An alphabetical list (by surname) of all the speakers presenting this year at ATypI Tokyo. Each bio links through to a detail that will include information on talks and workshops being presented.
Vinod Balakrishnan is a lead senior computer scientist in the Photoshop Engineering team, based in San Jose, California. He has been part of the Photoshop team for the past seventeen years, helping to bring typographic features to the product. Lately he has been working on bringing variable fonts, OT-SVG fonts, the Glyphs panel, and different script support to Adobe products.
Associate Professor Sofie Beier teaches at the School of Design at the Royal Danish Academy of Fine Arts, where she is the head of the Centre for Visibility Design. She is the author of the books Type Tricks: Your Personal Guide to Type Design and Reading Letters: Designing for Legibility, and has published numerous academic papers on typeface legibility. Her research focuses on improving the reading experience by achieving a better understanding of how different typefaces and lettershapes can influence the way we read.
Nóra Békés grew up in Hungary and moved to the Netherlands to study graphic design at the Royal Academy of Art (KABK). Since graduating in 2018, she has been working as an independent designer based in Rotterdam. Her practice focuses on the intersection of type design, typography, and visual storytelling. Her main interest is the research of archives and their contemporary interpretations.
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.
John D. Berry is an editor, typographer, book designer, and design writer. He is the founder and director of Scripta Typography Institute, former president of ATypI, and former editor and publisher of U&lc. He has been a typographic consultant to several software companies, and he writes and speaks frequently about design and typography.
Matthew Carter is a type designer with sixty years of experience in typographic technologies, ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies, in 1981 he cofounded Bitstream Inc., a digital type foundry where he worked for ten years. Carter is now a principal of Carter & Cone Type Inc., designers and producers of original typefaces, in Cambridge, Massachusetts. Carter’s type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian, Bell Centennial, ITC Charter, Mantinia, Sophia, Big Caslon, Big Moore, Miller, Roster, Georgia, Verdana, Tahoma, Sitka, and Carter Sans. Carter has...
Petra Černe Oven is a designer, researcher, and author of texts on typography, information design, and the theory and history of design. She has received prestigious awards as a freelance designer, and earned a PhD from the Department of Typography and Graphic Communication at the University of Reading (UK). She has organized conferences and workshops and worked with the Brumen Foundation. With Dr. Barbara Predan, she established the book series Zbirka 42. She is the Slovenian representative of ATypI, cofounder of the Institute of Design, and Vice-Dean for International Cooperation at the Academy of Fine Arts and Design in Ljubljana.
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.
Sunita Dangol is a communications professional and Ranjana script trainer working toward the promotion and awareness of ancient scripts and one of the indigenous languages of Nepal. She is also a freelance emcee and a social activist. Her interests focus on child participation and heritage preservation.
With Ananda Kumar Maharjan, Dangol co-founded a calligraphers collective called "Callijatra" to promote various Nepalese scripts. Callijatra has so far done over twenty-seven workshops on Ranjana script and is looking to expand its scope by involving more calligraphers and designers. Dangol is the coordinator of the Callijatra project.
Dr. Jo De Baerdemaeker is an independent Belgian typeface designer and researcher. He holds an MA in typeface design and received a PhD from the University of Reading. His interests are designing, researching, and writing about world script typefaces (particularly Tibetan, Lantsa, Mongolian, and Javanese) and multilingual typography. He is an elected board member and the ATypI Country Delegate for Belgium, and currently teaches at LUCA School of Arts (campus Sint-Lucas Gent), and at the Plantin Institute of Typography (Antwerp). In 2012, he founded Studio Type in Antwerp, and collaborates with international design agencies and type foundries.
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.
Ryota Doi is a typeface designer at Monotype. After receiving his BA in design from Tokyo University of the Arts in 2013, Doi Ryota enrolled in the MA program in Typeface Design at the University of Reading (UK). Upon earning his master’s degree in 2014, he returned to Japan and began working as a type designer at Monotype Japan. He has been developing a Japanese typeface that corresponds to a Latin typeface and vice versa.
Florence Fu (傅曦瑶) is a writer and designer based in the Bay Area by way of New York. She holds a BA in art history and a BS in journalism from Northwestern University. Currently, she’s an editorial assistant at Letterform Archive, where she writes about the collection, supports exhibitions, and shares her enthusiasm for letters with the public. She is also a student in Type West’s yearlong type-design certificate program.
Sandra García received a bachelor’s degree in graphic design from the Universidad del Área Andina, Columbia, an architecture degree from the Academia Superior de Artes, Columbia, and a master’s degree in typographic design from the Gestalt Center for Design Studies at Veracruz, Mexico. She has lived in Mexico for five years and has been a graphic designer for thirteen years, ten of which she spent teaching in the areas of editorial design and typographic design. García has taught at the Pascual Bravo University Institution, the Universidad del Área Andina, and the University of Communication in Mexico. She has lectured...
Haruta Yukari is a graphic designer. In addition to her work, she has been involved in typography study groups. There, she learned hiragana and the typography of the early Meiji era, which she has publicized through writing and lectures. Her writing includes “On Kawaka Ikehara,” “A Hundred Vistas of Letters #98” (Robundo, 2000), “Kawaka Ikehara: A Man between Calligraphy and Type,” “Japanese Modern Type: Shozo Motoki And His Surroundings” (the Committee of the Japanese Modern Type: Shozo Motoki and His Surroundings and NPO Modern Printing Preservation Society, 2003), and a thesis titled “Early Modern ‘Hiragana Type’ and Its Designer:...
After finishing her PhD in linguistics at Kyoto University, Hayashi Yuka worked as a research fellow at Kyoto University, the University of London (SOAS), and Osaka University. She is currently a postdoctoral research fellow at the Japan Society for the Promotion of Science, and also works at the National Institute for Japanese Language and Linguistics. Her current projects include the research and documentation of Ryukyuan and Hachijo languages.
Higurashi Takuto got his undergraduate degree from the Shibaura Institute of Technology. His coursework there involved automatically generating typeface designs from a few sample reference images. He is currently preparing a master’s degree in electrical engineering and computer science at the Shibaura Institute of Technology.
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 include TB Gothi, TB Calligra Gothic and TB Chibi Maru Gothic.
Céline Hurka grew up in Southern Germany and moved to the Netherlands to study graphic design at the Royal Academy of Art (KABK) in The Hague. She graduated with a BFA in the summer of 2019 and will be part of the Type and Media class of 2020. When not studying, Hurka works on freelance projects for the cultural sector, combining an interest in editorial design with an emphasis on type design and photography.
Max Ilinov is interested in sound and visual explorations, weird programming stuff, and type design as a mind-expanding practice. He is currently working on projects for typejournal.ru and Typotheque, and carrying out research on the history of Cyrillic. With Irina Smirnova, he founded a group “kooperativ” that is attempting to break new ground in type design by combining it with other disciplines.
Ishikawa Tomoko is a type designer at Type Project. Born in 1993 in Tokyo, Ishikawa graduated with a degree in visual communication design from Musashino Art University in 2016. Her graduation project concerned the effect of Japanese horizontal writing on handwritten letterforms and typefaces. Since joining Type Project, she has been involved in the development of the Japanese versions of AXIS Round 100 and TP Sky typefaces.
Yuki Ishioka is a principal product manager at Adobe and is responsible for driving International product strategy across the company’s Creative Cloud products. A veteran of Adobe, Ishioka has over thirteen years of combined experience and was an original member of the InDesign J, an Adobe product well regarded for its highly culturalized features. Her passion is helping bridge Adobe’s product relatability and usability for users in the international markets.
Hisashi Iwai is a type designer and educator. He earned his BA and MA from Tokyo Zokei University and Aichi University of the Arts, respectively. In 2007, Iwai joined Jiyukobo Ltd., where he was involved in numerous font-development projects, including Yu Type Library and OEM fonts. He is a visiting lecturer at Bunsei Art University and Kyoto Seika University. His project Fides won the Type Design Prize in Tokyo TDC Annual Awards, 2019.
Kataoka Akira, born in 1947, is the representative director of Kinuta Font Factory. His published typefaces include Marumin Old (2000), Iroha Gothic (2005), Marumaru Gothic (2008), Donguri (2011), Yuji-3 (2011), Yamamoto-An (2013), Shin (2014), Kinuta Minchotai L (2017) , and Kana Reiwa (2019). He is a member of the Japan Typography Association, and the author of the book Mojihon.
Yuki Kikutake is a graphic designer and a professor of Visual Communication Design at Tokyo Metropolitan University (Graduate School of System Design, Department of Industrial Art). She began her career working for Nippon Design Center, in 1994 she established Studio Compasso. She has created various projects show the possibilities of supergraphics that is not be constrained by conventional ideas of architecture, space and environment. During the course of her career, Kikutake has been the recipient of many awards; she is a recipient of the Brunel Award by Watford Conference, the Yellow Pencil by D&AD in UK, and Good Design Award...
Kim Irin is a visual designer in the Google Fonts team, based in New York City. She has focused on developing design systems and visual identities, and has contributed to UX/UI projects such as the Material Design guidelines, the SPAN design and technology conference, and surfacing variable fonts in Google Fonts (fonts.google.com). She recently led a project to add more Korean fonts to the Google Fonts library, and to showcase them she commissioned a website from local design studio Math Practice (googlefonts.github.io/korean)
Min-Young Kim is the marketing lead for custom/OEM solutions at Fontworks Inc. and a typographer specializing in polyglot typesetting. After receiving a master’s degree from Musashino Art University, Kim gained experience as a type-design project manager. She now dedicates her career to diversifying the potential of typefaces in various products and environments, and hopes to persuade more people that choosing and using typefaces can be fun.
Alexandra Korolkova is a Cyrillic type designer, type researcher, and type consultant. She has been working for ParaType since 2009 as the head of type design and, from 2014, as the type director. From 2009 to 2011, she participated in the Public Types of Russian Federation project (which included PT Sans and PT Serif) as the principal designer. She also wrote a book on typography for beginners in Russian (roughly translated as Lively Typography). She has won awards in many international type-design competitions (including Modern Cyrillic, Granshan, and ED Awards) and received the Prix Charles Peignot in 2013.
Neelakash Kshetrimayum is a type and graphic designer based in Goa, India. He is a partner and cofounder of BrandNewType, an independent type and typography design studio. He studied Graphic Design at the National Institute of Design, India and received a master’s degree in typeface design from the University of Reading. He develops typefaces for Indian scripts, working in close collaboration with Fiona Ross and John Hudson. His work centers on identity, culture, and multiscript typeface design.
Kudo Tsuyokatsu is a graphic designer who graduated from the living design course at Kuwasawa Design School in 1973. After lecturing in visual communication at Musashino Art University, he became a professor at the Tokyo Metropolitan University Graduate School of System Design in 2006, and guest professor from 2013–14. Tsuyokatsu’s ooks include Textbook for Editorial Design (4th edition), Analysis of Work & Essentials of Design, and Lecture on Typographic Design Method.
Milda Kuraitytė is a graphic designer and PhD student at the Faculty of Fine Arts, University of Lisbon. She is a member of the European Cooperation in Science and Technology (COST) projects European Literacy Network (ELN) and E-Read, which focus on reading processes on screen. In her research on kinetic typography, Kuraitytė combines the fields of typography and psycholinguistics. For her experimental work, in collaboration with the Psycholinguistics Laboratory at the Faculdade de Letras da Universidade de Lisboa (FLUL), she uses an eye-tracking system to analyze kinetic typography. Kuraitytė lives in Amsterdam and is always looking for future challenges and...
Dohee Lee received a BA in visual communication design from Seoul National University. Her first Korean typeface, 134340, won a New Wave award from the Korea Font Association. Since joining Sandoll (the oldest and most renowned type foundry in Korea) in 2016, she has developed custom typefaces for major global brands along with retail fonts. Art and technology have always been a primary source of fascination for her—she studied in the interdisciplinary ArtScience program at the Royal Academy of Art (KABK) in The Hague, where she started to foster a curiosity-driven approach to design. Her recent experiments aim to integrate...
Edwina Lee works in the business division of Arphic Technology. She is in charge of foundry and designer partnerships, marketing, and sales. She has worked at Arphic for almost ten years and loves being surrounded by fonts every day.
Dr. Ken Lunde has worked at Adobe for over twenty-eight years, specializing in CJKV type development. He architected and maintains the open-source Source Han Sans and Source Han Serif Pan-CJK typeface families, released in 2014 and 2017, respectively. Lunde is the author of CJKV Information Processing, Second Edition (O’Reilly, 2009), received the 2018 Unicode Bulldog Award, and became a Unicode technical director in the same year. He publishes articles on Adobe’s CJK Type Blog on a regular basis.
Ian Lynam works at the intersection of graphic design, design education, and design research. He is a faculty member at Temple University Japan, as well as at Vermont College of Fine Arts in the MFA in Graphic Design Program, and is Visiting Critic at California Institute of the Arts (CalArts). He operates the design studio Ian Lynam Design, working across identity, typography, and interior design. Lynam writes for IDEA (Japan) and Slanted (Germany) and has published a number of books about design. Learn more at ianlynam.com.
John Maeda is an American executive spearheading a new convergence across the design and technology industries. He recently joined Publicis Sapient as the chief experience officer after serving as the global head of computational design and inclusion at Automattic from 2016 to 2019. Before that, Maeda was a design partner at Kleiner Perkins Caufield & Byers (KPCB), a world-leading venture capital firm. An internationally recognized speaker and author, his books include The Laws of Simplicity, Creative Code, and Redesigning Leadership. He holds degrees in electrical engineering and computer science from MIT, an MBA from Arizona State University, and...
Ananda Kumar Maharjan is a graphic and type designer based in Kathmandu, Nepal. He has designed various styles of Devanagari fonts. Currently, he is working on Ranjana script and Nepal Lipi (Newa:) fonts. Maharjan has been working on educational outreach and the promotion of Ranjana Script and Nepal Lipi through the Callijatra project.
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.
Dafne Martínez was born in Mexico City. She studied graphic design with a focus on journalistic design in the Faculty of Arts and Design at the Universidad Nacional Autónoma de México (UNAM), and typographic design at the Gestalt Center for Design Studies at Veracruz, Mexico. For the past ten years, she has worked as an editorial designer for print media and advertising. She has been a member of the Mexican Society of Calligraphers and Illuminators since 2011 and cofounded Tipastype, a space created to promote women’s work in the typographic field in Latin America, and a typeface-design studio. She has...
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)...
Nat McCully worked at Claris Corporation and Apple Computer in Japanese product development, specializing in text layout, from 1991 to 1998. He then joined Adobe Systems as the lead engineer for the Japanese version of InDesign, implementing text composition and Japanese publishing workflow features. He has worked on Flash, AIR, RMSDK, and advised the teams on Photoshop, Illustrator, and Adobe Text Engine (ATE). He now works with the Spark and the XD teams on worldwide extensibility and text-layout enhancements for Japan. McCully also participates in the W3C CSS Working Group and is contributing to the JLReq v2 as a Task...
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...
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:...
Akihiko Morisawa joined Morisawa Inc. after graduating from college. In 1987, he collaborated with Adobe to make Japanese PostScript fonts and went to the United States to learn the necessary technology. He has helped spread digital fonts from the Tokyo office from 1989 onward, and became the CEO of Morisawa after taking on various sales-management roles. He also serves as the vice president of the Japan Association of Graphic Arts Technology and the Japan Printing Machinery Association, and is a board member of the Printing Library.
Sébastien Morlighem is a graduate of the École supérieure Estienne, the University Paris Diderot–Paris 7, and holds a PhD from the University of Reading. He is a researcher and teacher in the history of graphic design and typography at the École supérieure d’art et de design d’Amiens. A founder of the Bibliothèque typographique for Ypsilon Éditeur, Morlighem has coauthored several books and written many articles. He has also curated numerous conferences and exhibitions on graphic design, typography, and type design.
Thomas S. Mullaney is Professor of Chinese History at Stanford University, a Guggenheim Fellow, and the curator of the international exhibition Radical Machines: Chinese in the Information Age. His work has appeared in the Journal of Asian Studies, Technology and Culture, Aeon, Foreign Affairs, and Foreign Policy, and has been featured in the Los Angeles Times, the Atlantic, the BBC, and in lectures at Google, Microsoft, Adobe, and more. He holds a PhD from Columbia University. His current project, entitled Hot Metal Empire: Script, Media, and Colonialism in Asia, Africa, and the...
Shotaro Nakano received his BFA from the State University of New York at New Paltz and his MFA from the University at Albany SUNY. He joined international symposiums on subjects such as computational aesthetics in Vancouver in 2011 while he was studying fine art at the university there. In 2014, he joined Morisawa Bunken Inc. as a type designer and transferred to Morisawa Inc. in 2018. He now mainly works on Latin type-design projects and also takes on specific roles like defining standard Latin characters for the company. He participated in the production of Role Sans (2019).
Ryoko Nishizuka, a graduate of the Department of Visual Communication Design at Musashino Art University, is Japanese Typography Chief Type Designer at Adobe Fonts. Since joining Adobe in 1997, she has been involved in a number of Adobe’s Japanese typefaces: Kozuka Mincho, Kozuka Gothic, Ryo, Kazuraki, Source Han Sans/Noto Sans CJK, Source Han Serif/Noto Serif CJK, Ten Mincho, and Ten Mincho Text.
Masahiro Ochiai is a software and system engineer at SCREEN ICT Software. He has been involved in the software development for the Hiragino OpenType family since 2008 as part of an interdepartmental collaboration with the SCREEN GA group.
After finishing his PhD in literature at the School of Intercultural Studies at Kobe University, Ogawa Shinji continued his academic career as a postdoctoral research fellow at the Japan Society for the Promotion of Science. He also served as a project researcher at the National Institute for Japanese Language and Linguistics, and was on the faculty of literature at the Prefectural University of Kumamoto in 2014. He specializes in linguistics and dialects.
Kunihiko Okano is a type designer and the founder of Shotype Design (www.shotype.com). Born in Hyogo, Japan, he graduated from the visual-design course at the Kyoto City University of Arts. After working as a packaging designer at ing associates inc for ten years, he went to work for Type Project. In 2008, he established his own design office, Shotype Design, where he focuses on designing typefaces and logotypes. In 2011, he graduated from the Type and Media program at the Royal Academy of Art in The Hague, the Netherlands. He was commissioned to design the Latin version of Hiragino UD...
Toshi Omagari is a senior 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, after which he joined Monotype. He is known for producing high profile custom projects, high-quality revival typefaces, as well as multilingual design for scripts including Greek, Arabic, Tibetan, and Mongolian. He is also an avid gamer, and is expecting a release of his first book to combine his passion for typefaces and video games. He has recently set up Tabular Type Foundry...
Jason works with clients on typographic systems and digital strategy, helps design/dev teams works smarter and faster, and runs workshops on all 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. Researches and writes on web typography: author of Responsive Typography from O’Reilly, articles for TYPE, .Net Magazine, PRINT, HOW, and Monotype.com.
Marianna Paszkowska is an advanced font engineer at Monotype. Since joining the company in 2016, she has worked on a number of fonts for brands as well as for the Monotype Library. Paszkowska supports type designers and customers with her font-engineering expertise and specializes in variable-font technology. She is a regular speaker at various industry events, sharing her experience and insights on font engineering. When not occupied with code or OpenType tables, she likes to get her hands dirty by practicing lettering or calligraphy.
Laurence Penney is a font-technology consultant based in Bristol, UK. With a focus on dynamic type systems, he specialized in TrueType: coding rasterizers, hinting fonts, and training others how to hint. He later 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 color and variable fonts gives Penney hope that the type world has not forgotten the best ideas from a generation ago. He looks forward to helping these technologies take off.
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....
Qiu Yin is Design Director at FounderType and Expert Commissioner of the Chinese Type Design and Research Center. He is a member of the Chinese Designer Salon (CDS) and of the Shenzhen Graphic Design Association (SGDA); the designer of the 2010 Guangzhou Asian Games logotype; and the recipient of numerous awards, including 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).
Rathna Ramanathan is a graphic designer whose research and practice are situated around and inspired by the contexts of culture, language, typography, and publishing. Originally from Chennai and now based in London, Ramanathan specializes in the research, design, and curation of marginalized content and endangered practices within intercultural publishing, with South Asia as a primary site of investigation. She runs her own studio, minus9, and has a PhD in typography and graphic communication from the University of Reading. She is a Reader in Intercultural Communication and leads the School of Communication at the Royal College of Art.
Garret Rieger is a software engineer at Google. He has been the production lead for the Google Fonts project for the past five years. As part of his role, he works to expand, scale, and optimize Google’s font-serving API. Recently, he’s been working to add support for delivering fonts for large scripts such as Korean, Japanese, and Chinese.
Renée Elizabeth Salmonsen holds an MA in Typeface Design from the University of Reading and an MA in Cultural Anthropology from the National Tsing Hua University. She has worked as a journalist and a translator in Taipei and is now a typeface designer based in London.
Sumanthri Samarawickrama is a senior lecturer in the Department of Integrated Design, Faculty of Architecture, University of Moratuwa, Sri Lanka. Her area of research concerns the anatomy of Sinhala letterforms. This has led her to document the evolution of Sinhala type, which she believes is essential to type education. She completed a master’s degree in visual communication design at Lasalle College of the Arts, Singapore, and a PhD in typography at the University of Moratuwa. While continuing her own research, she supervises many graduate students on type-based research.
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.
Zachary Scheuren studied film production and foreign languages before moving to Hollywood to work in the film industry. After years of working on film-title sequences, he quit the film industry to study typeface design at the University of Reading. There, he focused on the Khmer script, designing a Khmer typeface and writing a dissertation on the history of print in Cambodia. He spent the following five years working as a software engineer in London and Tokyo, doing type design in his spare time. Scheuren currently works at Monotype as a specialist on typefaces for world scripts.
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.
Rod Sheeter came to fonts by accident, having been rudely disabused of the notion that text was a “solved problem.” Five years later, it’s still not solved :)
As first an individual contributor and now tech lead and manager at Google Fonts, Sheeter helped nudge along WOFF2 and unicode-range, bring the Google Fonts collection to Android, and ship high-performance serving for very large fonts such as those used for Chinese, Japanese, and Korean. Today, he works on the nascent progressive-font-enrichment standard and on delivering variable fonts at scale.
David Shields is Associate Professor and Chair of the Department of Graphic Design at Virginia Commonwealth University in Richmond. He actively researches the typographic history of the nineteenth century and works to demystify and un-erase the underlying connections to contemporary techniques of production and networks of distribution. He is currently working on a book for the University of Texas Press focused on the history and impact of the Rob Roy Kelly American Wood Type Collection. He keeps a (slow) blog of current facets of his research at woodtyperesearch.com. He holds an MFA from Cranbrook Academy of Art.
Sim Wujin works in education and publishing, focusing on the design methodology of books and type. He is an author of Manual of Body Text Typesetting (2015), Hiut Magazine (issues 6 and 7), and Easy-to-Find InDesign Dictionary’(2011), and the coauthor of Microtypography: Punctuation Marks and Numerals (2015) and Typography Dictionary (2012). He published Type Trace: A History of Modern Hangul Type (2015) and translated Hara Hiromu and Modern Typography: Type, Photo, and Print of Japan in the 1930s (2017). Sim is currently the head of Sandoll Type Design Institute.
Since graduating from Type and Media in 2010, Irina Smirnova has been consulting, teaching, and designing Cyrillic for Typotheque and other studios. In an effort to find a connection between writing and type design, she dived deeply into the theory and practice of calligraphy. In 2017, she became a teacher and curator of the type-design course in Saint-Petersburg, and in 2018 started to work with a graduate from the course, Max Ilinov. Together they founded a group “kooperativ,” which aims to break new ground in type design by combining it with research, calligraphy, programming, and artistic practices.
Boom Promphan Suksumek is a type designer at Cadson Demak, a type foundry based in Bangkok, Thailand. She also currently teaches courses at local universities on typography and the fundamentals of type design. Suksumek studied type design while doing a master’s in communication design at the Basel School of Design in Switzerland; she did her master’s thesis on variable fonts (emotionaltype.org). Suksumek is an enthusiastic student of Thai script and its history.
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...
Takahashi Yoshimaru explores visual communication with human warmth, pivoting on typography, in everything from branding to book design. He is the author of The Pleasure of Typography (Pie International), Fuzzy Communication (Museum of Arts & Crafts, Hamburg), and Takahashi Yoshimaru’s Design World (China Kwangsi Art Publisher), among others.In addition, Takahashi is a professor at Osaka University of Arts, the principal of Kokokumaru Inc, and chairman of the board of the Japan Typography Association.
Sakura Taruno graduated from Nara University of Education’s General Curriculum and Instruction course. In 2011, she joined Morisawa Bunken Inc. and started her career as a type designer. In 2018, she was transferred to Morisawa Inc. and now mainly works on Latin type-design projects. She was involved in the production of A1 Gothic (2017) and Role serif (2019).
Sovichet Tep began teaching himself type design in late 2010, while he was still in high school. He has published various free Khmer typefaces on his blog and two on Google Fonts (Kantumruy and Kdam Thmor). Currently, he runs Romnea Type, a retail Khmer font platform, and Anagata, a branding and type design consultancy based in Phnom Penh, Cambodia. Since 2017, Sovichet has been traveling around the country and to Thailand to talk to national and international audiences about the history of the Khmer script and the principles of Khmer typeface design.
Since graduating with a degree in art planning from the Osaka University of Arts, Ueda Hiroto has been designing websites and print materials as a freelancer. He also leads a study group called Japanese and Latin Scripts, which hosts typography lectures, workshops, and other events with various invited guests.
“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 encourage (and mobilize) others to talk about type. Their work is among the most popular to emerge from independent type foundries—happy-go-lucky, high-quality, text-friendly typefaces for both display use and comprehensive typesetting. Underware’s typefaces stand out because of unique aesthetics, impeccable quality, and a considered collective presence. While taking what it does seriously, Underware is a refreshing foundry that manages not to take itself too seriously.`
Irene Vlachou is a typeface designer working between Bristol and Athens. After first trying life as an artist and a violinist, Vlachou found her true vocation. Her terrible handwriting and horror of olives turned out not to be obstacles to her becoming a type designer specializing in Greek. In 2004, she received a master’s degree in type design from the University of Reading; since then, she has been collaborating with many international type foundries as a typeface designer and consultant. She designs original custom typefaces, extends existing typefaces, and is the variable-font obsessive at TypeTogether.
Wei-Hsiang Su is one of the cofounders of justfont, a Taiwan-based foundry known for its Jin Xuan (金萱) font family. In 2015, Jin Xuan became the world’s first successfully crowdfunded East Asian ideographic typeface. A specialist in digital marketing and advertising, Su leads branding and marketing at justfont. In 2017, Forbes Asia “30 under 30” honored him for his commitment to art and design. Su was also one of the coauthors of A Chinese Font Walk (字型散步), Taiwan’s very first book about Chinese fonts.
Nathan Williams is a Software Engineer on the Google Fonts team. Although he entered the world of fonts and typography only a couple of years ago, his passion for good design has driven him to learn, explore, and contribute.
After finishing his PhD in linguistics and cognitive science at the University of Delaware, Yamada Masahiro studied as a postdoctoral research fellow at the Japan Society for the Promotion of Science. He was a program-specific associate professor at Kyoto University until December 2016, when he became an associate professor at the National Institute for Japanese Language and Linguistics. He specializes in linguistics, and is active in the preservation and succession of endangered languages.
Taro Yamamoto received a BFA in 1983 from Musashino Art University, where he majored in typography. After a stint doing type development with Morisawa, he joined Adobe in 1992. As the senior manager of Japanese Typography, Yamamota has been involved in the development of Adobe’s Japanese fonts, pan-CJK font development projects, and relevant technologies. He is the president of the Society of Typography (Japan) and the ATypI country delegate for Japan.
Zhang Xuan graduated from the Rochester Institute of Technology and is a type designer at Hanyi Fonts.