. In print, the designer fully controls the final layout. In tablets, the user is who gives the

24last word. So, what are the implications for the design and typography? Liquid layouts? Liquid type? Parallax scrolling and text independent of the background? The purpose of this presentation is to discuss the challenges that the publication in tablets brings to typography. And how we could think less about limitations in digital layout and focus more on typographic new interactions that are emerging from them.

1:50 P.m.

The future of font LicensingStuart Sandler

Regardless if you’re a font creator, font reseller or font buyer, licensing is confusing! Font licensing has a very specific purpose and must satisfy not just the buyer, but the seller and the laws that enforce it, yet it’s the last thing folks think about during a font purchase. We’ll look at the history and evolution of the modern day font license and deconstruct how it works and affects all aspects of the font business as needs change over time. Whether you’re a font buyer trying to understand what you can and cannot do with the fonts you just purchased or a font designer responding to customers looking to expand their licensing, we’ll explore every angle in the mobile “cloud” age and beyond looking at the future of font licensing from the perspective of our distributor-ship Font Bros and as the creator and manager of the Font Diner library.

2:30 P.m. COFFEE BREAK — Sponsored by SOTA


no alternative: The History and Challenges of alternates in the age of Stylistic SetsJeremy Mickel

Stylistic Alternates have been a mainstay of the typo-graphic palette since the days of metal and photo type. In early digital type, alternates were placed in underused character slots, which had advantages and disadvantages. OpenType has made rich typographic options available to designers, but most features remain unused because they are difficult for designers to access. This talk will examine the history and future of Stylistic Alternates, including new ways that type designers are approaching the challenges of OpenType accessibility.


Chromeography: a Brief History of Letters on CarsStephen Coles

Stephen will talk about the Chromeography project, an online archive of chrome lettering affixed to vintage automobiles and electric appliances. These unsung metal emblems and badges are usually overlooked, forgotten, damaged, lost to time or the dump. Chromeography.com answers (and poses) questions about how and why

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these little pieces of typographic art have changed over the years. It also showcases the kind of thematic curation that has only become possible in a social/digital world.

3:30 P.m.

Technological Shifts and Their effect on Letter ShapesIndra Kupferschmid

Throughout typographic history there have been many technological developments that had a large influences on the design and production of typefaces – from the earliest attempt to standardize type via various typeset-ting systems to our output devices of today. Some classic typefaces have been subject of several reworkings over time. Initially for my research about Neue Haas Grotesk and Helvetica I dug deeper into typesetting and print-ing technology and compared letter shapes throughout several incarnations of a typeface.

4:10 P.m.

Closing Remarks

evening Program

6:00 P.m. – 9:00 P.m.

eat, Drink, and milwaukee!Presented by the Society of Typographic Aficionados

Milwaukee Public Market, 400 North Water Street

Wind down with your conference comrades at the magnificent Milwaukee Public Market for an evening of casual hobnobbing, musical entertainment by guitarist Cole Heinrich, and a taste of some of Wisconsin’s finest noshes and libations. The market and its vendors will be serving up a tasty sampling of beer, wine, regional cheese, sausage (of both German and Polish persuasion), and a few other treats.

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tyPe & Design eDucation ForumMilwaukee Intercontinental Hotel

thursDay August 2nd

In conjunction with TypeCon2012, SOTA will be presenting its seventh annual Type & Design Education Forum, a day of special programming devoted to addressing the pressing needs of design educators.

Recasting Typography Education

We seem to be at a crossroads in typography education. Princi-pally taught as a stepchild of graphic design until now, typogra-phy has come into its own in the real world as systems for deliv-ering information rely on excellent meta- and micro-typography for their success among users. What skills do students need to be successful professionals in this newly defined field? How does this technology revolution affect curriculum and teaching methodology? And not of least interest, where does the swelling interest in traditional book arts fit into the big picture?

9:00 a.m.

Welcome

9:05 a.m.

redefining Typographic Teaching for Shiny PlanesGerry Leonidas

Gerry offers a model for design education focused on typographically-rich environments on tablets, mostly. He will talk about teaching the combination of para-

28graph-level typographic skills, information architecture, and interaction design required for designing complex documents like newspapers on small tablet screens.

9:45 a.m.

Beyond the Book – The Library of the futureJay Rutherford

Contemporary libraries and design education are both in a state of flux. The project “Beyond the Book – the Library of the Future” involved students and teachers from our Media and Design faculties, as well as library staff and external assistants. Jay will talk briefly about teaching methods, then will show a few of the ideas the students came up with. These include a pop-up reading space, iPad apps, some reading research, and even a couple of traditional books.

10:10 a.m.

a Pedagogical flip: Teaching Typographic Complexity to Introductory StudentsKathleen Meaney & Matthew Peterson

Showcasing the work from their introductory typogra-phy course, Kathleen and Matthew address the issues of teaching diverse media and complex tasks (multi-page layout, style sheets, web design, etc.) early on – as a pedagogical inversion – and the importance of balancing assignments in process, length, and output.

10:30 a.m. COFFEE BREAK

10:50 a.m.

Students as rasterizersCraig Eliason

This assignment teaches students about the techni-cal issues of low-resolution typography and hinting, a grasp of which is indispensable for understanding digital typography. It does so by putting them in the position of “rasterizer” — asking them to consider how continu-ous outlines should be translated into binary pixels. Using pens and gridded index cards, students fill in squares to approximate assigned letters from a variety of type styles.

11:10 a.m.

Type Design Pedagogy: Blending Practice, Theory, and HistorySumner Stone

The teacher of Type Design is faced with transmitting a very diverse skill set. The fundamentals of letter drawing and formal writing should be acquired using various tools ranging from the pencil to complex computer software. Typefaces and typeface families should be understood as nested systems. A familiarity with former forms and their contexts is needed to provide the foundation for sensi-

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ble expansion and continuation of the art. Sumner will describe an integrated approach to teaching all of these subjects simultaneously.

11:30 a.m.

a Spacing exerciseJohn Downer

John will show a simple exercise to help type design-ers and typographers space shapes such as majuscules consistently. By evaluating and comparing areas of nega-tive space, practitioners learn to improve the way a word is structured.

11:50 a.m.

Q&A – all morning speakers

12:10 P.m. LuNCH BREAK

2:00 P.m.

Shifting from micro to macro: an approach to Teaching TypographySharon Oiga & Guy Villa

Traversing from Beginning Typography to Advanced Typography, students follow a trajectory of learning that examines single letters, then words, then sentences, and then essays; they progress from creating letterforms on a page (small format) to designing posters (large format), to online book publishing (multiple-page format). This path and structure of teaching typography is currently being trialed and practiced at two widely different schools in Chicago.

2:30 P.m.

Type Design 101: Creating a Design Based on Vernacular LetteringDan Reynolds

Students begin this workshop by photographing pre-dig-ital signage and inscriptions, and then vectorizing a set of letters. Their next steps are to expand these charac-ter sets, creating the kernels of new typefaces. Working from found elements in the visual environment proves a powerful method for reinforcing the understanding of basic elements, like rhythm, proportion, and repetition.

2:50 P.m.

fun, games & grueling TypographySteve Bardolph

An assignment using popular music and simple game play to teach students to trust their intuition and hone their skills with kinetic, phonetic, and concrete graphic poetry; expressive typography with an interactive twist, including smartphones and quick response codes.

3:10 P.m. COFFEE BREAK

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a Typographic/que experimentNathalie Dumont & Will Hill

Designing a bilingual poster/program for a fictitious typography conference. This joint assignment for intro-ductory-level students was conceived by Nathalie and Will after last year’s Education Forum. For a period of five weeks, 79 students on both sides of the Atlantic worked with raw text to design a poster-programme for a ficti-tious ‘dream’ typography conference. Nathalie and Will reflect on their teaching methods and show student results.

3:50 P.m.

Teaching american Style education in KuwaitBethany Armstrong & Maryam Hosseinnia

As educators at an American university in Kuwait Bethany and Maryam are challenged to connect with students despite language barriers and cultural differences. How do they engage students in the creative process, address design in a language/culture that is not their own, and remain flexible to allow for the cultural exchange of ideas?

4:10 P.m.

TypeCon2012 Identity: experimenting with a Student Design TeamJulie Spivey

SOTA collaborated with students for the first time to develop the identity for this year’s TypeCon. Julie will describe the process of guiding a team of six University of Georgia undergraduate students who worked on the identity design.

4:30 P.m.

Q&A – all afternoon speakers

4:50 P.m.

Closing Remarks

sPeaker inFormation

32 Bethany armstrongAmerican university of Kuwait

Bethany Armstrong, MFA from the School of the Art Institute of Chicago, has been part of art and design exhibitions in the USA and China since 1995. Presently an Assistant Professor at the Amer-ican University of Kuwait she teaches Graphic Design in both segregated as well as mixed-gen-der classes, engaging her students in learning to communicate through typography and image making. In her professional practice she uses both art and design, and works collaboratively with colleagues and clients for performance, installa-tion, exhibition, and applied design.

Steve BardolphDepartment of Art & Design, university of Minnesota, Duluth

Steve Bardolph is an assistant professor and typography area chair in the Department of Art & Design at the University of Minnesota Duluth with 18 years of teaching experience. He is fasci-nated by the extraordinary beauty in every-day life, by the touch of the sublime within the mundane, and continually challenges himself to find ways to capture and express this day-to-day grandeur using conventional tools in innovative ways. His immersive photographic and design panoramas, posters, presentations, books, and an interactive card game have explored the topic in various exhibitions and lectures in North America, Hungary, Italy, and Turkey.

Scott BomsFacebookscottboms.com

Scott Boms is an award-winning cross-disci-plinary designer with a penchant for typography, sketching, taking photos, reading, drinking coffee, and savouring a fine single malt. A newly minted member of the Communication Design team at Facebook, one fourth of Butter Label, and a part-ner and design lead for Ligature, Loop & Stem, he’s also in the midst of developing an exhaustive online historical archive of the work of Marshall McLuhan for the McLuhan Estate. He also likes hats.

antonio CavedoniApplecavedoni.com

Antonio Cavedoni is a type designer and engineer living in in California. His obsession for letters made him forego a career in web design and development in Italy to study typeface design at the University of Reading in the U.K. Now the obsession has turned into his main occupation so naturally he’s busy figuring out what will distract him next.

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Stephen Colestypographica.orgfontsinuse.com

Stephen is a writer and typographer living in Oakland and Berlin. After six years at Font-Shop San Francisco as a creative director, he now publishes the websites Typographica, Fonts In Use, and The Mid-Century Modernist. Stephen is also a columnist (with Paul Shaw) for Print maga-zine, a Type Camp instructor, and a member of the FontFont TypeBoard.

nancy Sharon CollinsLoyola Community College

Nancy Sharon Collins is stationer, graphic designer, AIGA New Orleans special projects direc-tor, Delgado Community College instructor and graphic design history adjunct teacher at Loyola Community College in New Orleans, Louisiana. Her upcoming book, The Complete Engraver, with a forward by Ellen Lupton and special illustrated essay by Marjorie B. Cohn, Carl A. Weyerhaeuser Curator of Prints, Emerita, Harvard Art Museum, will be published by Princeton Architectural Press Sept./Oct. of this year. Currently she is the south Louisiana reporter for Neenah Paper Against the Grain, a contributing editor to Mohawk Fine Paper Felt & Wire and AIGA Voice.

Jo De BaerdemaekerSint-Lukas Brussels university College of Art and Design

Jo De Baerdemaeker is a Belgian typeface designer and researcher. He holds a PhD in Typography & Graphic Communication from the University of Reading and an MA in Typeface Design from the University of Reading. His interests are designing, researching and writing about world script type-faces and multilingual typography. He is elected board member and the ATypI Country Delegate for Belgium, and currently teaches in the Depart-ment of Typography & Graphic Communication, at the University of Reading and in Sint-Lukas Brussels University College of Art and Design, and in the KASK School of Arts in Gent. In May, 2011, he started his postdoctoral research fellowship on

“Mongolian script: from metal type to digital font” at Reading.

34 rafael Díazuniversidad Autónoma del Caribe

Graphic Designer and Architect from Universidad Jorge Tadeo Lozano (Bogotá, Colombia). Associ-ate Professor and International Affairs Coordinator for the Graphic Design Program at Univerdidad Autónoma del Caribe (Barranquilla, Colombia). In charge of the Layout, Typography and Informa-tion Design Workshops. ELLIPSIS Research Lab Leader. Main Researcher for “Ícono como medio de apropiación e identidad cultural” (Icon as mean for cultural appropriation and identity) and “Suerte Gráfica” (Graphic Luck) research projects. Member of the Editorial Committee for the Arte&Diseño magazine.

Jeremy DooleyOwner, insigneinsignedesign.com

Jeremy Dooley is the owner of insigne™, a Chattanooga, Tennessee-based typeface design company that prides itself on its diverse typeface library. A world traveler, Jeremy grew up in Europe and the Middle East and has traveled extensively to (and gained inspiration from) other areas including Kenya, Nepal, India, and Korea. Jeremy graduated with his master’s degree in graphic design from Savannah College of Art and Design in 2005, the same year he founded insigne.

John DownerDesigner

John Downer is a sign painter by trade, with a specialty in gold leaf lettering. He has a BA in Fine Art from Washington State University and both an M.A. and an MFA in Painting from The University of Iowa. He began his career as a freelance type designer in 1983. Downer writes about type and type history for Emigre magazine, House magazine, and other publications. He lives in Iowa City, and travels widely in the United States and Europe, always on the lookout for interesting letterforms.

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natalie DumontConcordia university

Nathalie Dumont is Assistant Professor in the Department of Design and Computation Arts at Concordia University in Montreal, Canada. Before joining Concordia University, Nathalie taught typography at Université Laval in Quebec city for five years and worked as a freelance graphic designer. Her research is centered on typography and she currently investigates the process of type design with a methodology inspired by qualitative research methods. Following her BFA in Graphic Communication from Université Laval, 2001, Nath-alie Dumont completed an MA in Typeface Design at the University of Reading in 2002. She is now pursuing a PhD in Studies and Practices of Arts at Université du Québec à Montréal.

Craig eliasonuniversity of St. Thomas

Dr. Craig Eliason is an art historian who researches the history of type design. He has taught at the University of St. Thomas in Saint Paul, Minnesota, since 2002. He curated Face the Nation, a 2008 exhibition on type design and national iden-tity held at Minnesota Center for Book Arts. He founded Teeline Fonts and designed the Ambi-case types that have been featured in Codex: The Journal of Typography and on Typographica.org’s

“Favorite Typefaces of 2011” feature. As the publisher of the Daily Pangram, he figures he must be the world’s most prolific author of pangrams.

Patrick giassonMonotype Imagingfonts.com

Patrick worked at Wolff Olins as in-house Type Designer from 2000 to 2004. joined Monotype Imaging where has since created bespoke type-faces in the Latin, Cyrillic, Greek, Arabic and Chero-kee writing systems for a variety of clients such as Turner Broadcasting, The Times and Al Ittihad.

emily gordonFounder, Emdashesemdashes.com

In 2004, Emily Gordon founded Emdashes, the first community for New Yorker fanatics on the web. The former editor of Print magazine, she has been on the editorial staff at The Nation, Newsday, PEN America, Legal Affairs, and Grand Street. She has written for Print, Newsday, The New York Times Book Review, Salon, The Washington Post Book World, and A Brief Message, among other publica-tions, and is the current online editor of The Wash-ington Spectator. She is now at work on a book about the vital role of magazine art directors in New York City in the early twentieth century.

36 matt griffinPrincipal, Beardedbearded.com

Matt Griffin is a designer and one of the founders of design and development agency Bearded. He also has a great love for letterpress printing, which he acquired while attending Indiana University in Bloomington, Indiana, where he received a BFA in Graphic Design. He is one of the creators of Wood Type Revival, a successfully Kickstarter-funded project which seeks out lost historic wood type and converts it into digital fonts for modern designers. He also teaches letterpress to young designers at Carnegie Mellon University, and is an avid advocate for collaboration in design.

Cyrus HighsmithSenior Designer, Font Bureaufontbureau.com

In 1997 Cyrus Highsmith graduated with honors from Rhode Island School of Design and joined the Font Bureau. As Senior Designer, he concen-trates on development of new type series. A faculty member at RISD, he teaches typogra-phy in the department of Graphic Design. He lectures and gives workshops across the United States, Mexico and Europe. In 2001, Highsmith was featured in Print Magazine’s New Visual Artist Review. He has exhibited his work in the United States and Europe. His typefaces have won awards in national and international design competetions including Bukva:Raz!, the AIGA and the Type Directors Club.

mark JamraMaine College of ArtTypeCulturetypeculture.com

Mark Jamra is a type designer and associate professor at Maine College of Art. He has designed and produced typefaces for 30 years and is the founder of TypeCulture, a digital type foundry and academic resource. His lettering and typefaces have been in numerous exhibitions and have received recognition from the Type Directors Club and the Association Typographique Internatio-nale. He also creates live action and animation work in video and frequently works in a collective of communication designers in Portland, Maine. Mark has been a member of the SOTA board of directors and is currently serving on the ATypI board.

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Beth Kochuniversity of Minnesota Duluth

Dr. Beth E. Koch is an Assistant Professor of Design at the University of Minnesota Duluth teaching typography, graphic and interactive design. As a young junior high school student, Koch learned about typography sitting at the controls of a Linotype machine. Instructed at Herron School of Art by founding director of the Society for News Design Rolf Rehe, she conse-quently practiced composing in metal, wood, Typositer and computer photographic technol-ogies, up to present day web coding. Koch’s degrees include BFA Visual Communications, MFA Interactive Design, Ph.D. in Design; she is an exhibiting and internationally award-winning graphic designer, speaker, and consultant.

Craig KroegerMiniml.com

Craig Kroeger, creator of award-nominated miniml.com, is a graphic designer from Milwaukee, Wisconsin, known for his vector-based pixel web fonts. Miniml clients include Adobe, Electronic Arts, CNN, Skype and VW. Craig was a contribut-ing author to “Flash Enabled” and “Flash Design for Mobile Devices.” He is now an advocate for responsive web design HTML5 solutions.

Indra KupferschmidAcademy of Fine Arts Saarbrücken (HBKsaar)

Indra Kupferschmid is a German designer and teacher at HBKsaar, Academy of Fine Arts Saar-brücken, where she holds a professorship in typography and heads the department of design. Alongside this she is occupied with book design, bitmap fonts and other type related projects, DIN committees on legibility and type classification, terminology, the history of Grotesks and how this is all intertwined. She is co-author of Helvetica Forever by Lars Müller Publishers and other typo-graphic reference books and writes for websites such as fontsinuse, typedia and typographica as well as her various own fun blogs and journals.

gerry Leonidasuniversity of Reading

Gerry Leonidas is a Senior Lecturer in Typography at the University of Reading, U.K. He spends most of his time talking and writing about typeface and document design at a range of levels. He also helps designers get their heads round Greek typography and typeface design, and is frequently invited to speak, teach, and review the work of others.

38 Jean-Baptiste LevéeBureau des Affaires Typographiquesbatfoundry.com

Jean-Baptiste Levée is a typeface designer with a focus on exclusive corporate fonts. He is a co-founder of the Bureau des Affaires Typo-graphiques, the first French typeface design & distribution company on the Internet. He designed over a hundred typefaces for indus-try, moving pictures, fashion and publishing. His designs are featured in the permanent collections of the printing Museum in Lyon (France) and the Klingspor Museum in Offenbach (Germany). He is also the country delegate for France at ATypI. He is a regular lecturer and teaches typeface design at the Caen-Cherbourg school of Arts & Media and at the university of Corte. He is the president of Zone Opaque, artists’ books factory in Pantin (FR). He is a typography writer and editor on pointypo.com.

Ian Lynamianlynam.com

Ian Lynam is a graphic designer and writer living in Tokyo. He runs a multidisciplinary design studio that focuses on pan-cultural identity design, multilingual web design & development, motion graphics, and editorial design. He is a graduate of Portland State University (B.S. Graphic Design) and California Institute of the Arts (M.F.A. Graphic Design). He is adjunct graphic design faculty at Temple University Japan and The Tyler School of Art.

His most recent book is Design of Manga, Anime and Light Novels (Seibundo Shinkosha). An Asia Pacific Design Award winner, he writes regularly for Idea Magazine, Slanted Magazine, Neoja-ponisme, and a host of design books.

marcelo magalhãesmarcelomagalhaes.net

I was born in Rio de Janeiro and raised in São Paulo. I obtained a BA in Graphic Design in 2004 at University Senac of Communication and Arts in São Paulo by presenting a completion of course project on developing a type family. Since these college days I have been dedicating myself to design typefaces, study typography and my work as Art Director at design studios and advertising agencies.

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Kamal mansourMonotype Imagingfonts.com

Early exposure to multiple languages served to stimulate Kamal’s interest in alphabets, linguis-tics, and eventually typography. His studies have spanned Computer Science, Linguistics, and Product Design. Employed at Monotype Imaging since 1996, he has contributed to the creation of Unicode-compliant fonts for the many scripts of the world. For the past 10 years, he has focused on enabling rich typographic features through the use of OpenType technology. He has been Monotype’s technical representative to the Unicode Consortium, and has actively contributed to the Unicode Standard.

ricardo martinsFederal university of Parana

Ricardo Martins, 36 years old, is a Master of Science (MSc.) on Information Design and profes-sor of Typography, Semiotics and Visual Commu-nication at Federal University of Parana. He is a fellow of the Type Directors Club of New York (USA), a member of the International Institute of Information Design (Austria), a fellow of the Communication Research Institute (Australia) and a member of the Brazilian Society of Information Design. He was rewarded with Editorial Excellence by Brazilian Design Biennial ADG 2004, Samsung Design Awards 2001 and 2003, Apple Creativity Award 1999, ABIGRAF/PR Graphical Excellence, among others. He is the author of the textbook Typography and Communication. He is also apply-ing for a PhD at IIT (Illinois Institute of Technology) to study new approaches to typography.

Steve mattesonMonotype Imagingfonts.com

Steve Matteson started working for Monotype in 1991 where he worked on both technical and aesthetic aspects of type production. In 2004 he left the company to form Ascender Corporation where he designed more than 25 font families including the user interface fonts for the Xbox and Google’s Android mobile platform. Steve re-joined Monotype in 2010 as Creative Type Director and has since been working on opti-mizing text typefaces for reading on screen and assisting in legibility studies to enhance safety in automotive and aviation industries.

40 erin mcLaughlinHoefler & Frere-Jonestypography.com

Erin McLaughlin is a typeface designer at Hoefler & Frere-Jones in New York City. A Milwaukee native, she received a BFA in Graphic Design from the Minneapolis College of Art & Design and an MA in Typeface Design from the University of Reading, UK. She was the recipient of the 2011 SoTA Catalyst award for her Devanagari/Latin typeface, “Katari,” and has spoken about Indic typography at the National Institute of Design in Ahmedabad, India.

KT meaneyTerms & Conditionstermsconditions.com

Before joining the University of Illinois, KT Meaney taught at the School of Visual Arts and North Carolina State University. Her type instruction emphasizes balance and is designed to engage students in the comprehensive applications of typography. She was the designer for the revived New-York Journal of American History for the New-York Historical Society. KT runs the studio Terms & Conditions with Matthew Peterson. Prior to that, she worked at Pentagram Design in New York.

Jeremy mickelMCKLmckltype.com

Jeremy Mickel runs MCKL, a Minneapolis-based type foundry providing custom fonts, lettering, and logos for corporate, publishing, and design industry clients. MCKL typefaces are available exclusively through Village. Jeremy has designed typefaces for Village and House Industries, has taught typeface design at the Rhode Island School of Design, and is a graduate thesis advisor at the Minneapolis College of Art and Design. His work has been honored by the AIGA and Type Directors Club, and is in the permanent collection of the Walker Art Center and Cooper-Hewitt National Design Museum.

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Ketty mirandauniverdidad Autónoma del Caribe

Graphic Designer from Universidad Jorge Tadeo Lozano (Cartagena, Colombia). Graphic Design Professor at Univerdidad Autónoma del Caribe (Barranquilla, Colombia). In charge of the Layout and Morphology Workshops. Research Coordina-tor for the Graphic Design Program and ELLIPSIS Research Lab. Co-Researcher for “Ícono como medio de apropiación e identidad cultural” (Icon as mean for cultural appropriation and identity) and Suerte Gráfica” (Graphic Luck) research proj-ects. Member of the Editorial Committee for the Arte&Diseño magazine.

Bill moranHamilton Wood Type & Printing MuseumBlinc Publishingblincpublishing.com

Bill Moran of Blinc Publishing is a 3rd-generation letterpress printer, graphic designer and professor of printing history at the University of Minne-sota. Since 2001 he has worked at Hamilton Wood Type in a variety of roles including the writing and publishing of his book Hamilton Wood Type, A History in Headlines. The book chronicles the history of the company and documents contem-porary projects undertaken by the museum’s visiting artists. He currently serves as the Muse-um’s Artistic Director, responsible for all aspects of merchandise, annual programming and the museum’s visual brand.

Jim moranHamilton Wood Type & Printing Museumwoodtype.org

Jim Moran has been the director Of Hamilton Wood Type & Printing Museum since early 2009. He has over 40 years experience as a printer, mostly in the family shop beginning as an appren-tice to becoming owner of Moran’s Quality Print Shop. He currently oversees all museum opera-tions, archives the collection, teaches workshops and lectures on Hamilton history at conferences and colleges across the country.

42 gillian mothersillRyerson university

Gillian Mothersill (B.Tech., MBA) is an Associate Professor in the School of Graphic Communi-cations Management at Ryerson University in Toronto. She recently completed a six year term as Associate Dean of the Faculty of Communica-tion & Design, and as of July 1, 2012, is on post-ad-ministrative leave for one year. Her research inter-ests include typographic history, the economic costs of scholarly electronic publishing, and expe-riential learning. She collects Girl’s Own Annuals, and finds that friends will volunteer to help her move once, but never again.

Sharon oigauniversity of Illinois at Chicago

Sharon Oiga received BFAs in Graphic Design and Photography from the University of Illinois at Chicago and her MFA from Yale University. Her professional experience was gained from working at multidisciplinary design firms, including Studio/lab Chicago. At UIC, she teaches Typography, Professional Practice, and Thesis. Her research has been funded by six grants, two awarded by Sappi Ideas That Matter. She and her students’ work have been recognized by Graphis, Print, Step, GDUSA, Chicago Athenaeum, STA, UCDA, and CQ Journal. She speaks regularly at conferences, most recently at the 2011 Conference on the Book (Toronto) and Constructed Environment Confer-ence (Chicago).

amy PapaeliasState university of New York at New Paltz

Amy Papaelias is an Assistant Professor of Graphic Design at the State University of New York at New Paltz. In her creative research, Amy devel-ops experimental typefaces and typographic experimentations that challenge the relationship between verbal and visual communication. Her previous projects include TypeTalkFonts, a series of handwriting fonts that utilize OpenType intelli-gence to explore sociolinguistics and censorship and Sonotype, a series of experimental fonts that use sonogram interpretations to visual represent variations and similarities in speech. Amy is a member of AIGA and the Type Directors Club.

Amy is not a stranger to the TypeCon stage or dance floor, having previously spoken at TypeCon in 2005 and 2007.

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matthew PetersonTerms & Conditionstermsconditions.com

Matthew Peterson holds a PhD in Design from NC State University. His research probes into the ways in which we process text and images, with an emphasis on learning. His dissertation, a quantita-tive empirical study, focused on the integration of text and image in instructional media for middle school science, and what implications that inte-gration has for cognitive load and interest level. Matthew is an assistant professor at the Univer-sity of Illinois and also has extensive professional experience in web, publication, and exhibition design. He has worked at the Walker Art Center in Minneapolis and co-owned and operated a studio in Chicago called Field Study. He runs the studio Terms & Conditions with KT Meaney.

Thomas PhinneyExtensis

Thomas Phinney is senior product manager for fonts and typography at Extensis, including managing the 4000-font library of the WebINK web font solution, and treasurer of ATypI. From 1997–2008 he did type at Adobe, lastly as product manager for fonts and global typography. Thomas has long been involved in the design, busi-ness, technical, forensic, standards and historical aspects of type. His typeface Hypatia Sans is an Adobe Original. Thomas also writes for Commu-nication Arts and other venues. He has an MS in printing from RIT, and an MBA from Berkeley, and has endeavored to fund his next typeface through Kickstarter.

ashley John Pigforduniversity of Delawareashleyjohnpigford.com

Ashley John Pigford is an artist, designer, musi-cian and educator working at the intersection of design process and art practice. His cross-dis-ciplinary creative work ranges from traditional

“analog” arts to advanced digital systems in the interrogation of creative process and interaction design. His work manifests as electronic sculp-ture, interactive installation, performance, video, and letterpress printing. He received his MFA in Graphic Design from the Rhode Island School of Design after a successful career as a proprietor of graphic design in Los Angeles, CA. He is Assis-tant Professor of Visual Communications in the Department of Art at the University of Delaware.

44 Dan reynoldsBraunschweig university of Arttypeoff.de

Born in Baltimore, Dan Reynolds is a Berlin-based type designer and font marketing consultant. Additionally, he is currently a doctoral candi-date and typographic research assistant at the Braunschweig University of Art, and also teaches in Darmstadt and Hamburg. Dan studied graphic design at RISD, visual communication at the HfG Offenbach, and typeface design at the University of Reading. In 2004, he co-founded the Offenbach

“Typostammtisch”; similar type meet-ups now regularly gather in Basel, Berlin, Hamburg, and Saarbruecken.

Daniel rhatiganMonotype Imagingfonts.com

Daniel Rhatigan is a senior type designer at Mono-type Imaging in the UK. Before coming to study at the University of Reading in 2006, he worked as a designer and typographer for 15 years in Boston and New York. After receiving his MA in Type-face Design, he came to work at Monotype to research and design non-Latin typeface families, concentrating on Indic scripts. He also lectures on typography and branding in the Netherlands and the UK.

Steve rossAdobeadobe.com/type

Steve is the Type program manager at Adobe in San Jose, California. After years of misspent youth focussing on the glamorous field of international canoe racing, Steve finally received his B.Des. from NSCAD University in his native Halifax, Canada. An advertising and design career followed in both Canadian and Mexican agencies. Eventually, Steve realised he was becoming more interested in type, and less in everything else. Therefore, he moved to England and received his masters in typeface design at the University of Reading. Steve has travelled extensively throughout Yucatan, Mexico, to research his dissertation on Mayan writing reform.

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Jay rutherfordBauhaus university

Jay Rutherford was born in Canada into a family of sign-painters and opticians. In 1993 he was offered a tenured professorship in Visual Commu-nications at the Bauhaus University Weimar. Jay is active in international co-operation and exchange programs, and was instrumental in developing the Bauhaus University’s MFA in Visual Culture program. He has been active on juries for design competitions, and is a member of professional associations for design history, information design and usability. He has spoken at numerous conferences and symposia, for example: Vision Plus (Austria), TypeCon, ATypI, Design Week (Lodz, Poland), St. Bride’s Conference (London).

Stuart SandlerFont Brosfontbros.com

Stuart Sandler launched the Font Diner in 1996 and has become a major resource for retro design software products inspired by 1950s popular culture. He has created more than 500 origi-nal typefaces and established a reputation as the premier retro display font designer. Sandler launched Mister Retro in 2004 featuring Photo-shop plug-ins and original clipart. He later aquired and began revival of both the Filmotype and Lettering Inc. phototype libraries with over fourty revivals releases to date. In 2006, he co-founded and launched Font Bros as a publisher of high quality typefaces specializing in licensing and retail sales.

David ShieldsThe university of Texas at Austin

David Shields is an Associate Professor of Design, Chair of the Design Program and caretaker of the Rob Roy Kelly American Wood Type Collec-tion housed at The University of Texas at Austin. He is currently focusing on 19th century typo-graphic form and visual culture, growing from investigations in the RRK Collection. He keeps a blog of current facets of his research at wood-typeresearch.com, and continues to practice as a designer at the studio he co-founded in 2000, Viewers Like You. He holds a MFA from Cranbrook Academy of Art.

46 Julie Spiveyuniversity of Georgia

Julie Spivey is Associate Professor of graphic design in the School of Art at the University of Georgia and maintains a busy professional prac-tice, Type-A Creative, specializing in publica-tion design and all things typographic. Julie is an admitted type geek with a particular fondness for lowercase g and disdain for default spacing. She has an undergraduate degree in Journalism and Mass Communication from the University of North Carolina at Chapel Hill and a MFA in graphic design from East Carolina University. She currently serves on the steering committee of the AIGA Design Educator’s Community.

Sumner StoneStone Type Foundrystonetypefoundry.com

Sumner Stone is founder and principal of Stone Type Foundry Inc., celebrating its 20th anniver-sary this year. From 1984–1989 he was Direc-tor of Typography for Adobe Systems where he conceived and implemented Adobe’s typographic program including the Adobe Originals. His type designs include the popular Stone Sans and the prize-winning ITC Bodoni. His most recent type designs are Davanti, Sator, and Popvlvs. He is also well known as an author, teacher and lecturer on typeface design, letterform history, and calligraphy. He has taught in the Type@Cooper condensed program for the past two summers.

Tricia TreacyPointed Press Studiopointedpress.com

Tricia Treacy has been running her own letter-press design studio, Pointed Press Studio, creat-ing custom book and print work for commercial clients, international artists, designers, and writers since 2000. Using a combination of digital and analog methods, she collaborates on conceptual projects with a range of artists and designers. She is a book artist, designer, printmaker, and inte-grates new forms of media to execute her ideas. Collaboration and experimentation are a large part of her creative studio practice. Tricia is also a Lecturer in Fine Arts at The University of Pennsyl-vania School of Design where she teaches letter-press, graphic design and book arts. She exhibits internationally and her artist books are in major collections throughout the country.

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guy Villaguyvilla.com

Guy Villa Jr received a BFA in Graphic Design and Photography from the University of Illinois at Chicago. He founded Guy Villa Design, a firm whose focus is editorial and identity design for not-for-profit organizations, start-ups, and small businesses. Additionally, he teaches Design and Typography at Columbia College Chicago. As a Platinum Winner, he was interviewed and featured in the Graphis Letterhead7 book. He has been recognized by UCDA, Print magazine, Print Regional Design Annual Retrospective, the GDUSA Annual and GDUSA Inhouse Design Awards. He lectures at international conferences, including the 2010 Humanities Conference (Los Ange-les) and the 2011 Design Principles and Practices Conference (Rome).

erik Vorheserik.vorh.estypedia.com

Erik Vorhes is a web developer, accessibility advocate, design technologist, and writer. He makes things for digital media as a User Interface Engineer at Facebook. Erik is managing editor for Typedia, where he also writes the weekly “Type News” column.

TypeCon2012: MKE SHIFT · Typefaces for Cockpit navigation Steve Matteson 11:10 A.M. 25 Years of...

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