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You are here: Home / Conferences / Montréal 2017 / Speakers


Biographies for the marvelously atypical speakers, workshop leaders, and moderators presenting at ATypI 2017 Montréal.

Keynote Speakers


General Session Speakers


Special Session Speakers


Workshop Leaders


Demos Speakers


Aaron Bowes

Aaron Bowes is a fourth-year student in the School of Graphic Communications Management at Ryerson University in Toronto, Canada. He has been a research assistant on the Girl’s Own Annual project for Fall 2016, Winter 2017, and Summer 2017, supported by a grant from the Office of the Vice-President, Research and Innovation for Fall 2016, Winter 2017, and Spring/Summer 2017. Aaron is responsible for the photography and retouching of the images for this project. Aaron plans to continue his education with a master’s in Digital Media. 

Aoife Mooney

Aoife Mooney is an Assistant Professor in the School of Visual Communication Design at Kent State University. She holds an MA in Typeface Design from the University of Reading and is a practicing typeface designer, having previously worked in house for Hoefler & Co. and as a freelance designer with Frere-Jones Type and Google. She is a member of the International Society of Typographic Designers and is the North America Coordinator for their Annual Student Assessment Scheme.

Ann Bessemans

Dr Ann Bessemans is an award-winning typographic designer, working as a legibility specialist in research group READSEARCH (PXL-MAD/Hasselt University–Belgium), of which she is the founder. At the same institute she teaches typography and type design.

In 2012 she defended her PhD (supervised by Gerard Unger). She was awarded multiple grants by Microsoft for her projects. Ann was a finalist in in the ‘New Scientist Wetenschapstalent 2015’ and is an elected member of the Young Academy. She is involved in a COST Action studying the Evolution of Reading in the Age of Digitisation.

Arina Stoenescu

Arina Stoenescu is a doctoral student at the Department of Arts and Cultural Sciences at Lund University, Sweden, in Book History, with the PhD topic “Typography and Politics: the political impact of typography in newspapers from Romania during the Communist time (1948–1989)”. She was born in Bucharest, Romania, and has lived in Stockholm since 1989. She works as an independent designer and editor for the micro-publishing house Pionier Press, with a special interest in bilingual children’s books, children’s culture, typography, and Romanian subjects. In 2010 she started the first independent type design and typography courses in Swedish higher education.

Bianca Berning

Bianca Berning is a font engineer and type designer, and heads up the Skills and Process department for font foundry Dalton Maag. She is an active member of Alphabettes, ATypI and the Unicode Consortium, and she coordinates a mentorship program with the aim of helping students and professional newcomers immerse themselves in the industry.

Bill Moran

Third-generation letterpress printer, graphic designer, and professor of printing history at the University of Minnesota. Since 2009 he has served as artistic director at Hamilton Wood Type. In 2004 he wrote and published Hamilton Wood Type, A History in Headlines. Bill is responsible for merchandise, annual programming, and the museum’s visual brand. Bill also leads Travels in Typography, a study abroad program visiting Madrid, Venice, and Mainz. 

Borys Kosmynka

Borys Kosmynka is a type and graphic designer from Łódź, Poland. He collaborates with the Book Art Museum to revive the spirit of letterpress printing and digitize old type.

Bruno Bernard

Bruno Bernard (École Estienne, Paris; Atelier National de Recherche Typographique (ANRT), Nancy) is a type designer and graphic designer. He designs custom-made typefaces and has released several commercial fonts including Adso and Mihaly. As a publisher he co-founded BAT foundry in 2009, and will open his new foundry this year. Bernard regularly exhibits and gives workshops in France and abroad.

Bruno Maag

Bruno Maag is a trained typesetter from Zurich, Switzerland. After graduating from the 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, focusing on the creation of custom typefaces.

Bruno is the Chairman of Dalton Maag and in recent years has spearheaded projects for large global companies and small enterprises alike. His interests today extend to scientific research on reading physiology and psychology.

Carima El-Behairy

Carima El-Behairy, co-founder of P22 type foundry, has been involved with the day-to-day operations of P22 since its beginnings in her living room in 1994. She was P22’s Chief Financial Officer and has helped guide the company through the perilous waters of licensing, working with foundations, and negotiating contracts and other legal obstacles. In addition to P22, Ms. El-Behairy is currently the Atypi Treasurer as well as the Treasurer for Planned Parenthood of Central and Western New York. She has also found time to raise 2 boys, pamper numerous basenjis, and serve as a founding trustee for Oracle Charter School, Western New York Book Arts Collaborative and Western New York Charter School Coalition. Her additional board service includes the Development Chair for Irish Classical Theatre Company, Fair Chair for Westminster Early Childhood Program and Merger Committee for Art Directors of Buffalo.

Carolyn Porter

Carolyn Porter is the designer of the multi-award-winning font P22 Marcel Script Pro. The font has been recognized by the New York Type Directors Club (2014), Communication Arts magazine (2015), Print magazine (2015), and AIGA Minnesota (2014), and was a selection in the international 2015 Project Passion exhibition. The book that weaves together the dual stories of the design of the font and Marcel's experience as a WWII forced laborer—Marcel’s Letters: A Font and the Search for One Man’s Fate—was published in June, 2017 (Skyhorse, New York). Carolyn lives in White Bear Lake, Minnesota, USA.

Christian Bélanger

Christian Bélanger was born in Montréal in 1977. He graduated in electric bass at Cégep de Saint-Laurent in 1997, in graphic design at Cégep du Vieux-Montréal in 2000 (recipient of the Au Mérite 1998–1999 scholarship), and in graphic design at Université du Québec à Montréal in 2003 (recipient of the Mention of Academic Excellence). After his studies, he worked as a freelance and independent graphic designer, mainly in the cultural field with several artists, graphic design studios, publishing houses and other interesting clients. Christian’s work got recognized in different graphic design competitions and magazines, and was displayed at the 2007 “Les prix Grafika, 10 ans de graphisme au Québec” exhibition. In March 2011, hungry for new work experiences, he joined the Cégep Marie-Victorin graphic design department’s team of teachers to broaden his knowledge while helping students on their journey. In his free time, Christian enjoys practicing calligraphy, making music and spending time with his baby twins.


Christopher Rouleau

Christopher Rouleau is a freelance graphic designer, letterer, and visual artist in Toronto. He uses analog techniques of brush lettering to evoke the pre-digital commercial arts style of the 1940s–1960s. When he’s not planning an event, teaching a workshop for Ligatures (his local typography meet-up club) or collecting antique signage samples around the city, you’ll find him working on lettering projects at his Ossington studio. His work has been featured in Spacing magazine, Uppercase magazine, and Flare magazine. Christopher attended the Alberta College of Art and Design, and holds a Bachelor of Fine Arts from the University of Calgary.

Daniel Rhatigan

Dan Rhatigan works with Adobe Typekit in New York as the Senior Manager of Adobe Type. He has over 25 years of eclectic experience in various industries as a typesetter, graphic designer, typeface designer, and teacher, including several years in London and New York serving as Type Director for Monotype. He has a BFA in graphic design from Boston University, an MA in typeface design from the University of Reading in the UK, and a very tattered passport.

David Jonathan Ross

David Jonathan Ross draws letters of all shapes and sizes for custom and retail typeface designs. A native of Los Angeles, he began drawing typefaces at Hampshire College and in 2007 joined the Font Bureau, where he honed his Bézier-wrangling skills. Now he publishes visually imaginative and technically advanced designs at his own foundry, including Fit, Bungee, Gimlet, and Input. You’ll find him in Western Massachusetts with his partner Emily and their two dogs, Sophie and Lily.

Edwina Lee

Working in the Global Strategic Development department of Arphic Technology, Edwina is in charge of the partnership of font foundries and designers, marketing, and businesses overseas. Working in the font foundry for more than eight years, she enjoys it very much because I find myself surrounded by fonts everyday.

Elena Papassissa

Elena Papassissa is a PhD researcher and a type designer based in London. She holds a bachelor’s degree in Graphic Design and Visual Communication, a master’s in Communication and Design for Publishing from the Istituto Superiore per le Industrie Artistiche (ISIA) Urbino, Italy, and an MA in typeface design from the University of Reading. In 2015 she was awarded a Design Star Arts and Humanities Research Council (AHRC) PhD studentship, and started her PhD at the University of Reading, focusing on Armenian typefaces.

She is specialized in designing Armenian typefaces, and a member of the Armenian General Benevolent Union (AGBU) Young Professional (YP), a non-profit organization involved in promoting Armenian identity and heritage worldwide.

Elizabeth Carey Smith

Moderator sponsored by the Type Directors Club (TDC).

Elizabeth Carey Smith has been a graphic designer for 15 years, earning her BFA from the College for Creative Studies in Detroit and her post-graduate certificate in Typeface Design from Type@Cooper (2012). Specializing in typography, lettering, and type design, her work includes branding, editorial design, publishing, fashion, and data visualization. She has been a typography and graphic design educator at the New York University (NYU) and City College of New York for the past eight years. Currently, she runs her own studio, The Letter Office, and serves on the Board of Directors for the Type Directors Club.

Émilie Rigaud

Émilie Rigaud is the founder of the type foundry “A is for...”. After a master’s degree in graphic design at ENSAD (Paris), in 2008 she joined the MATD program at the University of Reading. Here, she developed the Coline typeface family, which was awarded the Tokyo Type Director’s Club Type Design Prize 2011. She currently works as both a freelance book designer and as a typeface designer. Since 2013, she is a teacher at the ANRT and ENSAD and she does research on the history of Japanese typography.

Ferdinand Ulrich

Ferdinand Ulrich is a typographer, researcher, and editor. At p98a in Berlin he explores, with Erik Spiekermann, how letterpress can be redefined in the 21st century. He also researches and writes articles about type history, published in the US, in the UK, and in Germany. Ferdinand taught typography in Halle and Potsdam and has given lectures at the Massachusetts Institute of Technology Media Lab and the Cooper Union. In 2016 he gave the closing talk at TYPO Berlin, honoring the lifetime achievement of Gudrun Zapf von Hesse. Ferdinand studied in Berlin and Pittsburgh and is a PhD candidate at the University of Reading.

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

Gerry Leonidas

Gerry Leonidas teaches and researches typography and typeface design at the University of Reading, UK. He supervises MA and PhD research, and lectures widely. He consults on publication and typeface design, reviews bodies of work, and runs knowledge transfer projects with a twin focus on global business development, and new education initiatives. He is the vice-president of ATypI, a founding member of Granshan Foundation, and helps organise ICTVC and other conferences. He is the Director of the MATD, and the TDi summer course; both are global reference points for type education. He just launched the MResTD, a new hybrid MA on research in typeface design.

Gillian Mothersill

Gillian Mothersill, B.Tech., MBA, RGD (Affiliate), is an Associate Professor in the School of Graphic Communications Management (GCM) at Ryerson University, Toronto. Her teaching areas include typography, design and layout, and business management. Gillian served as Associate Dean for the Faculty of Communication and Design from 2006 to 2012, and as Acting Chair of GCM for the first semester of 2016. Gillian is also a Management Team member (and Canadian representative) for the Creative Industries Global Network, funded by the European Union (EU) Erasmus+ program. She has authored one book and numerous works published in academic and trade journals.

Gloria Kondrup

As a full-time professor at ArtCenter College of Design, Pasadena, Gloria Kondrup has been a dedicated design educator for over two decades. As the Director of Archetype Press, she redefines the value of typography and analog technology in the digital landscape. Her typographic fine art printworks and books are in private and public collections including AIGA, the Getty, and the Sackner Archive of Concrete and Visual Poetry. Gloria Kondrup received her bachelor’s degree in fine art and her master’s degree in design. She is currently the Executive Director of the Hoffmitz Milken Center for Typography.

Guy Villa Jr

Guy Villa Jr received a BFA from the UIC School of Design with a concentration on Graphic Design and Photography. He is the founder of Guy Villa Design, where his studio’s work consists of editorial and identity design. Additionally, he is a lecturer at Columbia College Chicago. He has been interviewed by Graphis and Print magazines, and his work has been published in their annuals. Other recognitions include The University & College Designers Association (UCDA), Print Retrospective DVDs, Graphic Design USA (GDUSA) Annual, GDUSA In-House Design, American Package Design Annual, and Creativity International Awards. He also serves as Chair of the STA Design Weekend.

Indra Kupferschmid

Indra Kupferschmid is a freelance typographer and professor at HBKsaar, University of Arts Saarbrücken, Germany. Fueled by specimen books, she is occupied with type around the clock and in all its incarnations—web fonts, bitmap fonts, other fonts, type history, research, marketing, DIN committees, design work, and any combination of this. She is co-author of Helvetica Forever by Lars Müller Publishers and other typographic reference books, consults for the type and design industry and everyone who needs help choosing fonts, writes for magazines, books, and websites, and stirs things up at Alphabettes alongside juggling her own small to ultra-large ventures.

Jason Pamental

Jason is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, and works with clients establishing their digital strategy. He is a seasoned design and strategy leader with more than 20 years’ experience on the web. Projects range from Ivy League to the National Football League. He is the author of Responsive Typography, and of articles for .Net magazine, Print magazine, How, Typecast Blog, and A frequent speaker and workshop leader having presented at over 50 national and international conferences, he has also been featured on numerous podcasts including The Web Ahead, Boagworld, and Creative Briefs.

Jay Rutherford

Jay Rutherford was born in Canada into a family of sign-painters and opticians. In 1993 he was offered a professorship in Visual Communications at the Bauhaus University Weimar. Jay is active in international cooperation and exchange programmes and was instrumental in developing the Bauhaus University’s MFA in Visual Culture programme. He has been active on design juries and is a member of professional associations related to typography, design history, and information design. He has spoken at numerous conferences and symposia: Vision Plus (Austria), TypeCon (North America), ATypI (international), “Looking Back, Looking Forward” (Bangalore, India), and the St. Bride Conferences (London).

Jérôme Knebusch

Jérôme Knebusch works in visual art, graphic design, editorial design, typography, and type design. He teaches at the Lorraine School of Fine Arts in Metz and at ANRT in Nancy, France. He lives in Frankfurt am Main, Germany.

Jim Moran

Museum director at Hamilton Wood Type. He runs letterpress workshops, archives the collection, and maintains the museum on a daily basis. Previously he had volunteered at Hamilton and donated presses and equipment from his Green Bay, Wisconsin, printing firm, Moran’s Quality Print Shop, where he worked as apprentice, pressman, partner, and owner with his father and grandfather for over 35 years.

John D. Berry

John D. Berry is an editor, typographer, book designer, & design writer. He is the founder & director of Scripta Typography Institute, former president of ATypI, and former editor & publisher of U&lc magazine. He has been a typographic consultant to several software companies, and he writes and speaks frequently about design & typography.

John Downer

John Downer has been a journeyman sign painter since 1973, and a type designer since 1983. He is known as a type critic and type historian. He teaches hand lettering regularly and lectures widely at educational institutions and professional conferences. Mr. Downer earned a BA degree in Fine Art from Washington State University, and both an MA degree and an MFA degree in painting from the University of Iowa. He resides in Iowa City. His typeface Brothers has has helped make better beers more trendy.

Jordan Bell

Jordan is fascinated by handwriting and its effect on modern type design, as well as the origin, evolution, and localization of the American Gothic. He is originally from Waco, Texas and received a BFA from Abilene Christian University. He worked as a graphic designer in Santa Fe, New Mexico before joining the MATD program at Reading University to further his knowledge in design history, graphic communication, and type design. Jordan has contributed to the design of the Archer Heavyweights and Operator.

José Manuel López Rocha

Manuel López is a graphic designer, specializing in digital typeface design. He holds a bachelor’s degree in Graphic Design and a postgraduate degree in Typeface Design. His work has been included in three editions of the Latin-American Typography Biennial. He is a member of Fontstage and a contributing designer at PampaType foundry. He has worked on a typeface for the Mixe language and on a project for developing typographic solutions for Woun-Meu, in Colombia. He is currently working on a type family for Mexican languages, for the National Institute of Indigenous Languages.

José Scaglione

José Scaglione is a graphic and a typeface designer and co-founder of the independent type foundry TypeTogether, publishing several award-winning type families. He teaches typography at the University of Buenos Aires, Argentina, and is frequently invited to lecture on typography and lead workshops on typeface design at international conferences and academic institutions. José co-authored the book Cómo crear tipografías Del boceto a la pantalla. In 2013 José was elected as President of ATypI, and in 2012 he was the chairman of the Letter.2 type design competition and conference.

Joyce Ketterer

Joyce Ketterer is the CEO of Darden Studio, having served in that capacity for one year and with various other titles for seven. In cooperation with the studio’s attorney, she is responsible for writing and enforcing the studio’s EULA—a task to which she brings the real world experience of working directly with customers for both sales and license enforcement.

Judith Poirier

Judith Poirier (MA Royal College of Art, London) is a professor at l’École de design, Université du Québec à Montréal (UQAM), as well as an experimental filmmaker, book designer, and letterpress practitioner. Her films have been screened at numerous international festivals and given awards by the Canadian Film Institute and the Nashville Film Festival. She also directs La chose imprimée, a research-creation project focusing on experimental book design. Her works have been recognized by the Type Directors Club and by the Alcuin Society for Excellence in Book Design in Canada, and shortlisted at the Leipzig “Best Books from all over the World” competition.

Kevin Larson

Kevin Larson works for Microsoft’s Advanced Reading Technologies team. He collaborates with designers, reading psychologists, and engineers on improving the onscreen reading experience. Kevin received his PhD for studies of reading acquisition.

Lauren Johnson

Lauren Johnson received her BA in Art History and French from Willamette University in Salem, Oregon (USA), and her MA in Modern and Contemporary Art History from the SAIC (USA), where she studied the history of typography. Devoted to the typographic materiality of books in her editorial work within Getty Research Institute Publications, Lauren focuses her current research predominantly on typographic production in France and the United States. With a particular affinity for the study of historical type specimen pages, Lauren believes that the history of typography is a history that breathes life into all other disciplines.

Laurence Penney

Laurence Penney is a font technology consultant based in Bristol, UK. Focussed on dynamic type tech, he specialized in TrueType: coding rasterizers, hinting fonts, and training others how to hint. He took on the challenge of creating MyFonts, the open platform selling fonts from all foundries, and helped build the team that made it the market leader by a wide margin. The recent revival of colour and variable fonts gives Laurence hope that the type world has not forgotten the best ideas from a generation ago, and he looks forward to helping these technologies take off.

Lucas Sharp

Lucas Sharp is an American typeface designer and artist currently living and working in Granada, Spain. Sharp graduated from Parsons School of Design in 2010, where he studied under renowned typeface designer Joshua Darden. In 2015, Sharp founded the Sharp Type Co. with partner Chantra Malee where he designs award winning typefaces like Sharp Grotesk and Ogg as well as custom typefaces for major global players such as Samsung and Hillary Clinton. Sharp designs typefaces with beautify and utility for the modern era.

Malou Verlomme

Malou Verlomme is a French typeface designer. Since 2016 he has been working for Monotype UK. He has a Graphic Design degree from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading, UK. His typeface, Camille, holds the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). His typefaces include Ecam and Totem, published with the foundry LongType, which he co-founded in 2012. In 2016 he designed Johnston100, London’s new underground typeface, for Transport for London.


Marco Chioini, former president of La Société des calligraphes de Montréal, has been practicing calligraphy since 2003, and has been teaching it from 2009. A member of the calligraphy group Les Calmars since 2006, he has exhibited his works at the Laurentian Library of Turin, Italy as well as in various galleries in Québec. He is also Director of the upcoming International Calligraphy Conference, to be held in Montreal in the summer of 2019. From a strong foundation in the rigorous structural study of historical scripts, Marco particularly enjoys continuing his research into more contemporary shapes, focussing on the rhythm, movement and context.

Matt Soar

Matt Soar is an intermedia artist and filmmaker in the Department of Communication Studies at Concordia University, Montreal. He has written extensively about graphic design, visual communication, and cultural production for scholarly and professional audiences. Soar’s project Lost Leaders (2011 onwards) is an archival, scholarly, and artistic exploration of the histories of US film leader standards. Soar is co-founder and director of the Montreal Signs Project, a growing collection of commercial and civic signs from around the city. He is in post-production on Les Enseignistes de Montréal, a web documentary on the histories of signmaking.

Matthieu Cortat

Matthieu Cortat is a Swiss/French type designer. For ten years, his type foundry Nonpareille has been releasing retail and custom fonts for customers including Eastpak, Caran d’Ache, Fondation Louis Vuitton, and Terminal Four of the New York JFK airport. At the beginning of 2017, he joined 205tf, a new platform distributing the typefaces of French designers. He is scientific advisor to the Museum of Printing and Visual Communication in Lyon, and since 2016, Head of the new Master’s in Type Design at École cantonale d'art de Lausanne (ECAL), University of Arts in Lausanne, Switzerland.

Megan O'Connell

After earning a BA in Book Arts and an MFA in Intermedia, Megan O’Connell became faculty at the University of Oregon, where she was named Director of the Typography Lab. Her career continues to evolve to include visiting positions across the U.S. She has generated editions that have been presented in museums, archived in libraries, and created live for the Balvenie Rare Craft Collection curated by Anthony Bourdain. Her culminating vision is Salt & Cedar Letterpress in Detroit, where she collaborates with an international roster of artists and clients. Here, letterform is both source and subject of her artmaking practice.

Nathalie Dumont

French Canadian type designer, typographer, and book designer, Nathalie Dumont is Assistant Professor in Design at Concordia University. She currently investigates the contribution of iterations in the type design process, and consults for various aspects of typography research in relation to human and computer recognition. She has presented at ATypI, TypeCon, International Conference on Document Analysis and Recognition (ICDAR), and Society for Experiential Graphic Design (SEGD). Nathalie holds a BFA in Graphic Communication, Université Laval, Québec, an MA in Typeface Design, the University of Reading (2002), and is pursuing a PhD at L'Université du Québec à Montréal (UQAM), Montréal.

Nick Shinn

Canadian type designer Nick Shinn, Association of Registered Graphic Designers (RGD), was born in London in 1952 and has a Dip. AD in Fine Art (1974) from Leeds Polytechnic. He moved to Toronto in 1976. During the 1980s he was an advertising art director, before going digital in 1989 with Shinn Design, specializing in marketing design. From 1980 he occasionally designed typefaces, before going into it full time in 1998 with Shinntype. He has written for Codex and Eye, spoken at the ATypI, TypeCon, TYPO Berlin, and TYPO San Francisco conferences, and taught at Humber College and York University in Toronto.

Nicole Dotin

Nicole Dotin is a typeface designer and partner at the Process Type Foundry, an independent type design studio based in Minneapolis, Minnesota, USA. She holds an MFA in visual studies from the Minneapolis College of Art and Design and an MA in typeface design from the University of Reading. While at Reading, Nicole began designing a serif typeface called Elena, released in late 2011. When not designing typefaces, she uses her love of logic and problem-solving to find more efficient ways to maintain the Process fonts library.

Paul Luna

Paul Luna both researches and designs complex texts. He designed the last two editions of the Shorter Oxford English Dictionary and has written on the relationship between typography and lexicography, including a study of the typography of Samuel Johnson’s Dictionary. He has recently contributed to the History of Oxford University Press and A New Companion to the History of the Book, and co-edited Information Design: Research and Practice. Paul is an Emeritus Professor at the University of Reading and co-editor of the Department of Typography & Graphic Communication’s publication Typography Papers.

Paul Shaw

Paul Shaw is a graphic designer and a graphic design historian. His studio specializes in calligraphy, lettering, and typography. He has also designed or co-designed 18 typefaces. Paul’s areas of research as a design historian include Renaissance epigraphy and calligraphy, blackletter typefaces, the designs of WA Dwiggins, Oswald Cooper, George Salter, and Philip Grushkin, and urban signage. He is the author of Helvetica and the New York City Subway (2009) and Revival Type (2017); the editor of The Eternal Letter (2014); and co-editor of Blackletter: Type and National Identity (1999). He teaches at Parsons School of Design.

Paula Scher

Opening keynote sponsored by the Type Directors Club (TDC).

Paula Scher is one of the most acclaimed graphic designers in the world. She has been a principal in the New York office of the distinguished international design consultancy Pentagram since 1991, where she has designed identity and branding systems, environmental graphics, packaging, and publications for a wide range of clients that includes, among others, Citibank, Microsoft, Bloomberg, the Museum of Modern Art, Tiffany & Co, the High Line, the Public Theater, the Metropolitan Opera, the Sundance Institute, and the Philadelphia Museum of Art.

During the course of her career, Scher has been the recipient of hundreds of industry honors and awards; she is a recipient of the National Design Award for Communication Design, the AIGA medal, and the Chrysler Award for Innovation in Design, among others.

Scher has served on the Public Design Commission of the City of New York from 2006–2015. She is an established artist exhibiting worldwide, and her designs are in the permanent collection of the Museum of Modern Art, the Cooper Hewitt National Design Museum, the Library of Congress, the Victoria and Albert Museum, and other institutions. She is the author of Make It Bigger (Princeton Architectural Press, 2002) and MAPS (Princeton Architectural Press, 2011). Scher holds a BFA from the Tyler School of Art and a Doctor of Fine Arts Honoris Causa from the Corcoran College of Art and Design, the Maryland Institute College of Art and Moore College of Art and Design. A documentary on Scher and her work can be seen in the 2017 Netflix series Abstract: The Art of Design.

Peter Constable

Peter Constable is a Program Manager in the Windows Graphics team at Microsoft, responsible for the DirectWrite text platform and the OpenType specification. In his time at Microsoft, he has worked on shaping engines and various parts of the Windows internationalization platform. Most recently, he has been focusing on development of OpenType Font Variations (variable fonts), and led the cross-company collaboration to create this extension of the OpenType specification. Prior to his time at Microsoft, he worked for many years with SIL International. He has made significant contributions to international standards for language and character encoding, and has an active role in the Unicode Consortium. When he’s not working on software, standards, and fonts, he’s probably doing something involving photography, music, hiking in the Cascades mountain range, or visiting Nepal.

Petr Van Blokland

Petr van Blokland works with designer Claudia Mens and others, depending on the type of project. He graduated in 1980 cum laude in Graphic Design at the Royal Academy of the Arts in The Hague (KABK) and studied Industrial Design in Delft. His special interest is in typography, type design, designing the design process, programming, and design theory. He received the ATypI Charles Peignot Award in 1988 and was a Board member of ATypI. He has lectured at various academies at bachelor and master’s level. His current focus is on international projects related to typography and type, as co-founder of Type Network.

Pierre Tardif

Pierre Tardif has been hand lettering for over 30 years. Since the opening of his sign shop in 1988, all of his work has always been hand painted, and still is today. The bulk of his work is the creation and production of vintage lettering and signage. In general his customers consist of businesses with historical interests, car collectors, custom car owners, museums and movie productions. His ability to precisely recreate the environment of times gone by, has gained him international recognition. His work has been featured in sign magazines, TV productions and in advertisements for 'One Shot Paint'. Pierre has found great inspiration from his huge vintage sign book collection and by rubbing elbows with some of the best veteran sign artists in the industry. As a very skilled artist who is driven by passion, he has spent years practicing and perfecting his art of traditional sign painting. His services now consist of consulting, designing and sign painting.

Quinn Keaveney

Graduating with his second degree from School of the Art Institute of Chicago (SAIC) in 2013, Quinn Keaveney is an internationally recognized designer, type designer, and full stack developer. Since 2014 Quinn has been the sole operator of Quite Type, a studio that builds products with a focus on full stack development and typography. Quinn has won recognition from the Type Directors Club (TDC), AIGA, worked with large companies and designers such as Disney, Font Bureau, Matthew Carter, and Bruce Mau, and has been featured in Communication Arts, and Design Bureau.

Rainer Erich (‘Eric’) Scheichelbauer

Rainer Erich (‘Eric’) Scheichelbauer was born in Vienna. A trained photographer, Eric holds both a philosophy and a Dutch studies degree. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since he has joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as the blog and the handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.

Roger Black

Closing keynote sponsored by Type Network.

Since LA in 1972, Roger Black has been chief art director or design consultant for publications all over the world. Among them: Rolling Stone, New York, The New York Times, Newsweek, Esquire, Reader’s Digest, The Los Angeles Times,,, The Washington Post, Semana (Colombia), Panorama (Italy), The Straits Times (Singapore), Kompas (Indonesia), The Nation (Bangkok) Tages Anzeiger (Switzerland), Placar (Brazil), Svenska Dagbladet (Sweden), and Scientific American.

Black has been involved in many startups. This year, he’s starting a new magazine, TYPE. Previous launches, like Outside, Fast Company, and Out are continuing success stories. He’s a director at Type Network, a new firm that exclusively offers the typefaces of leading digital type foundries, including Font Bureau, which Black co-founded with David Berlow in 1989. For ATypI, he helped organize the first conference in the current annual series, Type 90 in Oxford.

Rod McDonald

Rod McDonald began his career as a lettering artist working for Toronto advertising agencies. He has created alphabets and photo fonts for headline setting and phototypesetters. In the mid ’80s he was one of the first lettering artists to switch to the Mac. He has produced typefaces for many of Canada’s leading magazines, including Applied Arts, Maclean’s and Toronto Life. He has also developed many corporate typefaces for advertising agencies and design studios. Rod is a member of the TDC, ATypI and SoTA. He is also a member of RGD (The Registered Graphic Designers of Canada) and a Fellow in the GDC (The Society of Graphic Designers of Canada). Rod also holds the Monotype Type Design Fellowship and in 2016 he received the Robert R. Reid lifetime achievement medal from the Alcuin Society in Vancouver.

Sahar Afshar

Sahar Afshar is a type designer and researcher from Iran. Her interest in typography during her years as a student at the University of Tehran led her to the University of Reading, from which she holds an MA by Research in Typography & Graphic Communication. Since graduation, she has been working on the design of Arabic typefaces and researching the printing of non-Latin—specifically Arabic and Indic—scripts. She is currently based in the UK, and is a doctoral candidate at Birmingham City University, where she is researching Punjabi printing history and culture in postwar Britain.

Santiago Orozco

Type designer, type engineer for screen and print. Design Director and UX designer, designing typefaces for Font Bureau, Type Network, and Typemade. Organizer of TMX—Tipografía México conference.

Sergio Trujillo

Sergio Trujillo is a Mexican multidisciplinary designer. He has a bachelor’s degree in Information Design from the Universidad de las Américas Puebla, a master’s degree in Graphic Branding and Identity from the London College of Communication, and a master’s degree in Typeface Design from the University of Reading. He currently works as an independent typeface designer and as a full time typography professor at the Universidad de Monterrey.

Shani Avni

Shani Avni is an independent designer and researcher. Fascinated with letters and the stories they tell, she collaborates with designers and educators in order to expose more practitioners to this subject through workshops and lectures. For her Typeface Design MA thesis from the University of Reading, she researched the David Hebrew typeface family and continues to do so. Shani has been chosen for the 2017 Cary Collection Research Fellowship at the Rochester Institute of Technology (RIT), USA, where David’s work is archived. She continues her research in an effort to make historical information available as both an academic and a practical source of reference.

Sharon Oiga

Sharon Oiga holds BFAs (Graphic Design and Photography) from the University of Illinois at Chicago (UIC) School of Design and an MFA (Graphic Design) from Yale University. At multidisciplinary design firms, including Studio/lab, Chicago, she specialized in identity, branding, publication design, and packaging, with collaborators in science, health, education, arts, and business. Currently an Associate Professor at UIC, her work is recognized through awards, publications, exhibitions, lectures, and grants. She serves as Co-Chair of the STA Design Weekend (an annual forum) and as Vice Chair of the Society of Typographic Aficionados (SOTA)/TypeCon.

Shu Lai

Shu Lai is a design leader, UX expert, startup advisor and all around geek. He strives to create things that human beings actually want to use. Most of those things live in the digital world, but sometimes they live in the real world.

Currently growing and running an amazing team of designers at Coursera, crafting higher education learning experiences. Previous to that, he was a director a numerous agencies and startups around the Bay Area.

Simon Mager

Simon Mager is a German graphic designer based in Lausanne, Switzerland. He graduated from ECAL with a master’s degree in art direction with the typeface family, Rima. He works as a teaching assistant for the Master’s in Type Design at ECAL and together with his partners he founded the Swiss-based design studio Omnigroup. His design practice spans the activities of art direction, graphic and type design.

Sofie Beier

Sofie Beier is a type designer and associate professor at the School of Design, Royal Danish Academy of Fine Arts, where she is the head of the MA programme in Graphic Communication Design. She holds a PhD from the Royal College of Art (RCA) in London and is the author of the books Reading Letters: designing for legibility and Type Tricks: Your personal guide to type design. Her current research is focused on improving the reading experience by achieving a better understanding of how different typefaces and letter shapes can influence the way we read.

Stephen Coles

Based in Oakland, California, Stephen Coles is a writer and editor concerned with type history and its connections to current typography. He publishes the websites Typographica and Fonts In Use and serves as Editorial Director and Assistant Curator at Letterform Archive. Stephen is author of the book The Anatomy of Type and was formerly a creative director at FontShop.

Taro Yamamoto

Taro Yamamoto received a BFA from Musashino Art University in 1983, where he majored in typography. After a stint doing type development with Morisawa, he joined Adobe in 1992. He led the design team that produced Adobe’s original Japanese typefaces, under the direction of Masahiko Kozuka. Following Kozuka's retirement, Yamamoto has been involved in the development of Adobe’s Japanese fonts, and the Pan-CJK font development project by Adobe and Google, as Senior Manager of Japanese Typography. He is also the ATypI country delegate for Japan, and President of the Society of Typography, Japan.

Tetsuo Sakomura

Tetsuo Sakomura joined Morisawa Inc. in 2016. He works in overseas business. He studied abroad in the Parsons School of Design, majoring in photography. With the experience acquired in the design field, he worked as a photographer for a half decade and then shifted professions to design management. He worked on projects with domestic/international museums, planning exhibitions, creating tools to evangelize the content educationally, and managing the design team.

Tom Grace

For over a decade Tom Grace has refined his craft of creating and optimizing letterforms and typefaces. He has designed and developed over 700 font styles, many of them for Cyrillic and other non-Latin writing systems. His work has earned distinctions for excellence, reinforcing his reputation as a go-to letterform specialist for design agencies and type foundries alike. Tom also teaches, lectures, and consults on letterform design and development. Apart from design, Tom is an avid musician.

Toshi Omagari

Toshi Omagari is a typeface designer at Monotype. He graduated from the Visual Communication Design course at Musashino Art University in Tokyo in 2008 and the MA Typeface Design program at the University of Reading in 2011.

Underware: Akiem Helmling, Bas Jacobs

Zealotry wouldn’t be an inappropriate collective noun for Underware. They not only design typefaces, they live type–they educate about type, they publish about type, they talk about type, they want (and organize) others to talk about type.

Their work is among that of the most popular of independent type foundries—happy-go-lucky, high-quality, text-friendly typefaces for both display use and comprehensive typesetting. Underware’s typefaces stand out thanks to unique aesthetics, finished quality, and a considered collective presence. Underware is a refreshing and intelligent type foundry who, while taking what they do seriously, manage to not take themselves too seriously.

Veronika Burian

Veronika Burian studied Industrial Design in Munich and worked in that capacity in Vienna and Milan over a few years. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Design in Reading, in 2003 and worked as a type designer at Dalton Maag in London for a few years. After staying for some time in Boulder, USA, and in her hometown Prague, she is now enjoying life in sunny Cataluña. Veronika is co-founder of the independent type foundry TypeTogether, publishing award-winning typefaces and collaborating on tailored projects for a variety of clients.

Victor Gaultney

Victor Gaultney is a type designer and calligrapher with interests in legibility, diacritics, non-Latin scripts, and italics. As Senior Type Designer at SIL International, he develops fonts for minority language groups around the world. He teaches typeface design at the University of Reading, is a co-author of the SIL Open Font License, and led the team that developed ScriptSource ( His most well-known typeface—Gentium—has been a winner in two international typeface design competitions and supports thousands of languages. He is also a musician, actor, and director.

Wei Ming

Wei Ming is the Associate Director at Font Product Division of Beijing Founder Electronics Co Ltd, and a member of the Chinese Artists Association. Her works have been collected by Sichuan Art Museum. She designed the Beijing Olympic subway visual information system, used in the Olympic Extension Line during the 2008 Beijing Olympic Games. It won her the first prize at the National Art Exhibition. She received an MA degree in Communication Design from Central Saint Martins, University of the Arts, London. After returning to China, she joined FounderType and now work on font product research and project management. She is committed to promotion and exchanges of Chinese and English font products.

Wen Wang

Wen Wang is a graduate of the Department of Design Arts, Beijing Institute of Graphic Arts. He has worked in graphics and type design for 22 years and is highly experienced in design and project management. Wen Wang is Deputy Director of font design at FounderType, and a Member of the Shenzhen Graphic Design Association (SGDA). Major works: Founder Bangshu Kai, Founder Bangshu Xing, Founder Qu Song and Founder Yashi Hei.

Will Hill

Will Hill is a typographer, educator and designer whose work is concerned with type, letters and the visual properties of language. He is the author of The Complete Typographer (Thames and Hudson 2010), co-author of Art and Text (Black Dog 2011), and contributor to the Phaidon Compendium of Graphic Design and the Routledge Handbook of the English Writing System. He is Deputy Head of the School of Art at Anglia Ruskin University, Cambridge, where he leads the MA in Graphic Design and Typography. He holds an MA in Typeface Design from the University of Reading.

Yves Peters

Moderator sponsored by Type Network.

Yves Peters is a graphic designer/rock drummer/father of three who tries to be critical about typography without coming across as a snob. Previously a columnist for and editor-in-chief for The FontFeed, he has found a new home at Type Network. His ability to identify most typefaces on sight is utterly useless in daily life.