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You are here: Home / Conferences / Tokyo 2019 / Workshops


Don't miss this year's pre-conference workshops! These optional sessions will be held on Wednesday, September 4, 2019. Please note that there are half-day and full-day workshops, so make sure not to choose two workshops that are scheduled at the same time.

We offer workshops covering a variety of digital and analog topics. Workshops will be held in the Miraikan Museum in Tokyo, which is also the venue for the main conference. 

Miraikan—National Museum of Emerging Science and Innovation
2-3-6 Aomi, Koto-ku, Tokyo, Japan 

Full-day workshops will have a two-hour break for lunch on your own.

Half-day workshops are scheduled as either morning or afternoon sessions.

Half-day workshops are $50 and full-day sessions are $100 (plus materials fees, if any). Sign up for workshops during conference registration in the ATypI Store


Miraikan 日本科学未来館
東京都江東区青海2-3-6 日本科学未来館



My bio and picture are fine. Sandra’s name is サンドラ・ガルシア

Full-Day Workshops

Chinese Calligraphy Workshop


by Wei Ming and Yin Qiu

仇寅, 明伟

Full-Day Session - 9:30-5:30 - maximum 15 participants

SimHei, SimSun, FangSong, and Kaiti are the four basic font styles for Chinese typesetting. Developed from traditional Chinese handwriting, these designs reflect the softness of brushes and output of right-handed calligraphers. Traditional Chinese aesthetics, even after thousands of years of development, exercise a strong influence on Chinese handwriting in the modern era. This Chinese Calligraphy Workshop will bring the unique experience of writing with a soft Chinese brush to designers outside the Chinese cultural circle and help them to learn the techniques and joy of writing Chinese characters stroke by stroke. Just as the pen has influenced Chinese handwriting, the characteristics of the soft Chinese brush may inspire western writers and type designers.


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

ミン・ウェイ(明伟)は北京の方正字庫のフォント製品開発の準ディレクターで、中国美術家協会の会員。彼女の作品は四川美術館にも所蔵されている。ミンは北京オリンピックの地下鉄の視覚情報システムを担当し、会期中は新設の8号線で使用された。このプロジェクトは国立美術館で一等賞を受賞している。ロンドンのCentral Saint Martinsで修士号を取得。帰国後は方正字庫に入社し、フォント製品研究とプロジェクト管理に従事。

Yin_Qiu Qiu Yin is the Expert Commissioner of the Chinese Type Design and Research Center and the Design Director at FounderType, and a member of the Chinese Designer Salon (CDS) and the Shenzhen Graphic Design Association (SGDA). Yin is also the designer of the 2010 Guangzhou Asian Games logotype and recipient of several awards, including the Grand Prize at the Chinese Pen Calligraphy Competition (1985), first prize at the First International Pen Calligraphy Contest (1988), and the China Design Red Star Award (2015).



Designing a sans in one day


by Martin Majoor


Full-Day Session - 9:30-5:30 - maximum 20 participants

After two successful workshops during ATypI in Warsaw and Antwerp, it is now time to bring this informative workshop from Europe to Asia. In the ever developing world of script combinations, it is no luxury to give the Japanese and Asian designers a glimpse into the world of the Latin scripts. The workshop examines the basics of designing the italic script using the instructional double pencil method. In one day, aspects such as design, spacing, rhythm and the difference between serif and sans serif will be discussed. Computers are deliberately not used, to stay as close as possible to the source (the handwriting) of our letters.


Martin_Majoor  Martin Majoor is a Dutch type designer and book typographer. Around 1990 he designed the award-winning typefaces Scala and Scala Sans. Several of his book designs have been given “best book design” awards.

Majoor also designed the typefaces Telefont, Seria, and Nexus. The Questa typeface, designed with Jos Buivenga, ranked second on a list of the 50 most noteworthy font releases of 2014.

Majoor has taught typography at several art schools and has given lectures/workshops around the world. He has written articles for many magazines including Page, 2+3D, and Eye, as well as contributing to several books on typography.

マーティン・マヨールはオランダの書体デザイナー、書籍組版者。1990年頃にScalaとScala Sansを発表し、数多くの賞を授かる。彼のデザインした本も同様に多く受賞歴がある。




Responsive, Dynamic Typography with Variable Fonts


by Jason Pamental


Full-Day Session - 9:30-5:30 - maximum 20 participants

Spend the day learning how to design and create typographic systems that will work smoothly across device sizes while still looking polished and professional. We’ll work with several different variable fonts and learn how to implement them properly, exploring their various axes in our projects. Combining these techniques and extending them will allow us to react to the reader’s context (like day/night mode), accessibility needs, and editorial design possibilities. We’ll even look at some ways we can reimagine a more book-like reading experience on the web. It will be a full day, but attendees will be provided with lots of practical lessons and examples to put into their own projects right away.


Jason_Pamental Jason Pamental works with clients on typographic systems and digital strategy, helps design/developer teams work smarter and faster, and runs workshops on all of the above. A design and UX strategy leader with 20+ years’ experience on the web, and Invited Expert to the W3C Web Fonts Working Group. Clients include type industry giants, Ivy League, High Tech, the NFL, and America’s Cup. Jason researches and writes on web typography: author of Responsive Typography from O’Reilly, articles for TYPE, Net Magazine, PRINT, HOW, and

 タイポグラフィ・システムとデジタル戦略についてクライアントと協力し、デザイン/開発チームがよりスマートかつ迅速に作業できるように支援し、またワークショップを実施している。 Webで20年以上の経験を持つデザインおよびUX戦略のリーダーであり、およびW3C Web Fonts Working Groupのゲスト専門家を務めている。 クライアントはアイビーリーグ、High Tech、NFL、アメリカズカップなど。また、ウェブタイポグラフィに関する研究と執筆を行っており、オライリーの『Responsive Typography』の著者および、TYPE誌、.Net Magazine誌、PRINT誌、HOW誌、Monotype.comに寄稿している。


Sensha-Fuda (Shrine Tags) Workshop


Hiroyuki Masuda


Full-Day Session - 9:30-5:30 - maximum 10 participants

Sensha-Fuda is a tag in which your name and other information are written in commemoration of visiting a shrine or temple. Edomoji, designed over 300 years ago, is widely used to write letters on Sensha-Fuda. This workshop will be conducted by Masuda, who has a 30-year career as a typeface designer, and you can explore  Japanese writing styles and typeface design while creating your own original Sensha-Fuda with some arrangement of Edomoji. If you are visiting from overseas, we will write your name in Japanese. We promise that it will be a special experience and you will feel a connection with Japanese typography and tradition.

Hiroyuki Masuda Hiroyuki Masuda graduated from Saitama University Department of Mathematics, Faculty of Science in 1983 and started his career at a printing company. In 1989 he joined and started designing typefaces for TypeBank Inc. which was acquired by Morisawa Inc in 2017. As well as being skilled in lettering and tracing he also holds the qualification of Master of Calligraphy issued by Tokyo Calligraphy Association. His work includes TB Gothic,  TB Calligra Gothic and TB Chibi Maru Gothic.


ᄀ to ᄒ: An Intro to Hangul Design


Aaron Bell and Chorong Kim

Full-Day Session - 9:30-5:30 - maximum 20 participants

Do you sometimes dream of ᄒ, or find yourself staring a little too long at a wayward ᄅ? Have you wanted to try your hand at designing Hangul, but have no idea where or how to start? Then this is the workshop for you! During this session, we will dive headfirst into the fascinating world of Korean type, both historical and modern. You’ll learn about the rules that govern Hangul (and which ones you can break!) and try your hand at your own Hangul letters, creating several lettering pieces. With lots of examples to look at, one-on-one instruction, and critique, you will come away with everything you need to start your own journey toward Hangul mastery. Materials will be provided, but if you have favorite drawing or sketching tools, feel free to bring them! If you’d like to digitize your work, please bring a laptop.

ᄒのデザインが夢に出てきたり、ᄅをやりすぎて困ったりしていませんか? ハングル書体をやってみたいけど、どこから始めればいいのか悩んでいませんか? そんな方にはこのワークショップが最適です! このワークショップではハングル書体の魅惑の世界に頭から飛び込んでいきます。ハングル文字の形成を司る基本ルールを学習し、自分なりのハングル文字のレタリング作品を描いていただきます。たくさんの資料、個人教授、講評など、ハングル文字のデザインを始めるには申し分ありません。筆記具等は用意されていますが、持参ももちろん可です! もし既に自分のスケッチがあってワークショップ中にデジタル化したい場合は、ラップトップを持参してください。

Aaron Bell Aaron Bell is a typeface designer and consultant based in Seattle, WA. He owns Saja Typeworks, and specializes in Latin and East Asian writing systems, with a particular focus on Korean Hangul. Previously, he graduated from the MATD program at the University of Reading, UK, and spent 6 years working at Microsoft on the Microsoft Typography Team. 

アーロン・ベルはシアトルに在住する書体デザイナー、コンサルタント。レディング大学を卒業後はMicrosoftのタイポグラフィ・チームに6年間在籍し、退職してSaja Typeworksを設立。欧文および東アジアの文字、特にハングルを専門とする。

Chorong Kim Chorong Kim is a type designer at Sandoll Communications. She studied visual design at Kyunghee University in Korea and type design at ISBA Besançon and ESAD Amiens in France. She worked at Cadson Demak, which is a Thai type foundry, and is currently working at Sandoll Communications. She has also been involved in various projects of Korean-Latin font development, and she also has some Thai font development experience. She is a member of Korean Society of Typography, and is also a guest lecturer for type design in several design institutes. She is interested in multi-script type design and loves music. 



Half-Day Workshops, Morning

Business fundamentals for startup foundries

Iliana Moreno Guzmán

Half-Day Session - 9:30-12:30 - maximum 14 participants

Have you recently started, or are you thinking about starting, a foundry, but are hesitant about the “business side” of it? This workshop aims to provide a safe space to learn and share information about business fundamentals, without the risk of turning into a salesperson. It is about discovering what are you offering, or plan to offer, and how to communicate it in a way that resonates with the public, and that gives you a better opportunity in the industry. This half-day session will introduce key business concepts such as: what a startup is, why it is different from a small business, and how type foundries can begin their journey as a startup. It will address the need to assess the market, which will give your foundry a better opportunity to prepare and differentiate itself. If you are eager to spark the conversation about the type business, and to walk out with a better understanding of your business offering, please join the workshop, we will be waiting for you!


Iliana Moreno Guzmán Iliana Moreno Guzmán is committed to inspiring students and young professionals who are willing to solve complex problems, coaching them to become agents of change. She firmly believes knowledge must be shared and passed on, hence her delight in running workshops, being a speaker, and participating as a judge at entrepreneurship competitions. Iliana has found in teaching a great match to expand knowledge, and to pursue her dream to be a perpetual learner. The main topics Iliana has taught include Design Strategy, Design Thinking, Information Design, the Typographic Form, Entrepreneurship, and Leadership. Currently, she teaches full time at the UDEM: University of Monterrey.



Create OpenType-SVG Font with Adobe Illustrator and Python Script
Adobe IllustratorとPythonスクリプトで作るOpenType-SVGフォント

Masataka Hattori and Taisei Yoshida

服部正貴, 吉田 大成  

Half-Day Session - 9:30-12:30 - maximum 20 participants

At this workshop you will learn processes, tips, and tricks for adding an SVG table to an OpenType font using data exported from Illustrator. The processes involve some simple command-line operations that are executed in the macOS Terminal app.

The following are the workshop’s system requirements:

Apple laptop running a recent version of macOS

Adobe Illustrator app

Python 2.7

fonttools 3.0

SVG cleanup tool

I will also introduce some amazing Python scripts, such as and, along with one that will be left as a surprise.

Please bring to the workshop an OpenType font to which you’d like to add an SVG table. Font language does not matter. Latin, of course, is okay, but CJK and other languages are okay, too. If you do not have your own font, please use an open source. Adobe’s open source “Source” fonts, such as Source Sans Pro or Source Han Sans, are recommended.

You will also learn how to define a “Stylistic Set” GSUB feature that can be used to easily substitute a color (SVG) glyph for a Black & White (standard) glyph.

I enjoy explaining procedures step-by-step for designers who are not yet comfortable with font development. However, a beginner’s understanding of the SVG format and Python scripts will help to make the workshop a more pleasant and rewarding experience.

Masataka Hattori Masataka Hattori is a Senior Font Developer at Adobe, and has been a member of their Tokyo-based Japanese Typography team for over 25 years. He has a degree in graphic design from Aichi Prefectural University of Fine Arts and Music. He was involved in the development of the first Adobe Originals Japanese typefaces, Kozuka Mincho (1997) and Kozuka Gothic (2001). Masataka also contributed to various font development projects, such as Kazuraki (2009), the world’s first fully-proportional OpenType Japanese font; Ten Mincho (2017), a set of traditional Mincho-style fonts that feature a full set of Latin glyphs and several color (SVG) emoji; and Source Han and Noto CJK, composed of the Sans Serif–style (2014) and Serif-style (2017) Pan-CJK fonts that were developed in collaboration with Google. Masataka previously presented at ATypI Hong Kong 2012 and ATypI Barcelona 2014.

服部 正貴 (はっとり まさたか)

アドビ 研究開発本部日本語タイポグラフィ シニアフォントデベロッパー。愛知県立芸術大学デザイン科卒業後、タイプチームのメンバーして今年で25年目をむかえる。アドビ初のオリジナル日本語書体「小塚明朝」「小塚ゴシック」をはじめ、数々のフォント開発プロジェクトに参加。それには、初のフルプロポーショナルかな書体「かづらき」、伝統的な明朝体の雰囲気を持ちながら本格的なラテン文字セットと一部カラー絵文字を実装した「貂明朝」、そしてアドビとグーグルの共同開発により実現したPanCJKフォント「源ノ角ゴシック」「源ノ明朝」などが含まれる。またATypIの参加経験があり、2012香港大会、2014バルセロナ大会では、スピーカーとして登壇している。

Taisei Yoshida Taisei Yoshida joined Adobe’s Japanese Typography team, based in their office in Tokyo, Japan, in 2018. As an Assistant Designer, he has been involved in several recent typeface design projects, such as Source Han (Pan-CJK) and Ten Mincho, under the supervision of Ryoko Nishizuka. Taisei graduated from the Department of Science of Design, Musashino Art University. While a student, he also learned typeface design at Kinichi Imada’s typeKIDS school, and at Osamu Torinoumi’s Moji-juku school. As his graduation work, he used the font design and production app named Glyphs to create Hakurei, a Mincho-style typeface. This typeface is based on his research into Japanese typeface design through the use of stroke-like elements. With his friends, he formed a group for lettering design named Sho Times.

吉田 大成 (よしだ たいせい)

武蔵野美術大学基礎デザイン学科卒業。大学時代に今田 欣一氏主催の「typeKIDS」、鳥海 修氏主催の「文字塾」に参加し書体デザインを学ぶ。 卒業制作では、フォント制作ツールのGlyphsを使用し、エレメントベースの書体制作の研究と「はくれい」という明朝体をファミリー展開して制作。作字制作グループ「書TIMES」を友人と発足した。その後も書体制作の活動を続ける。2018年からアドビ 研究開発本部日本語タイポグラフィに書体デザイナーとして勤務。西塚 涼子の指導の元、「源ノ角ゴシック」「源ノ明朝」「貂明朝」の開発に携わる。


Crash Course: Western Calligraphy

Cesar Puertas

Half-Day session - 9:30-12:30 - maximum 20 participants

A working knowledge of western calligraphy can be crucial to speeding up a designer’s understanding of the basics of type design. This crash course will cover the three main styles used in western typography: capitals, minuscules, and italics. In the morning we will study the broad nib pen and in the afternoon we will study the pointed pen. A deeper understanding of the relationships between tools and letter forms is expected at the end of the session, as well as an increased awareness of the intricacies of the Latin script, useful knowledge that will help participants design better typefaces.


Cesar Puertas Graphic designer César Puertas graduated from the Universidad Nacional de Colombia (1999) and completed the Master’s program in Design in Type and Media at the Royal Academy of Arts (KABK) in The Hague (2009). He has been an organiser and judge of the Latin American typography biennials Letras Latinas in 2006 and Tipos Latinos in 2008 and 2010. He is an associate professor and lecturer in type design and calligraphy at the Universidad Nacional de Colombia and a type designer with his own studio, Typograma. His work has been awarded by the Type Directors Club, Tipos Latinos, and Proyecto Diseño. His typefaces are distributed by Adobe, Bold Monday, and Monotype.

セザール・プエルタスはグラフィックデザイナーで、コロンビア国立大学を卒業後(1999)にハーグの王立美術大学KABKのType and Mediaコースを卒業(2009)。南米のタイポグラフィ・ビエンナーレのLetras Latinas(2006)とTipos Latinos(2008)の運営と審査を務める。彼はコロンビア国立大学で書体デザインの助教授および講師を務めるかたわら、Typogramaという自身のスタジオも運営する。彼の書体はAdobe、Bold Monday、Monotypeから販売されており、Type Directors Club、Tipos Latinos、Proyecto Diseñoでの受賞歴あり。


Half-Day Workshops, Afternoon

Creating fonts for Brahmic scripts

Norbert Lindenberg


Half-Day session - 2:30-5:30 - maximum 15 participants

Brahmic scripts such as Devanagari, Tamil, Burmese, and Javanese have complex requirements for mapping characters into correct arrangements of glyphs, including glyph reordering, conjunct formation, mark stacking, and mark positioning. In this workshop, we’ll look at the requirements of Brahmic scripts, discuss solutions to some common design issues, look at how OpenType shaping engines support the different scripts, and dive into some of the OpenType feature code necessary to produce a working font.

Students should have some familiarity with at least one Brahmic script, and not be afraid of writing OpenType feature code. They should bring a computer with a font editor that can generate fonts with feature code (Glyphs recommended).


Norbert Norbert Lindenberg develops software internationalization solutions, currently focusing on fonts and on-screen keyboards for South-East Asian scripts. As an internationalization consultant, member of Ecma TC39, and contractor for Mozilla, he previously co-authored and edited the ECMAScript Internationalization API Specification, implemented the API in Firefox, and designed support for Unicode supplementary characters in JavaScript. Before that, he led internationalization projects at Yahoo!, Sun Microsystems, General Magic, and Apple Computer.

ノーバート・リンデンバーグは、ソフトウェアの国際化ソリューションの開発に従事している。現在は、東南アジアの文字用のフォントとスクリーンキーボードを開発中。 国際化コンサルタント、Ecma TC39のメンバー、およびMozillaの請負業者として、ECMAScript国際化API仕様を共著して編集し、FirefoxでAPIを実装し、JavaScriptでのUnicode補助文字のサポートを担当。 それ以前は、Yahoo!、Sun Microsystems、General Magic、およびApple Computerで国際化プロジェクトを指揮。


New script styles

Petra Dočekalová

Half-Day Session - 2:30-5:30 - maximum 25 participants

A super-intensive workshop which focuses on exploring new handwritten Latin script styles that follow the Czechoslovak style of calligraphy and lettering. You’ll try various Czech markers, graffiti tools, and different techniques and styles, including freestyle. Ultimately you’ll learn four master script styles and finish the session with a new original handwriting style.


Petra Dočekalová Petra studies at the Type Design and Typography studio at Academy of Arts, Architecture and Design in Prague with her PhD thesis about New Script Forms. Since 2013 she has been a member of the Briefcase Type Foundry team. She is focused on editorial work such as the Typo9010 book, which won several global awards. She is also a type designer, sign painter, and lettering artist, working on new digital scripts. Petra received the TDC Award of excellence for her diploma project dealing with Czechoslovak calligraphy and new hand lettering forms.

ペトラはプラハの美術・建築・デザインアカデミーの書体・タイポグラフィスタジオで新しいスクリプト体を研究する大学院生。Briefcase Type Foundryに2013年に参加。様々な国際的な賞を受賞したTypo9010の編集など、執筆作業を専門とする。彼女は書体デザイナー、サインペインター、レタリングアーティストで、新しいデジタル書体も開発している。彼女はチェコスロバキアのカリグラフィとレタリングスタイルの研究ではTDCのArad of excellenceを受賞している。


Smart type design workflow

Rainer Erich Scheichelbauer and Georg Seifert

ライナー・エリッヒ・シャイヒェルバウアー , ゲオルグ・ザイファート

Half-Day Session - 2:30-5:30 - maximum 20 participants

Learn how to efficiently use smart features in Glyphs in order to tackle daunting tasks in type design. We will show you how to set up smart glyphs, implement smart components and corner components, and employ custom parameters.


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


Georg_Seifert Bauhaus University graduate Georg Seifert (born 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. Seifert co-developed the typeface for the new Berlin Airport. He is most well known, however, for his work on the font editor Glyphs, first released in 2011. Seifert lives and works in Berlin.

ゲオルグ・ザイファートっは1978年ドイツのハレ生まれでバウハウス大学卒の書体デザイナーおよびソフトウェア開発者。彼のGraublauとGraublau Slabは国際的なベストセラー書体で、またベルリン空港の制定書体を共作で担当。しかし彼は2011年にリリースされたフォントエディターGlyphsの作者として最も知られている。ベルリン在住。


Times and sessions are subject to change.