St Petersburg ATypI 2007 logo

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ATypI 08 St Petersburg

Detailed schedule

Starts at 09:30, 17 September 2008,
at Beloselsky-Belozersky Palace, St Petersburg, Russia

Preliminary content, subject to change.

| Sessions | Speakers | Printable version |


Wednesday 17 September

Thomas Phinney
TypeTech Forum

09:30 – 09:40 | TypeTech TTW1 in Palace A

Opening of Day 1 of the TypeTech forum, ATypI TypeTech/TypeTools forum’s first track, presented by Association Typographique Internationale.
Theme: TypeTech by ATypI | 10 minutes

Ted Harrison
TypeTools Forum by FontLab

09:30 – 09:40 | TypeTech FLW in Palace B

Opening of Day 1 of the TypeTools forum, ATypI TypeTech/TypeTools forum’s second track. The first day is presented by Fontlab Ltd, the second day is presented by Dutch Type Library (DTL).
Theme: TypeTools by FontLab | 10 minutes

Pascal Naji Zoghbi
Arabic Kufi script
Workshop part 1

09:30 – 13:00 | Workshop W01 in W1

A workshop for non-Arabic speakers about Arabic Kufi script. See for previous workshop information. This workshop takes place in two parts: on Wednesday 9:30—13:00 and on Thursday 14:00—17:30. In the first part, Pascal will give a lecture on Arabic Kufi script, and participants will start practicing the Kufi script and creating units. In the second part, participants will create their own words and patterns using the square Kufi script. The workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper.
Theme: Workshop | 210 minutes

Akira Kobayashi, Nadine Chahine
Linotype type design student workshop
Closed session, part 1

09:30 – 17:00 | Workshop W05 in W2

ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design. In two closed sessions, on Wednesday 9:30–17:00, and on Thursday 9:30–12:00, the invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made!
Theme: Workshop | 450 minutes

Si Daniels, Thomas Phinney
OpenType 1.6 developments

09:40 – 10:30 | TypeTech TT01 in Palace A

Si Daniels and Thomas Phinney give an overview of new OpenType spec developments of the past year, which have gone into the published version 1.5 spec and the coming version 1.6 spec, as well as being planned for the ISO Open Font Format spec. Changes include both clarifications and new functionality.
Theme: TypeTech by ATypI | 50 minutes

Ted Harrison
Photofonts in print
Colorful typography using InDesign and QuarkXPress

09:40 – 10:30 | TypeTech FL01 in Palace B

Several years ago, Fontlab Ltd. introduced the Photofont technology that removed some limitations of traditional outline fonts by allowing the type designer to use the full RGB palette and alpha transparency. The first products to support the Photofont format were BitFonter, the professional bitmap font editor that allows designers to create photofonts, and Photofont Start, a simple plugin for Adobe Photoshop and Adobe Illustrator, that allows designers to use photofonts in their creations. Fontlab Ltd. is now adding three new products to the Photofont family: Photofont QX and Photofont ID are plugins for QuarkXPress and Adobe InDesign that enable designers to use photofonts in their page layouts, while Photofont WebReady makes it possible to use photofonts on the web. In this session, we will introduce the QuarkXPress and InDesign plugins.
Theme: TypeTools by FontLab | 50 minutes

Emil Yakupov
TrueType hinting
— do we still need it?

11:00 – 11:50 | TypeTech TT02 in Palace A

ClearType text rendering with subpixel positioning in horizontal direction noticeably increases the quality of text on screen and eliminates importance of hinting. But there are still some defects in letter appearance that looks even worse when they are just few. Presentation will show and compare samples of texts set with unhinted fonts, autohinted fonts and manually hinted fonts. Typical defects will be analyzed. Time consumption of hinting for black and white rendering, grayscale rendering and ClearType rendering will be estimated and compared.
Theme: TypeTech by ATypI | 50 minutes

Adam Twardoch
Family matters
Making fonts work as a family using FontLab Studio

11:00 – 11:50 | TypeTech FL02 in Palace B

When developing a font family in OpenType format, a number of font parameters needs to be synchronized between the fonts so that applications can “see” the final product as a coherent family. We will discuss several different strategies of approaching the family and style naming and linkning inside a family. We will also discuss the importance of vertical metrics in a family, and will discuss synchronizing them across styles, and about other Font Info parameters that the designer should take care of when preparing the fonts for shipping.
Theme: TypeTools by FontLab | 50 minutes

Karin von Ompteda
The role of typeface design within the scientific study of legibility

12:00 – 12:50 | TypeTech TT03 in Palace A

In the pre-digital era, manipulating typeface parameters to study their influence on legibility was difficult. This contributed to a common practice amongst legibility researchers to test unmodified commercial typefaces differing in numerous parameters, ultimately resulting in a paucity of controlled investigation. The advent of digital typeface design has seen over the past decade scientists develop typefaces for experimental purposes. While this has advanced knowledge, a lack of connection to the design community has limited the practical application of findings. This presentation will argue that practice-based typeface design research has a critical role to play in the scientific study of legibility.
Theme: TypeTech by ATypI | 50 minutes

Adam Twardoch
Crystal clear
Optimizing font screen quality in FontLab Studio

12:00 – 12:50 | TypeTech FL03 in Palace B

Even though screen resolutions become bigger and the font rasterizers more sophisticated, the need for optimizing font screen quality does not entirely go away. FontLab Studio 5 brings various general font screen quality parameters such as alignment zones and standard stems, which can be automatically or manually edited to achieve best results. In addition to the PostScript autohinter built into FontLab Studio 5, there is now also the new Adobe autohinter that is available as part of the AFDKO package and integrates into FLS as a macro (more native integration is planned for a future release of FLS). Finally, the manual tools for working with hinting in FLS5 are virtually unchallenged. We will explain how to combine both automatic and manual hinting to quickly achieve best results.
Theme: TypeTools by FontLab | 50 minutes

José Scaglione
From laser printer to offset press
A one-way road

14:00 – 14:50 | TypeTech TT04 in Palace A

Laser printers have an utterly important role in the professional practice of typeface design, which involves a significant level of trial and error until its completion. Nowadays printers are fast, accurate, and deliver a high quality output that allow type designers to evaluate their work in progress and make the appropriate corrections in just a few minutes. Although this is an enormous advance from the smoke-proof days, the gap between laser and offset printing must be acknowledged in order to develop more accurate testing procedures for the design of typefaces. This lecture is based on a piece of research in which the technical variables that affect the output in both printing technologies were assessed. The answers and questions that emerged are important for a conscious approach to type design and testing procedures, particularly for text typography.
Theme: TypeTech by ATypI | 50 minutes

Adam Twardoch
Setting web typography free
Using custom Photofont and OpenType fonts on the web

14:00 – 14:50 | TypeTech FL04 in Palace B

The web does not allow us to use the countless typefaces that we use in print. We can use non-default fonts in certain elements of a website using Flash and graphics, but in the searchable text portions, only a few standard fonts such as Verdana can be used. In this session, we will combine different tools (Adobe Dreamweaver, FontLab TypeTool, Photofont WebReady, Microsoft WEFT) and techniques (linked OpenType fonts, embedded OpenType fonts, Flash font replacement using sIFR, and embedded Photofonts) to obtain web pages that use non-default fonts, work equally well in Internet Explorer, Safari, Firefox and Opera, and remain valid HTML and CSS, ensuring findability and standards-compliance.
Theme: TypeTools by FontLab | 50 minutes

Yomar Augusto
Experimental calligraphy workshop

14:00 – 17:30 | Workshop W02 in W1

Calligraphy is the basis for the typography work. As an art form it has almost been forgotten in today’s graphic digital environment. Designers don’t handwrite anymore, bitmaps have become more important than ink and computers are now the main tool in the creative process. Kalligraphos is an experimental calligraphy workshop whose main objectives are: Taking the students away from the computer screen to explore the art of drawing letters by hand as a way to improve their technical backgrounds, help them focus their creative energy on the handmade process and stimulate a personal graphic research. The program explores calligraphy and other medias such as illustration, collage, painting, photography, graphic journals (sketchbooks and altered books), all of these combined to present for each student a rich ground for intuitive exploration. During the workshop, participants will practice using writing tools. The workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper.
Theme: Workshop | 210 minutes

Thomas Phinney, Si Daniels
Tech of Web fonts implementation

15:00 – 15:50 | TypeTech TT05 in Palace A

How does the CSS referencing of Web fonts actually work, when used either with original font files or EOT fonts on a Web server? How "safe" are the fonts in either case, and what additional measures can be used? Following the technical discussion, there will be open discussion with the audience as to their interests and concerns, as well as what different foundries' EULAs currently allow, and what they intend to allow in the future.
Theme: TypeTech by ATypI | 50 minutes

Yuri Yarmola
Letterfitting in FontLab Studio
Glyph metrics and kerning: present and future

15:00 – 15:50 | TypeTech FL05 in Palace B

In this session we will discuss various productivity tools offered by FontLab Studio in the area of letter fitting and kerning: the Metrics Window, the Classes panel, the measurement line, class kerning, exceptions, expanding and compressing kerning. We will also show an early preview of what improvements the next version of FontLab Studio will bring in this area.
Theme: TypeTools by FontLab | 50 minutes

Keith Chi-hang Tam
Issues in Chinese text design

16:20 – 17:10 | TypeTech TT06 in Palace A

This presentation will explore the issues that arise when designing with Chinese text. The focus will be on historical and contemporary practices of text design in Chinese books and publications. Linguistic, literary, aesthetic and technological issues will be explored. Approaches to handling continuous text, styles of characters, page layout, structure, as well as graphic and spatial cueing will be examined. This presentation considers calligraphy, xylographic printing and typesetting (both mechanical and digital) as a continuum. It is hoped that this presentation will afford a different vantage point in understanding Western typographic practices.
Theme: TypeTech by ATypI | 50 minutes

Adam Twardoch
Scotch Modern backstage
OpenType case study of a pan-European text font family

16:20 – 17:10 | TypeTech FL06 in Palace B

In this complementary session to Nick Shinn’s “Scotch Modern. Fact and fiction” main conference presentation, Adam Twardoch will share his experiences in defining the OpenType Layout features for Scotch Modern, Nick’s new pan-European text font family. Glyph naming and encoding principles used in Scotch Modern’s multilingual character set (Western, Central European, Cyrillic, monotonic and polytonic Greek plus glyph variants) will be explained, followed by recommendations which features should be included in European fonts. Finally, specific recommendations about the technical implementation of some of the most popular features will be given, taking into account recent advances made by Adobe, Microsoft and Apple.
Theme: TypeTools by FontLab | 50 minutes

Thursday 18 September

Thomas Phinney
TypeTech Forum

09:30 – 09:40 | TypeTech TTW2 in Palace A

Opening of Day 2 of the TypeTech forum, ATypI TypeTech/TypeTools forum’s first track, presented by Association Typographique Internationale.
Theme: TypeTech by ATypI | 10 minutes

Frank E. Blokland
TypeTools Forum by DTL

09:30 – 09:40 | TypeTech FMW in Palace B

Opening of Day 2 of the TypeTools forum, ATypI TypeTech/TypeTools forum’s second track. The first day is presented by Fontlab Ltd, the second day is presented by Dutch Type Library (DTL).
Theme: TypeTools by DTL | 10 minutes

John Downer

09:30 – 13:00 | Workshop W03 in W1

The workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper. Considering the ATypI/2008 conference theme, I propose a demonstration that will include both old and new sign painting techniques. In former times, sign painters didn't have all of the timesaving materials and tools we have today. Contemporary sign painters use Scotch™ tape to mask the baseline and cap line, and paint rollers to cover vast areas. Rollers can also be used to achieve very soft blending of colors. Workshop attendees will be given a chronology of paint application methods, as well as a chance to see letters appear spontaneously. Latin & Cyrillic examples will be created on the spot, to illustrate that brush-painted letters can serve as inspiration for original typefaces -- all without preying on existing typefaces to create new ones. (This point ties in well with the topic of my talk at the conference). Participants will also be afforded a chance to try their hands at rendering letterforms with a lettering brush.
Theme: Workshop | 210 minutes

Akira Kobayashi, Nadine Chahine
Linotype type design student workshop
Closed session, part 2

09:30 – 12:00 | Workshop W05 in W2

ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design. In two closed sessions, on Wednesday 9:30–17:00, and on Thursday 9:30–12:00, the invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made!
Theme: Workshop | 150 minutes

Denis Moyogo Jacquerye
African fonts and the open source community

09:40 – 10:30 | TypeTech TT07 in Palace A

This presentation will discuss the requirements of orthographies African languages in Latin scripts and show how to implement these with modern fonts technologies. Good practices, mistakes and evaluation of fonts for African languages with high requirements will be discussed. The presentation will also showcase various font projects that are benefitting from the input, feedback and work of the Open Source community. A description of the work done to extend various Open Source fonts will be given, both in design (glyphs, variants, etc.) and in technologies (OpenType, automation of some steps with scripting, etc.).
Theme: TypeTech by ATypI | 50 minutes

Jürgen Willrodt, Frank E. Blokland
Automating font production processes

09:40 – 10:30 | TypeTech FM01 in Palace B

The very versatile and easy to edit Ikarus based file structure of DTL FontMaster, in which the glyph descriptions are cleverly kept separated from metrics and naming info, is tailored for sophisticated organizing and batching font production processes and for which reproducibility and stability are keywords. The following subjects (amongst others) will be explained in detail: Glyph databases: organizing, building, merging and enhancing. Glyph mapping: managing Character Layout files. Name tables: editing UFM and OpenType Layout features files. Metrics: metrics and kern pairs editing/generation. OpenType Layout features: editing features files and automating the features generation. Font generation: batching (with command files).
Theme: TypeTools by DTL | 50 minutes

Thomas Milo
Grammar of proto-typographic Arabic Naskh

11:00 – 11:50 | TypeTech TT08 in Palace A

This study is based on the observation that the many instances of pre-typographic, manuscript Naskh writing, share a single ideal. An analysis on the basis of the linguistic concepts of competence and performance leads to fascinating results. From manuscript evidence, and early Middle Eastern type designs, a script grammar (un système grammatical) can be inferred. The result is a descriptive grammar of naskh script, based on Ottoman practice over a period of three centuries. By analogy with linguistics, such a grammar can serve both as a theoretical model and as a yardstick for understanding and systematic description of variations in performance. Religious texts from within the Ottoman calligraphic domain were selected as authoritative samples, for these are without exception meticulously executed and became the prototype for the emerging Middle Eastern typography. The norm of Naskh competence is well documented in the form of the heritage of Ottoman Qurʾāns, that also show rich variation in execution. Non-religious texts tend to be written more casually, but are clearly performances based on the same model that contribute significantly to the examined corpus. A computer model of Naskh script grammar was created, that enabled the author to present exhaustive lookup tables with a grammatical solution for all web-attested Arabic letter blocks. This study targets arabists, orientalists in general, linguists as well as the students and designers of Arabic typefaces. In addition to that, every effort has been made to make this study informative for the interested layman.
Theme: TypeTech by ATypI | 50 minutes

Frank E. Blokland
Automating type design processes

11:00 – 11:50 | TypeTech FM02 in Palace B

Not only font production processes can be automated; to a certain extend also the type design process can be done by software itself. An introduction on the (possible) automation of type design processes and the presentation of the first version of the DTL LetterModeller application. This presentation is partly based on the PhD research on Harmonic systems in the Latin script that the speaker is currently doing at Leiden University.
Theme: TypeTools by DTL | 50 minutes

Titus Nemeth
Typeface design in Arabic

12:00 – 12:50 | TypeTech TT09 in Palace A

Tasmeem, a new software jointly developed by WinSoft and DecoType, offers new perspectives for Arabic typeface design. Titus Nemeth was invited by the developers to be the first third party designer to get insights of the system, its methodologies and to actually design for Tasmeem. He was asked to convert his existing Nassim typeface from an OpenType based rendering, to rendering within Tasmeem. Titus Nemeth presents his experience working on this project, explains concepts of the Tasmeem software and their implications for the design process. The new opportunities given to Arabic typeface design and typography are far reaching and have yet to be discovered by the design community.
Theme: TypeTech by ATypI | 50 minutes

Jürgen Willrodt
Editing OpenType fonts
OT Master

12:00 – 12:50 | TypeTech FM03 in Palace B

OT Master is a powerful new generation tool for the direct extensive editing of OpenType CFF and TTF fonts, which is available for Mac OS X and Windows. The many functions include the adding and editing of glyphs, the revision of (name) tables, consistency checking and the handling of OpenType Layout features. The following subjects (amongst others) will be explained in detail: Name tables: checking and modifying. Line spacing: checking and modifying. Glyphs: editing and adding. OpenType Layout features: importing a features file. Arabic fonts: creating Arabic fonts including mark positioning.
Theme: TypeTools by DTL | 50 minutes

Akira Kobayashi, Nadine Chahine
Linotype type design student demonstration
Public demonstration

12:00 – 13:00 | Demonstration D01 in W2

ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design. The invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made!
Theme: Education | 60 minutes

Tim Ahrens
Font Remix Tools

14:00 – 14:50 | TypeTech TT10 in Palace A

This presentation demonstrates the Font Remix Tools, a set of macros for FontLab Studio that allows to automate parts of the design process. Unlike most other macros, they do not require any programming skills to use – their user interface is designed to provide the automation of automation. Using examples, the functionality of Tools is explained and tips are given on how to set up an efficient workflow.
Theme: TypeTech by ATypI | 50 minutes

Peter Rosenfeld
Re-inventing font technology

14:00 – 14:50 | TypeTech FM04 in Palace B

Much of the actual font technology finds its origin in the Ikarus system, invented by Dr. Peter Karow in the early 1970s and developed till this day by URW++ under supervision of Dr. Jürgen Willrodt. A historical overview and explanation of more than thirty years of Spitzentechnologie by URW++’s managing director, who was directly engaged in the Ikarus development over the past thirty-plus years.
Theme: TypeTools by DTL | 50 minutes

Pascal Naji Zoghbi
Arabic Kufi script
Workshop part 2

14:00 – 17:30 | Workshop W01 in W1

A workshop for non-Arabic speakers about Arabic Kufi script. See for previous workshop information. This workshop takes place in two parts: on Wednesday 9:30—13:00 and on Thursday 14:00—17:30. In the first part, Pascal will give a lecture on Arabic Kufi script, and participants will start practicing the Kufi script and creating units. In the second part, participants will create their own words and patterns using the square Kufi script. The workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper.
Theme: Workshop | 210 minutes

Vladimir Yefimov
Latin+Cyrillic, designing multiscript fonts
Workshop in Russian

14:00 – 17:30 | Workshop W04 in W2

Multiscript type design: Typefaces including both Latin and Cyrillic characters in Russia and abroad. Old and new approaches to multiscript type design. OpenType fonts may contain huge quantity of glyphs from different script systems, for example Latin, Cyrillic and Greek. However there are some difficulties in designing multiscript fonts because its author used to draw letters of his native script and sometimes the features of alien characters are not so well familiar to him. Experience of multiscript type designing in Russia in the past and the present allows to hope such difficulties are surmountable in process of acquaintance to features of each script system. This workshop will be conducted in Russian language only and is aimed primarily at Russian designers. The workshop will start with Vladimir Yefimov’s lecture and conclude in a discussion. The maximum number of participants is 50. The workshop is free to all participants who have registered to the main conference, but a separate registration to the workshop will be required (it will be announced at a later time).
Theme: Workshop | 210 minutes

Atilla Korap
Automation in font production

15:00 – 15:50 | TypeTech TT11 in Palace A

This presentation will be about the benefits and possibilities of automation in font development. It will show what needs to be taken into consideration before automating font development tasks. Possible approaches to automated tasks as well as examples will be discussed. An overview of tools and approaches will be given. The presentation will cover many steps of font development, starting from the workfile organisation and ending with font generation.
Theme: TypeTech by ATypI | 50 minutes

Frank E. Blokland
Crossing borders
The best of different worlds

15:00 – 15:50 | TypeTech FM05 in Palace B

Running FM under Mac OS X / X11 and Linux in a Wine bottle. Integrating FM in workflows based on other font production tools. TypeTech attendees who use third party software are invited for a direct comparison of the functionality of their font production tools with FM’s and to discuss (the necessity of) possible workflow integrations (or even migration).
Theme: TypeTools by DTL | 50 minutes

Ted Harrison
Using your EULA to protect your fonts

16:20 – 17:10 | TypeTech TT12 in Palace A

This talk will discuss the importance of the End User License Agreement to the font developer as a means of protecting their work and as a marketing tool. We will go over the most important features of a EULA, what should be included, and how to enforce it. We’ll also discuss the threat of embedding and how to use the EULA to combat it. EULAs can also be useful in selling fonts. We’ll talk about how to include your EULA in your licensing strategy and how to make it work for you as a sales tool. A demo of the electronic EULA abstract tool will be included.
Theme: TypeTech by ATypI | 50 minutes

Frank E. Blokland, Peter Rosenfeld
To celebrate a long lasting co-operation

16:20 – 17:10 | TypeTech FM06 in Palace B

The Dutch Type Library and URW have been working together for more than seventeen years in the field of font (tools) production now and we would like to celebrate this long lasting co-operation and friendship — together with all ATypI TypeTech Forum attendees — with some good food and drinks. Also the booklet “Comprehensive Notes on the Design of Cyrillic Letters” by the Finnish type designer Hanna Hakala and typeset in the preliminary version of DTL Valiance will be presented here.
Theme: TypeTools by DTL | 50 minutes

Gerry Leonidas
Country Delegates

17:30 – 18:00 | Meeting M01 in Palace A

Meeting of the ATypI country delegates.
Theme: Other | 30 minutes

ATypI attendees
Conference Speakers

17:30 – 18:00 | Meeting M02 in Palace B

All speakers of the main conference are requested to attend this meeting.
Theme: Other | 30 minutes

Gerry Leonidas
Researchers in typography and typeface design
Poster sessions

18:00 – 18:45 | Panel session P01 in Palace A

Following the successful first forum for researchers in the fields of typography and typeface design at the Brighton conference, the Education committee would like to offer again the opportunity to researchers to present informally their work. Whether you are at the beginning of your research project, halfway through, or recently concluded, we will provide an informal space configured for short presentations or briefings that set off discussions in a small group; and wall space for researchers to hang posters outlining their research throughout the conference. We would expect to see an A2 or A1 poster explaining the objectives and methodology of the project (and the findings, if you're at that stage).
Theme: Education | 45 minutes

Oleg Genisaretskiy
In praise of the letter
Keynote Presentation

19:00 – 19:50 | Keynote session K01 in Palace A

Being a book person, I noticed long ago that the quality of my reading much depends on the type the book is set in, and its page layout. That dependency deepened with the advent of computers when a selection of type best matching my current state of mind became possible. Learning from the views and writings of a number of remarkable people helped me understand, in my own way, the reasons of that preoccupation. A book artist Boris Zhuravsky explained why a book page in the field of vision of a reader is unconsciously perceived by him as a human face looking at him. Evgeny Shiffers, a stage and film director and a theologian, once conjectured that all scripts originate from those letterforms that appear to us among the images of the “thin doze”, half-way between the vigil and the deep sleep. The remarkable Russian writer Sigismund Kryzanowski wrote in his story The club of letter killers about an imaginary writers’ game that allowed the players to manage without any letters. And Joseph Brodsky concluded his In praise of boredom with a eulogy to the lower- case letter. By drawing those observations together I should like to express, with all clarity I am capable of, my firm conviction that the book, the page, the line, and the letter shall forever remain the truest and the trustiest pillars of our sanity and humanity.
Theme: The Old · The New | 50 minutes

Friday 19 September

Early morning refreshments

07:30 – 09:00 | | 90 minutes

John D. Berry, Vladimir Yefimov
Welcome and opening address

09:00 – 09:30 | Plenary session A00 in Palace A
Theme: Other | 30 minutes

Jerry Kelly
Type revivals
Where did they come from? where have they been? Where are they going?

09:40 – 10:30 | Session A01 in Palace A

Typographers often speak of the concept of historical revivals of earlier typefaces, but how well do we understand this important segment of type design? Through an illustrated lecture we will discuss what a type revival is, what different kinds there are, the origins of type revivals and the first examples of the practice and the flourishing of the practice in the first half of the twentieth century.
Theme: Revivals | 50 minutes

Yuri Gherchuk
Cyrillic letter in Russian culture

09:40 – 10:30 | Session B01 in Palace B

Cyrillic came to Rus’ with the Holy Writ; that defined the public attitude toward it, as a collection of sacred, inviolable signs, and slowed down the evolution of its letterforms. That is why even the Westernisation of the printing type undertaken by Peter the Great centuries later, did not affect the type of the clerical books, which kept its mediæval look. As to the “civil”, secular type, often developed abroad, it followed the evolution of the Western, Latin type—from Baroque to Art Nouveau. The æstheticism of early 20th century cultivated the artistic, handcrafted lettering, and the constructivism imparted a new significance to the sans serif types available with the printers. A serious interest to the development of new typefaces, to the Cyrillisation of the best Western designs, and the adaptation of Cyrillic to the new typesetting technologies resumed only in the second half of the 20th century.
Theme: Cyrillic | 50 minutes

Mid-morning break

10:30 – 11:00 | | 30 minutes

John Downer
Revivals revisited

11:00 – 11:50 | Session A02 in Palace A

To understand the intrinsic differences between plagiarism (normally regarded as a bad thing) and preservation (normally regarded as a good thing), we should look at various means by which newer typefaces are derived from older ones. There are indeed many approaches. Outlining them can be helpful in considering the practices surrounding revivalism in general: revivals, recuttings, reclamations — anthologies, surveys, remixes — knockoffs, clones, counterfeits — “me too”, copycat — reconsiderations, reevaluations, reinterpretations — homages, tributes, paeans — encores, sequels, reprises — extensions, spinoffs, variations — caricatures, parodies, burlesques.
Theme: Revivals | 50 minutes

Irina Fomenko
Reforming writing, reforming typography, innovation by decree?
Digital collection of the first books printed in Civil Type

11:00 – 11:50 | Session B02 in Palace B

This presentation is an overview of “The First Books Printed in Civil Type”, the digital collection prepared by the Rare Book Department of the Russian State Library in 2008. The collection consists of 32 digital versions of the first Russian books printed in Civil Type, published in Moscow in 1708–1711. This was a period in which the forms of new Russian printing (‘civil’) type started to settle. Peter the Great, the emperor of Russia, personally chose foreign books for translation to Russian, determined the appearance of the editions, their size, form and cover design. The digital renderings of the books contain many details important for understanding the essence of Peter’s typographic reform.
Theme: Cyrillic | 50 minutes

Nick Shinn
Scotch Modern
Fact and fiction

12:00 – 12:50 | Session A03 in Palace A

This paper presents the revival of a mid-19th century typeface as a balance between the demands of authenticity (historical and cultural), and those of invention (meeting the needs of extensive OpenType features in multiple encodings—Latin, polytonic Greek, Cyrillic including Asian). Historical issues: a theory of Contextual Press Gain explains genre's physical characteristics; Latin, Greek, and Cyrillic models. Glyph proliferation: old-style figures for a modern face; unicase and swash capitals in three scripts. Management of alternates — in Greek: layered stylistic sets; in Bulgarian: orthography, aesthetics. Harmonization — in small capitals: optimizing x-height across scripts; diacritics (Latin extended); straight and Italic Greek: a divergent scheme.
Theme: Revivals | 50 minutes

Download Shinn_ATypI08.pdf

Olga Florenskaya
Vernacular domestic lettering
Cyrillic alphabet and Russian typographic tradition

12:00 – 12:50 | Session B03 in Palace B

Olga Florenskaya has opened the topic of Vernacular domestic lettering in the mid-1980s, when she started collecting the particular examples of non-professional forms of lettering in the cityscape. She has published the book “Psychology of domestic lettering”, where she has described and analyzed the numerous examples taken from the real life. Most of the items of her collection had a practical use. Olga pays a particular attention in her research to Cyrillic peculiarities of vernacular lettering. The session will be illustrated with numerous items from Olga’s collection.
Theme: Cyrillic | 50 minutes


12:50 – 14:00 | | 70 minutes

Susanne Dechant
50 women typographers in 50 years of ATypI

14:00 – 14:50 | Session A04 in Palace A

The ATypI 2008 Brighton conference sharpened my awareness for the gender issue in the typography business: considerably fewer female designers were present, compared to the former days. Fewer and fewer friends have stayed in contact over the years (on the contrast to the men’s network) and I felt quite lost somehow. I remembered all these impressing design women I met in Boston, Reading or Barcelona, and I made a list of them on a paper napkin. With only little effort, I was able to list nearly 30 remarkable women. I hope that this summary can be a vivid mirror of many typeface generations, as I will frame my lecture from the old experienced to the new young participants in female type design.
Theme: Personalities | 50 minutes

Tagir Safayev
Discovering the Cyrillic letterforms of Cheltenham through the century

14:00 – 14:50 | Session B04 in Palace B

The Academy was created in circa 1908-10. The typeface was based on Sorbonne, which represented the ATF rework Cheltenham of 1896 and Russian typefaces of the mid-18th century. In 2008, I designed the Cyrillic extension for NYTimes Cheltenham. Between these dates — a century. The lecture focuses on the diverse approaches to the understanding Cyrillic letterforms based on the Cheltenham family through the last century. The novelty in typography is really modern not only and rather by itself, but it discovers and builds new links with the past and exists (until it exists at all) due to these links.
Theme: Cyrillic | 50 minutes

Heidrun Osterer
From Univers towards Avenir
On the professional career of Adrian Frutiger

15:00 – 15:50 | Session A05 in Palace A

Having just finished writing a comprehensive monography on the professional career of Adrian Frutiger (with Philipp Stamm, to be published in October 2008 by Birkhäuser Verlag and Princeton Press), in my lecture I will give an overview about the origin and development of the typefaces of Adrian Frutiger, his professional work in his time, in the historical context (from the beginning of writing) and the reflection nowadays. Moreover, I will give a detailed analysis of some of his important typefaces like Univers, Frutiger and Avenir.
Theme: Personalities | 50 minutes

Alexandra Korolkova
A walk along the fence

15:00 – 15:50 | Session B05 in Palace B

There are many fences in Russia, of different kinds and purposes. Also, the Cyrillic alphabet contains a lot of stems; it was a feature of Cyrillic since the script appeared, and it is sometimes called “Cyrillic Fence”. Now the local designers suppose it to be one the main problems of Cyrillic. There were some tries to change the lettershapes but they were quite unsuccessful. Maybe there are some ways to make “fence” look better without radical changes of lettershapes? The presentation is rather entertaining than serious one.
Theme: Cyrillic | 50 minutes

Mid-afternoon break

15:50 – 16:20 | | 30 minutes

Paul Luna
Absolutely no type
The threshold of a new era

16:20 – 17:10 | Session A06 in Palace A

Books produced by early phototypesetting systems publicized the fact that they were produced with ‘absolutely no type’. What letterforms were chosen for these new systems? How did they relate to existing type designs? What opportunities were taken (or missed) in the creation of new founts? How did the new typefaces for new machines affect the designers and typesetters who used them? By looking at the earliest phototypeset books, manufacturers’ and printers’ type specimens, and printers’ archives 1950-1970 we can find out more about the time when the certainties of metal typography began to dissolve into the new world of film.
Theme: Methods | 50 minutes

Petr Chobyt'ko
Role and significance of calligraphy
in contemporary graphic design education

16:20 – 17:10 | Session B06 in Palace B

Calligraphy exerts a positive—correcting and stimulating—influence on the development of creative skills of the students of high schools and art colleges. Such conclusions have been drawn from the speaker’s 36-year experience of teaching lettering and calligraphy at various educational facilities in Russia and Ukraine, to the students belonging to different age groups. References to the legacy of Paul Luhtein, the speaker’s own teacher and mentor, as well as the views of master calligraphers Villu Toots and Albert Kapr, the opinions of scholars, speaker’s own observations serve to corroborate and explain this phenomenon.
Theme: Cyrillic | 50 minutes

Typophile Film Festival

17:20 – 18:20 | Entertainment A07 in Palace A

The Typophile Film Fest is best described as a one-hour screening of a rare and unequaled selection of short typographic films. Hailing from countries all over the world, the films create a visual mashup of motion design, typographic animation and short stories. In years prior it has included broadcast motion design, documentaries and typographic eye candy from Trollbäck + Company, Strange Attractors, Erik Spiekermann, Nick Shinn, Font Bureau as well as many others.
Theme: Other | 60 minutes

Alexey Dombrovskiy
Art of the First Letter
Russian decorative book initial used in 15th–early 18th centuries

17:20 – 18:10 | Session B07 in Palace B

Cyrillic printed initial caps by 15–17th centuries as the Civil prototype. First slavic capitals as serif (1494). Francisco Scorina’s modernization of cyrillic type and capital letters (1517–1525). Gothic motives in Moscow floriated letters by Ivan Fyodorov and his followers (1564–1677). Alternative cyrillic typefaces at Moskovia’s western remote area (17th cent.). “Sobornoye Ulozhenie” by czar Alexey Mikhaylovich: latin style of capital letters in Russian corpus juris (1649). The Civil type’s initials in Peter the Great’s editions (1708–1725).
Theme: Cyrillic | 50 minutes

ATypI attendees
Evening Event

18:30 – 19:30 | Plenary session in Other

Theme: Other | 60 minutes

Saturday 20 September

Early morning refreshments

08:00 – 09:30 | | 90 minutes

Gerard Unger
A thousand years ago...
Letterforms in inscriptions from the 10th, 11th and 12th centuries

09:30 – 10:20 | Session A08 in Palace A

The time between the Carolingian renaissance and the Gothic is sometimes seen as a long-drawn-out period of transition as regards inscriptional letterforms. Romanesque art and architecture are highly varied, so much so indeed that it is difficult to speak of a single style. Romanesque capitals display just as much variety. Despite this, it is possible to discern a stable model that was used throughout most of Europe for at least two hundred years. It is separate from its Roman forerunners and exhibits a range of influences that made themselves felt in Europe after the end of the Roman Empire. Romanesque capitals — a neglected model.
Theme: History | 50 minutes

Dmitry Kirsanov
Modern serif in Russia

09:30 – 10:20 | Session B08 in Palace B

What Russian typefaces can be considered as the first Modern Serifs? What types influenced more on the development of this style in Russia: Didot or Bodoni? What reasons have induced Bodoni to create Cyrillic font? Whether Didot typefaces were used in Russian printing houses of the beginning of 19th century? What Russian typefaces of Modern Serif have been revived during the Soviet period and what are the new designs? The author will try to answer these questions.
Theme: Cyrillic | 50 minutes

Frank E. Blokland
Now, then and perception

10:30 – 11:20 | Session A09 in Palace A

One needs a thorough knowledge of the historical development of the trades of the type designer, the font vendor and the typographer within the different style periods in order to determine one’s place in time and space is needed. Modern typographers make use of and mix typefaces from the different style periods without hesitation. Perhaps eclecticism is the main characteristic of our time. The image that people have of historical typefaces is in many cases based on revivals — perhaps without realizing that these revivals show as much of the original style period as of the period in which they were made. The view on history changes constantly. Frank E. Blokland will try to give more insight in the perception of the historical developments in the world of type, illustrating his point by showing parallels in the authentic music practice and in painting, especially what he calls the ‘Van Meegeren Aspect’.
Theme: Revivals | 50 minutes

Konstantin Startsev
Typography in the student livre artiste projects
Contemporary typography in the book studies. Based on the experience of St. Petersburg State University (Faculty of Philology and Arts)

10:30 – 11:20 | Session B09 in Palace B

In his lecture “Typography in the student livre artiste projects” Konstantin Startsev describes his methods of teaching typography at the Department of Graphic Design of St. Petersburg State University. Both the images projected on screen, and the physical samples of the actual books designed and manufactured by the students illustrate his talk. The works of Konstantin Startsev’s students won many awards at the national and international design competitions.
Theme: Cyrillic | 50 minutes

Mid-morning break

11:20 – 11:40 | | 20 minutes

David Březina
General issues of multi-script typography

11:40 – 12:30 | Session A10 in Palace A

An overview of the most common typographic issues in publications which involve two or more scripts with a horizontal reading direction (e.g. Latin, Indic, Arabic, Hebrew, etc.). The talk aims to explain the problems systematically from a partially-objective point of view and show some of the possible solutions.
Theme: World | 50 minutes

Maxim Gurbatov, Anna Chaykovskaya
Book of letters
The parting from the era of wood type

11:40 – 12:30 | Session B10 in Palace B

We were very impressed with history of old typographical sorts, wood and metal letters. Throughout its history, they were important elements of European culture. Now they are not wanted. We want to express gratitude them. We have old typographic wood and metal letters and make large art objects called, for example, The Tetragrammaton, The Monument of Unknown Accountant, The Four Seasons in Russia. The object called “MЖ” consists of letters M and Ж only — there are the letters beginner the words Man and Woman in Russian. There are mainly large compositions — to 2 m in breadth. We dedicated our project to Gutenberg’s era.
Theme: Cyrillic | 50 minutes


12:30 – 14:00 | | 90 minutes

Si Daniels
“...mean bastards, even though Matthew did some cool stuff for them...”

14:00 – 14:50 | Session A11 in Palace A

A talk about Matthew Carter’s font design work for Microsoft. We use them every day, on the Web, in e-mail, and in print, and during the summer of 2007, in preparation for a TypeCon exhibition on the subject, Microsoft’s Si Daniels delved into the archives, interviewing participants and gathering material in an effort to uncover the unwritten history of Verdana, Georgia, and Tahoma.
Theme: Screen | 50 minutes

Timothy Donaldson
Resurrection pencil
What I learned from the “marks that speak”

14:00 – 14:50 | Session B11 in Palace B

During research for my recently published book, “Shapes for sounds”, I investigated the Glagolitic alphabet created by the brothers Cyril and Methodius. This alphabet was the mother of Cyrillic. I learned to write the letters, an activity that took on a life of its own and led to a body of interpretation bordering on the obsessive. My talk will focus on the history, development, and subsequent abandonment of the Glagolitic alphabet and will show the new drawings, sculptures, scripts and typefaces I have produced as a result of this investigation.
Theme: Cyrillic | 50 minutes

Roger Black, Håkon Wium Lie, Thomas Phinney, Si Daniels, Bert Bos
The war over web fonts
Panel discussion

15:00 – 15:50 | Panel session A12 in Palace A

The typographer and Web designer’s dream of being able to use any font they want for Web page authoring is finally becoming a reality. Or is it? Why are there two competing approaches, and what does each one offer? What is their status in terms of standardization and implementation? Typography and Web publication guru Roger Black moderates presentations and discussions with promoter of native fonts on Web servers Håkon Lie (Opera) and proponents of the more protected EOT format (Si Daniels of Microsoft, Thomas Phinney of Adobe).
Theme: Screen | 50 minutes

Gerry Leonidas
A few things I’ve learned about typeface design

15:00 – 15:50 | Session B12 in Palace B

The St Petersburg conference will nearly coincide with the ninth anniversary of the MA Typeface Design programme at the University of Reading. The programme overlaps with a period of maturity and consolidation in typeface design, and some important steps of an area of practice moving towards becoming a field of study. I will argue that the programme embodies and promotes a fundamentally significant approach to both studying and practicing typeface design, with echoes in the wider typographic world.
Theme: Education | 50 minutes

Mid-afternoon break

15:50 – 16:20 | | 30 minutes

Roger Black
PROGRAM UPDATE: Type and the Web
What are we going to do?

16:20 – 17:10 | Session A13 in Palace A

New York designer and art director Roger Black about type on the Web.
Theme: Screen | 50 minutes

Bengisu Keleşoğlu, İpek Torun
Ottoman calligraphy from a modern perspective

16:20 – 17:10 | Session B13 in Palace B

This study focuses on the tradition of illustrating symbols with type as calligraphy, called ‘hatt’ in the Ottoman period. Because creating the image of men were forbidden by the religious beliefs, there stood the need for representing images by ‘hatt’ and therefore the calligraphy done by the masters were accepted as artwork. Breaking the traditional rules of using type and image seperately, type were used instead of images. Each calligraphic work, representing the images of animals and objects, has its own symbolic meaning. In this study the relationship between the imagery and the verbal meaning of Ottoman caligraphy are examined in the sense of the semiotics of the contemporary understanding.
Theme: Arabic | 50 minutes

Akira Kobayashi
PROGRAM UPDATE: Working with two type legends, Hermann Zapf and Adrian Frutiger
How they changed my life and how I changed theirs

17:20 – 18:10 | Session A14 in Palace A

Linotype type director talks about his work with Hermann Zapf and Adrian Frutiger
Theme: Personalities | 50 minutes

Anna Shmeleva
Script typefaces and graphology

17:20 – 18:10 | Session B14 in Palace B

As far as a script typeface is a derivative from human handwriting, it can be graphologicaly analysed. Graphologycally speaking, any script face designer constructs an imaginary personality that is not realised by the readers but it’s influence on them can be noticable. Typefaces can be sanguine or phlegmatic or choleric or melancholy. Of course we should never forget that the method is most applicable for real handwriting, not for type designs – but using it for typefaces provides a lot of new information. And even more: armed with graphology, can we turn from analysys to synthesis?
Theme: Cyrillic | 50 minutes

ATypI attendees
ATypI 08: the party

20:00 – 22:00 | Party in Other

Details will be announced.
Theme: Other | 120 minutes

Sunday 21 September

Early morning refreshments

08:00 – 09:15 | | 75 minutes

ATypI members

09:15 – 10:15 | Plenary session in Palace A

The ATypI Annual General Meeting is the place where members discuss and decide on the running and future of the organisation. All members are entitled to attend, speak and vote.
Theme: Other | 60 minutes

Mid-morning break

10:15 – 10:40 | | 25 minutes

Tim Ahrens
Optical sizes

10:40 – 11:30 | Session A15 in Palace A

In which way exactly should I adjust the letters when designing optical sizes? This talk discusses size-specific adjustments of fonts from a type designer’s point of view. Historical, technical and perceptual background will be given as well as specific and differentiated advice on how to treat the various aspects of a design that can be modified. The material presented is based on MA course work at the University of Reading, which included the analysis of metal and digital fonts, and interviews with some of the most prominent contemporary designers. This research revealed some contrasting views and approaches, and unexpected solutions.
Theme: Methods | 50 minutes

Download StPetersburg_Ahrens_OpticalSizes_paper.pdf

J. Victor Gaultney
Fonts for every language
New types for cultural treasures

10:40 – 11:30 | Session B15 in Palace B

People around the world speak over 6000 languages, and millions of them have no way to type their language on a computer. There are no adequate fonts for their writing system. Centuries-old languages face possible extinction. But that is changing. A growing number of individuals and groups are coming together to provide solutions. This talk will illustrate the breadth and variety of writing systems around the world, the problems faced in supporting them, and some of the exciting initiatives that are in motion to address this very great need: the Open Font License, Graphite, the OLPC and ScriptSource.
Theme: World | 50 minutes

Ken Barber, Tal Leming
Pac-Man fever, quantum mechanics and the design of digital type

11:40 – 12:30 | Session A16 in Palace A

What do classic arcade gaming and subatomic particles have to do with typeface design? Maybe not as much as Ken and Tal would like to think, but nonetheless the inspiration behind inventive font features often comes from the most unlikely of places. Not only can the interplay of traditional type design and new technology profoundly impact the development of digital typefaces, but divergently unexpected sources can contribute to “intelligent” behavior in fonts, not to mention making them significantly easier to use. Referencing numerous cases studies, this presentation will demonstrate how outside influences— including probability theory and quantum physics—can lead to surprising font programming solutions.
Theme: Methods | 50 minutes

George D. Matthiopoulos
An illustrated history of Greek book design
15th–20th century

11:40 – 12:30 | Session B16 in Palace B

Because of the Ottoman conquest of the Eastern Mediterranean basin, for more than four centuries Greek typography developed outside the Greek territories. Until the national independence of Greece in the 19th century, the Greek book had maintained a dual identity: publications for the European scholarly public and books for the Greek readers both in Europe and in occupied Greece. Thereafter, Greek book design was primarily within the national borders and followed the European trends to some degree but remained quite parochial until the middle 20th century. The presentation will discuss these developments and will explore the aesthetic differences of European multilingual editions and Greek liturgical or lay editions for the Greek public with many illustrations which cover the whole period.
Theme: Greek | 50 minutes


12:30 – 14:00 | | 90 minutes

Eben Sorkin
Contextual alternatives
The next big opportunity for enhancing Latin text face quality

14:00 – 14:50 | Session A17 in Palace A

Practicality and efficiency have constrained the text face in a way more profound than with any other kind of type. While this made sense in the past, and type designers have done an amazing job of making virtue from this constraint; we have also become too habituated to the constraint. So much so that now we sometimes have trouble imagining how the new freedom offered by OpenType contextual alternates could be used to subtly enhance quality and utility in text faces in the same way that optical correction for size, overshoots, or kerning can. Happily there are some digital faces that are beginning to explore this area and there is 5,000 years of tradition in scribal work, incunabula, lettering, calligraphy and stone carving to draw upon and even hints from the original Linotype drawings.
Theme: Methods | 50 minutes

Oliver Linke
The Urge to Rule
Constructed Letterforms from Renaissance to Tomorrow

14:00 – 14:50 | Session B17 in Palace B

For some reason there has always been a certain desire to find the constructive skeleton or some kind of a “mathematically correct” description of lettershapes. Generations of designers have been searching for the best way to convert complicated characters into an easy formula, believing to discover the very essence of type. Meanwhile many have changed to another confession, where rulers become void and the impression of the eye is the only reliable guide line. With the advent of the computer, this schism in type design seemed to be given another revival. Type has become digital, shaping is done through mathematical equations, and often enough letters are cut down to a set of pixels. It’s about time to take a closer look, what’s really valuable about both approaches.
Theme: Methods | 50 minutes

ATypI attendees
Closing plenary

15:00 – 15:15 | Plenary session in Palace A
Theme: Other | 15 minutes


Tim Ahrens

Just Another Foundry | United Kingdom

Type designer and architect Tim Ahrens runs the London-based studio Just Another Foundry. He is the creator of the Font Remix Tools and does research and writing about type related matters

  • TypeTech TT10 in room Palace A | Thu 18 Sep | 14:00 – 14:50
  • Session A15 in room Palace A | Sun 21 Sep | 10:40 – 11:30
  • Yomar Augusto

    | Brazil

    Yomar Augusto holds a BA in graphic design (Univercidade in Rio de Janeiro, 2000) and MA in type design (Type & Media at the Royal Academy of Art in The Hague, 2005). Has been involved in two Rojo ArtStorm projects. Rojo magazine invited 18 artists from all over the world to work as a team to build and develop a new campaign for a fashion brand. As a huge brainstorm process, they worked together for one week in locations such as Berlin and Barcelona. Published about contemporary graphic design, featuring showcases of 100 of the world’s most progressive designers, published by Taschen. Recently, the art show Letter Forest, featuring experiments in calligraphy, painting, drawing and printmaking was held at Nanzuka gallery in Tokyo. Currently lives and works in the Netherlands.

  • Workshop W02 in room W1 | Wed 17 Sep | 14:00 – 17:30
  • Ken Barber

    House Industries | USA

    Ken Barber is a type designer and letterer at House Industries and is particularly interested in the inter-disciplinary relationship between hand-lettering and type design. His work has been featured as part of the National Design Triennial at the Smithsonian Institution’s Cooper-Hewitt, National Design Museum and has also been honored by the New York Type Directors Club.

  • Session A16 in room Palace A | Sun 21 Sep | 11:40 – 12:30
  • John D. Berry

    Program Manager Microsoft Typography | USA

    John D. Berry is an editor and typographer who works both sides of the design/content divide. He is the former editor and publisher of U&lc (Upper and lower case) and of U&lc Online. He is the author and designer of Dot-font: Talking About Fonts and Dot-font: Talking About Design (Mark Batty Publisher, 2006), and the editor of Language Culture Type (ATypI/Graphis, 2002), Contemporary Newspaper Design, and U&lc: influencing design & typography. John has a deep and eclectic background in both editing and typography; he has made a career for more than twenty-five years in Seattle, New York, and San Francisco as an editor and book designer. He writes and consults extensively on typography, and he has won numerous awards for his book designs. He is currently a program manager with Microsoft Typography. He lives in Seattle with the writer Eileen Gunn.

  • Plenary session A00 in room Palace A | Fri 19 Sep | 09:00 – 09:30
  • Roger Black

    Principal The Font Bureau, Inc. | USA

    Roger Black recently led redesigns of the Houston Chronicle, Popular Mechanics and the Los Angeles Times. He's a partner in The Font Bureau, Inc., which he started with David Berlow in 1989. And he runs the New York office of the publication consulting firm, Danilo Black, which he started the same year with Eduardo Danilo. Previously Black was chief art director of Newsweek, The New York Times, New York Magazine and Rolling Stone.

  • Panel session A12 in room Palace A | Sat 20 Sep | 15:00 – 15:50
  • Session A13 in room Palace A | Sat 20 Sep | 16:20 – 17:10
  • Frank E. Blokland

    Owner Dutch Type Library | Netherlands

    Frank E. Blokland is type designer (of, amongst others, DTL Documenta and DTL Haarlemmer), Senior Lecturer ‘Letters’ at the Royal Academy of Arts in The Hague since 1987 and Professor at the Plantin Society in Antwerp since 1995. Frank founded the Dutch Type Library in 1990 and a couple of years later he initiated and supervised the development of DTL FontMaster, a set of professional font tools developed together with URW++. Currently he is doing a PhD study at Leiden University on the harmonics, patterns and dynamics in formal typographic representations of the Latin script.

  • TypeTech FMW in room Palace B | Thu 18 Sep | 09:30 – 09:40
  • TypeTech FM01 in room Palace B | Thu 18 Sep | 09:40 – 10:30
  • TypeTech FM02 in room Palace B | Thu 18 Sep | 11:00 – 11:50
  • TypeTech FM05 in room Palace B | Thu 18 Sep | 15:00 – 15:50
  • TypeTech FM06 in room Palace B | Thu 18 Sep | 16:20 – 17:10
  • Session A09 in room Palace A | Sat 20 Sep | 10:30 – 11:20
  • Bert Bos

    Style Activity Lead W3C | France

    Bert Bos was researching graphical user interfaces at the University of Groningen when he became co-inventor (with Håkon Wium Lie) of Cascading Style Sheets (CSS) in 1994. He joined W3C in 1995 to develop CSS and to lead W3C's Internationalization activity. He has since participated in the standardization of HTML, XML and most recently MathML. He is currently charged by W3C to investigate font embedding technology for Web documents (HTML, SVG, XML, XSL...) and the possibility of standardizing one or more solutions. He has been interested in fonts ever since he published his PhD with a font he made himself.

  • Panel session A12 in room Palace A | Sat 20 Sep | 15:00 – 15:50
  • David Březina

    | Czech Republic

    David Březina, born in Brno, Czech Republic, graduated in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmarks Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading (UK) in 2007. From 2004 to 2007 he also ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he is currently working with Tiro Typeworks (Canada) as an associate designer, and occasionally publishes in Typo magazine.

  • Session A10 in room Palace A | Sat 20 Sep | 11:40 – 12:30
  • Nadine Chahine

    Branding and CI Manager / Arabic Specialist Linotype GmbH | Germany |

    Nadine Chahine is an award winning Lebanese type designer with a special interest in Arabic typography. She studied Graphic Design at the American University of Beirut and Typeface Design at the University of Reading, UK. During her study at Reading, she focused on the relationship of the Arabic and Latin scripts and the possibilities of creating a harmonious relationship between the two. She taught Arabic type design as a visiting lecturer at the American University in Dubai and then joined Linotype, Germany, where she is now in charge of Branding & CI and Arabic-related projects. As of September 2007 she is also a PhD candidate and her topic is legibility studies for the Arabic script.

  • Workshop W05 in room W2 | Wed 17 Sep | 09:30 – 17:00
  • Workshop W05 in room W2 | Thu 18 Sep | 09:30 – 12:00
  • Demonstration D01 in room W2 | Thu 18 Sep | 12:00 – 13:00
  • Anna Chaykovskaya

    Assistant to Editor in Chief Kultpohod magazine | Russia

    Anna Chaykovskaya was born in Severodvinsk in 1961. An art-critique, journalism, teacher. Since 2001 Anna Chaykovskaya is an assistant editor-in-chief of the “Kuitpohod” magazine in Moscow.

  • Session B10 in room Palace B | Sat 20 Sep | 11:40 – 12:30
  • Petr Chobyt'ko

    Lecturer Repin State Academic Institute | Russia

    Petr Chobyt’ko was born in 1946, in Kyiv. He graduated from the Tallinn State Art Institute (Class of 1971), and was admitted to the Artists Union of the USSR in 1974. From 1971 to 1987 he taught graphic design, lettering and composition at the Kyiv State Art Institute (now National Academy of Art and Architecture). Since 2000 Chobyt’ko lives in St. Petersburg; he teaches lettering at the St. Petersburg Baron Stieglitz State Academy of Industrial Art. Since 2005 he teaches a private course in calligraphy. Since 2007 he also teaches, part-time, at the Repin State Academic Institute of Painting, Sculpture and Achitecture. Petr Chobyt’ko, a frequent participant in many regional and international art exhibitions, has won many prizes and awards. In 2008 he was elected President of the National Union of Calligraphers of Russia.

  • Session B06 in room Palace B | Fri 19 Sep | 16:20 – 17:10
  • Si Daniels

    Lead Program Manager for Fonts Microsoft | USA

    Si Daniels is a program manager in Microsoft’s typography group. He is a graduate of the typography and graphic communication program at The University of Reading in Berkshire, England. Si has responsibility over most of Microsoft’s western and middle-eastern typefaces, the Microsoft typography Web site (, and works with Microsoft’s diverse software, hardware and marketing groups on font related issues. He is a member of the ATypI Board. Si is one of the “bastards” referenced in his talk’s title. He has been working on web fonts, font embedding, font packaging and font redistribution issues for over twelve years. In the past two years, he has moderated or delivered talks on Web fonts at TypeCon, ATypI, and the first Business of Type conference.

  • TypeTech TT01 in room Palace A | Wed 17 Sep | 09:40 – 10:30
  • TypeTech TT05 in room Palace A | Wed 17 Sep | 15:00 – 15:50
  • Session A11 in room Palace A | Sat 20 Sep | 14:00 – 14:50
  • Panel session A12 in room Palace A | Sat 20 Sep | 15:00 – 15:50
  • Susanne Dechant

    Dechant Grafische Arbeiten | Austria

    Susanne Dechant (*4. 5. 1962) typographic designer based in Vienna. 1992 foundation of her studio »Dechant Grafische Arbeiten« concentrating on typography for book and editorial design. Consultant Corporate Design processes. Head of the department Graphic Design at the Werbeakademie Wien and lecturer at Universität für bildende Künste, Vienna. I.D. Award in New York, Joseph Binder Award in Vienna. Academic Referee for Feminist Education and Politics, 2002 Diploma Gender Studies. Board Member of Design Austria; Austrian Country Delegate for ATypI.

  • Session A04 in room Palace A | Fri 19 Sep | 14:00 – 14:50
  • Alexey Dombrovskiy

    Chief of design group Printing-house â Vlastaâ | Russian Federation

    Alexey Dombrovskiy was born in 1964 in Russia (Uzlovaya, Tula region). He graduated from the Tula Polytechnical Institute in 1986. He works in book design. Member of the Union of Designers. He cooperates with various publishing houses and designs books for the Russian Academy of Sciences, the Russian Entomological Society, the Moscow State University, the Tula State University, and printed matter for the Bolshoi Theatre, the Moscow Kremlin Museums, the State Hermitage Museum. Author of some articles on the history of initals.

  • Session B07 in room Palace B | Fri 19 Sep | 17:20 – 18:10
  • Timothy Donaldson

    Type Designer | United Kingdom

    Timothy Donaldson is a letterworker. He was formed in the NorthWest of England, an only child of Yorkshire parents. He developed an obsessive interest in drawing during his first decade which matured into another obsession with writing (still drawing) during his second one. During his third decade he was a journeyman signwriter, earning his crust in pursuit of the just forming of letters. By his fourth decade he had become a lettering artist and type designer and a lecturer at Stafford School of Art + Design; a legendary destination for the teaching and learning of Typography in England. In his fifth decade, he focussed fully on his work with lettershapes and letterforms as a Research Fellow at the University of Lincoln, UK. He has now started his sixth decade and teaches at University College Falmouth, the last university in England. He has designed about 60 typefaces for Adobe, FontShop International, The International Typeface Corporation and Letraset. He is well known for his ongoing experiments with tools and chirographic mark-making, particularly in large scale performances. He recently wrote a book about the history of the alphabet entitled 'Shapes for sounds' (cowhouse). Now he's writing another one, but he's not going to talk about that just yet.

  • Session B11 in room Palace B | Sat 20 Sep | 14:00 – 14:50
  • John Downer

    Sign painter and type designer Voltage Inc | USA

    John Downer is a sign painter and type designer who resides in Iowa City. He occasionally writes essays about hand lettering and type history. His debut text typeface was Bitstream Iowan Old Style, published in 1991, with additions in 2001. Some of his other typefaces have been released by Emigre, The Font Bureau, House Industries and Design Lab.

  • Workshop W03 in room W1 | Thu 18 Sep | 09:30 – 13:00
  • Session A02 in room Palace A | Fri 19 Sep | 11:00 – 11:50
  • Olga Florenskaya

    Artist | Russia

    Olga Florenskaya was born in Leningrad in 1960. She graduated from the faculty of ceramics at Leningrad Higher Art Industrial School named after Muhina (the former School by baron Stieglitz). She is involved in different kinds of arts: painting, ceramics, sculpture, book illustration and graphics (she is famous for lots of collages from paper and fabrics) literature activity, journalism and animation. In 1994 she made an animation film «A story about the best of wonders». Her works are kept in the collections of the Tretyakov Gallery, Pushkin State Museum of Fine Arts, the State Russian Museum, many other museums of Russia, as well as in collections of museums in Helsinki, London and Warsaw. She lives and works in St Petersburg.

  • Session B03 in room Palace B | Fri 19 Sep | 12:00 – 12:50
  • Irina Fomenko

    Chief, Acquisitions and Research Unit Rare Book Department, Russian State Library | Russia

    Irina Fomenko graduated from St Petersburg State University. She did her PhD in philology at Pushkinsky Dom (“Pushkin House”, Institute of Russian Literature). There, she worked at the Research Division of the Russian Literature of the 18th Century. Since 1985 she works in Moscow, at the Rare Book Department (Museum of the Book) of the Russian State Library. The area of her studies is the history of the Russian literature and the book of late 18th—early 19th century.

  • Session B02 in room Palace B | Fri 19 Sep | 11:00 – 11:50
  • J. Victor Gaultney

    Senior Type Designer SIL International | United Kingdom

    Victor Gaultney found his way to type through dance, mathematics, music and calligraphy. He has been a type designer at SIL International since 1991, and focuses on developing fonts for minority language groups around the world. He holds an MA from the University of Reading and has been a winner in two international typeface design competitions.

  • Session B15 in room Palace B | Sun 21 Sep | 10:40 – 11:30
  • Oleg Genisaretskiy

    | Russia

    Oleg Genisaretskiy’s main area of interest is the humanitarian strategies and practices; the methodology of visual design, and contemporary design culture; humanitarian psychotherapy and traditional psycho-practices; the Russian spiritual and creational tradition. At different times Genisaretsky served as the head of the Creative Club of the Section of Painting of the Moscow Union of Graphic Artists; the co-chairman of the Religious-Cultural Dialogue “Face-to-Face”; the president of the Russian Association of Visual Anthropology; the president of the Open Museum Association. He authored the monographs Dizayn i kultura [“Design and culture”], Moscow: vniite, 1974; Uprazhneniya suti dela [“Exercises in the matter of fact”], Moscow: Russkii Mir, 1993; Povody i nameki [“Pretexts and hints”], Moscow: Put’, 1993; O vozmozhnosti filosofii [“Of the possibility of philosophy”], in co-operation with David Zilberman, Moscow: Put’, 2005; Navigator: Methodologicheskie prodolzheniya i rashireniya [“The Navigator: Methodological continuations and extensions”], Moscow: Put’, 2005. Main essays and full bibliography can be found at

  • Keynote session K01 in room Palace A | Thu 18 Sep | 19:00 – 19:50
  • Yuri Gherchuk

    Art historian and critic | Russia

    Yuri Gherchuk, Ph.D. in Fine Arts, is an art historian and critic specialising in typography, book design, and illustration. He is the author of several books and many articles on graphics and book design, type and environmental typographics. He lectures on the history of graphics and book design. Yuri Gherchuk is a member of the Art Critics and Art Historians Association, and of the Moscow Artists Union.

  • Session B01 in room Palace B | Fri 19 Sep | 09:40 – 10:30
  • Maxim Gurbatov

    | Russia

    A designer and teacher, Maxim Gurbatov was born in Severodvinsk in 1962. Since 2001, he is the art director of the printing-house “LiniaGrafic!” in Moscow.

  • Session B10 in room Palace B | Sat 20 Sep | 11:40 – 12:30
  • Ted Harrison

    President Fontlab Ltd. | Canada

    Dr. Harrison is the president and co-founder of Fontlab Ltd. He has been a member of ATypI for fourteen years and is a member of the board of directors.

  • TypeTech FLW in room Palace B | Wed 17 Sep | 09:30 – 09:40
  • TypeTech FL01 in room Palace B | Wed 17 Sep | 09:40 – 10:30
  • TypeTech TT12 in room Palace A | Thu 18 Sep | 16:20 – 17:10
  • Denis Moyogo Jacquerye

    Co-lead DejaVu fonts project | Belgium

    Denis Moyogo Jacquerye, the co-lead of the DejaVu fonts project, the default GUI fonts on several Linux OS distributions, is working on extending various Open Source fonts to support African orthographies in Latin script. He is collaborating with a network of experts in African languages localization as part of the Pan Africa localization Network. Denis, with a Bs.C in Computer Science and a minor in Linguistics from McGill University, has experience in the Language Technology industry, Open Source software, Font Engineering and Unicode software support for African language.

  • TypeTech TT07 in room Palace A | Thu 18 Sep | 09:40 – 10:30
  • Bengisu Keleşoğlu

    | Turkey

    Bengisu Keleşoğlu graduated from the graphic design department at Bilkent University in Ankara in 1997. She now is studying on her MFA thesis with the subject of “Sound of Typography: Typography of Sound in Graphic Design” at Anadolu University in Eskisehir, Turkey, and working as lecturer in the graphic design department of the Anadolu University.

  • Session B13 in room Palace B | Sat 20 Sep | 16:20 – 17:10
  • Jerry Kelly

    Book designer Jerry Kelly LLC | USA

    Jerry Kelly is a freelance designer, calligrapher, and printer. Before establishing his own business in 1999 he was a designer and vice-president of The Stinehour Press (1991–1999) and designer for the Press of A. Colish (1981–1991). Since 1978 he has been a partner in the Kelly/Winterton Press, a private press which prints small editions mainly by letterpress from hand set type. He is also a freelance calligrapher, producing hand lettering for assorted publishers and organizations. His work has won numerous awards from the Type Director’s Club, AIGA, Society of Typographic Designers (London), and Premio Felice Feliciano (Verona, Italy). His articles on typography and calligraphy have been widely published in various books and journals. He is a member of The Grolier Club, The Typophiles, the American Printing History Association; an honorary member of the Double Crown Club, a corresponding member of the Bund Deutscher Buchkünstler, and a professional fellow of The Pierpont Morgan Library. He earned his BFA from Queens College; in addition to which he has also studied with Hermann Zapf at Rochester Institute of Technology.

  • Session A01 in room Palace A | Fri 19 Sep | 09:40 – 10:30
  • Dmitry Kirsanov

    ParaType | Russia

    Born in Orenburg in 1965, graduated from the Orenburg Art School in 1987, worked as free-lance designer for Yuzhnyi Ural publishing company in Orenburg. In 1996 graduated from Moscow State University of Printing (formerly known as Moscow Printing Institute). Since 1997 Kirsanov works at Moscow State University of Printing at the Department of Print Design as an instructor in typographic design and computer graphics. He is an instructor in typographic design and computer graphics at Moscow Graphic Art University named after Stroganov. Since 1996 he designs typefaces for ParaType. Kirsanov is the author of several articles on type and typography.

  • Session B08 in room Palace B | Sat 20 Sep | 09:30 – 10:20
  • Akira Kobayashi

    Type Director Linotype GmbH | Japan / Germany

    Studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Since May 2001 Type Director at Linotype Library GmbH. Kobayashi has recently completed the Neue Frutige type family with close collaboration with the original designer Adrian Frutiger. Awards: Best of Category and Best of Show for the Clifford typeface in the 1998 U&lc magazine type design competition. 1st prize, text category for the Conrad typeface in Linotype Library's 3rd International Digital Type Design Contest. In the Type Directors Club's type design competitions of 1998, 1999, 2000, 2001 and 2007--for ITC Woodland, ITC Japanese Garden and ITC Silvermoon, FF Clifford, Linotype Conrad, and Palatino Sans respectively.

  • Workshop W05 in room W2 | Wed 17 Sep | 09:30 – 17:00
  • Workshop W05 in room W2 | Thu 18 Sep | 09:30 – 12:00
  • Demonstration D01 in room W2 | Thu 18 Sep | 12:00 – 13:00
  • Session A14 in room Palace A | Sat 20 Sep | 17:20 – 18:10
  • Atilla Korap

    Manager Font Development Linotype GmbH | Germany

    Atilla Korap was born in Manisa (Turkey) in 1974. He grew up in Marburg (Germany) before moving to Frankfurt in 1994. He studied political science and computer science at the “Johann-Wolfgang-Goethe Universität” and later at the “Fernuniversität Hagen.” He joined Linotype as an intern in 2000 before becoming the full time “Font Technology Specialist” in 2002. His responsibilities include defining font production processes, developing software for automation, advising customers on workflows regarding the use of fonts, and briefing developers on new font technologies.

  • TypeTech TT11 in room Palace A | Thu 18 Sep | 15:00 – 15:50
  • Alexandra Korolkova

    Type Designer ParaType | Russian Federation

    Alexandra Korolkova is one of the young Russian type designers. She graduated from Moscow University of Printing Arts in 2006 and is now teaching type design and typography there as an assistant professor. In 2007, her book for Russian students on typography was published (English title: “Alive Typography”).

  • Session B05 in room Palace B | Fri 19 Sep | 15:00 – 15:50
  • Tal Leming

    Type Designer Type Supply | USA

    Tal Leming is a 1997 graduate of the Louisiana State University Graphic Design program. After graduation he did stints as a designer at two agencies in Louisiana. He left the deep south in 2001 for the mean streets of Wilmington, Delaware where he worked at the legendary type foundry House Industries. In 2005 he started his own company which specializes in graphic design, typeface design, lettering and type technology services.

  • Session A16 in room Palace A | Sun 21 Sep | 11:40 – 12:30
  • Gerry Leonidas

    Senior Lecturer in Typography University of Reading | United Kingdom

    Gerry Leonidas studied Business Administration and Journalism, and worked in book and magazine publishing in Greece before finding his way to the University of Reading for postgraduate studies in typography. He never got round to leaving, and now teaches typographic design with a bias for the online. He is also the MA Typeface Design programme director, and designs when time permits, but mostly helps others tackle Greek typefaces. He is long overdue with his PhD on design processes in Greek and Latin digital typefaces.

  • Meeting M01 in room Palace A | Thu 18 Sep | 17:30 – 18:00
  • Panel session P01 in room Palace A | Thu 18 Sep | 18:00 – 18:45
  • Session B12 in room Palace B | Sat 20 Sep | 15:00 – 15:50
  • Håkon Wium Lie

    CTO Opera Software | Norway

    Håkon Wium Lie is the co-inventor of Cascading Style Sheets (CSS) for the Web, and the Chief Technology Officer for Opera, the Web browser. Two years ago he proposed using CSS to directly reference a font file on a Web server, and he has enthusiastically promoted the idea since then.

  • Panel session A12 in room Palace A | Sat 20 Sep | 15:00 – 15:50
  • Oliver Linke

    Type Designer Lazydogs Typefoundry | Germany

    Oliver Linke (*1971) studied graphic design at the University of Applied Sciences Augsburg, Germany and the University of Missouri, Kansas City (1993–98). He continued his studies in art history, art education and philosophy (2000-05) at the University of Augsburg. Today his work focuses on book- and type design. He teaches Typography and Type Design at the Designschule München and the Hochschule für Gestaltung Offenbach.

  • Session B17 in room Palace B | Sun 21 Sep | 14:00 – 14:50
  • Paul Luna

    Professor University of Reading | United Kingdom

    Professor Paul Luna designed the Oxford English Dictionary 2/e, the Shorter Oxford English Dictionary 5/e, and is the author of ‘Clearly defined: continuity and innovation in the typography of English dictionaries’, Typography papers (4, 2000, 5–56), ‘Not just a pretty face: the contribution of typography to lexicography’, Proceedings, The Eleventh Euralex International Congress (2004, 847–57), and ‘The typographic design of Johnson’s dictionary’ in Jack Lynch and Ann McDermott, Anniversary essays for Johnson’s Dictionary, Cambridge: CUP (to be published April 2005).

  • Session A06 in room Palace A | Fri 19 Sep | 16:20 – 17:10
  • George D. Matthiopoulos

    Type Designer Greek Font Society | Greece

    George D. Matthiopoulos teaches Type design and Typography at the School of Graphic Arts of the Technical Institute of Athens. He also works as type designer for the Greek Font Society, and as freelance typographer specialising in book design, corporate identity, and typographic communication for museum exhibitions. He has written the text book of the course Type History and Design for the Greek Open University (2002), he has translated Victor Scholderer’s, Greek Printing Types: 1465-1927 (Typophilia, 1995) and Robert Bringhurst’s, The Elements of Typographic Style (Crete University Press, 2001).

  • Session B16 in room Palace B | Sun 21 Sep | 11:40 – 12:30
  • Thomas Milo

    President DecoType | The Netherlands

    Tom Milo is the founder of DecoType, who were the first in the industry to introduce the concept of intelligent fonts (Ruq’ah 1986) and to develop Arabic script solutions based on thorough research into the Islamic calligraphic tradition. Decotype contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition and to Adobe PageMaker Middle East, and provides a special interface for Calligraphic typesetting; they provide Arabic fonts for MacOS 9 and MacOSX and WinSoft-Adobe InDesign ME. DecoType works closely together in research and development with Tradigital (UK, Germany, Egypt).

  • TypeTech TT08 in room Palace A | Thu 18 Sep | 11:00 – 11:50
  • Titus Nemeth

    Typographer tntypography | France

    Titus Nemeth is a typographer, a student, and a teacher. As a frequent traveller, his outlook is worldwide, privately as well as professionally with clients such as the BBC World Service, Fontsmith UK, the Brill publishing house in the Netherlands and WinSoft in France. He works independently as designer and consultant and teaches at the ESAD Amiens and the ESAV Marrakesh. Since 2010 Titus researches aspects of the history of Arabic typography as a PhD candidate at the University of Reading, UK. Titus studied Graphic Design at die Graphische in Vienna, Austria, and holds an MA with Distinction in Typeface Design from the University of Reading. He studied Arabic in Syria, taught typography as an Assistant Professor at the VCUQ in Doha and pursued research at the post-diplôme of the ESAD. Titus Nemeth is a member of ATypI, the TDC New York and Design Austria.

  • TypeTech TT09 in room Palace A | Thu 18 Sep | 12:00 – 12:50
  • Heidrun Osterer

    Designer Feinherb, Visuelle Gestaltung | Switzerland

    Heidrun Osterer, born 1966, Graphic Designer and CEO of feinherb Visuelle Gestaltung, Co-founder of the Swiss Foundation Type and Typography, there responsable for Archives, Part-time lecturer for typography on the screen at the Vocational School of Design in Zurich, Consultant to the Swiss Typographic Magazine STM. Since 2001 research on the professional career of Adrian Frutiger.

  • Session A05 in room Palace A | Fri 19 Sep | 15:00 – 15:50
  • Thomas Phinney

    | USA

    Thomas Phinney is senior product manager for font solutions at Extensis. From 1997-2008 he worked in type at Adobe, lastly as product manager for fonts and global typography. Thomas is involved in the design, technical, forensic, business and historical aspects of type, treasurer of ATypI, and writes for Communication Arts and as well as He has testified in court as an expert witness, and was twice quoted in the Washington Post regarding the presumably forged National Guard memos concerning US President Bush. Thomas has an MS in printing from RIT, and an MBA from UC Berkeley. His typeface Hypatia Sans is an Adobe Original

  • TypeTech TTW1 in room Palace A | Wed 17 Sep | 09:30 – 09:40
  • TypeTech TT01 in room Palace A | Wed 17 Sep | 09:40 – 10:30
  • TypeTech TT05 in room Palace A | Wed 17 Sep | 15:00 – 15:50
  • TypeTech TTW2 in room Palace A | Thu 18 Sep | 09:30 – 09:40
  • Panel session A12 in room Palace A | Sat 20 Sep | 15:00 – 15:50
  • Peter Rosenfeld

    President (URW)++ | Germany

    Peter Rosenfeld started, after finishing his business studies in 1980, his first position in the font production department at Dr. Hell in Kiel. It was there where he first got in touch with digital type. Peter joined URW in Hamburg in 1982 and a little later he became the manager of the URW font studio. He worked very closely for and with Dr. Peter Karow, the visionary pioneer of the type industry. Roughly ten years after joining URW, Peter became Managing Director of URW++ Design & Development and the company has established itself in the graphic design industry by continually developing and marketing innovative font and software products.

  • TypeTech FM04 in room Palace B | Thu 18 Sep | 14:00 – 14:50
  • TypeTech FM06 in room Palace B | Thu 18 Sep | 16:20 – 17:10
  • Tagir Safayev

    Type designer VASHGD | Russia

    Tagir Safaev is a type designer and teacher. Works at book design and advertisement. In 1991–2003 worked as a type developer for ParaType. Prize winner at the following international type contests: TDC2 2000 (New York, 2000), the 19th International Biennale of Graphic design (Brno, 2000), «Bukva:raz!»(Moscow, 2001). In 1997, was nominated for the National Prize of Russia for art and literature (as a group member). Runs a creative class at the High Academic School for Graphic Design. Designed about 100 typefaces including PT FreeSet, PT Proun, PT Rodchenko, ITC Stenberg, PT Unovis PT Yanus, PT Serp&Molot, Almanac, New Elizabeth, as well as Cyrillic versions of ITC Kabel, ITC New Baskerville, ITC Officina Sans, ITC Officina Serif, FF Meta, Swift, Big Caslon, NYT Cheltenham, and others.

  • Session B04 in room Palace B | Fri 19 Sep | 14:00 – 14:50
  • José Scaglione

    Founder TypeTogether | Argentina

    José Scaglione is a graphic and multimedia designer, and a graduate from the MA in Typeface Design at the University of Reading, UK. He currently teaches typography at the National University of Rosario, Argentina, and he runs his own design studio, specialized in editorial design, branding and typographic consultancy. He is a partner of the independent font foundry Type Together.

  • TypeTech TT04 in room Palace A | Wed 17 Sep | 14:00 – 14:50
  • Nick Shinn

    President ShinnType | Canada

    Nick Shinn was born in London in 1952. He has a Dip.AD in Fine Art from Leeds Polytechnic, and is a Registered Graphic Designer in Ontario, Canada. He has lived in Toronto since 1976. During the 1980s he worked in advertising as a creative director. Going digital in 1989 he started Shinn Design, specializing in publication design. Since 1980 he has designed over twenty typefaces. In 1999 he launched Shinntype. Shinn has written for Druk, Eye, and Graphic Exchange, spoken at ATypI, TypeCon, and Graphika conferences, and taught at York University. He was a board member of SOTA from 2001–2006.

  • Session A03 in room Palace A | Fri 19 Sep | 12:00 – 12:50
  • Anna Shmeleva

    Type Writer ParaType | Russian Federation

    Anna Shmeleva is a freelance journalistic author. Worked with a number of local and professional periodicals in Russia. Her articles were on machine translation of texts, speech recognition, artifical intelligence, computer graphics and type design. Together with Vladimir Yefimov, she is the author of a series of books “Great typefaces”, volumes 1 and 2. Recently had published her first book of poetry. Her main occupations now are housekeeping, rat breeding and kinological sports.

  • Session B14 in room Palace B | Sat 20 Sep | 17:20 – 18:10
  • Eben Sorkin

    Type Designer Eyebytes | United States

    Eben Sorkin is a recent graduate (class of 2009) of the MA in type design program at Reading University. He spent February and March learning how to carve letters in stone from Lida Cardozo at the Cardozo Kindesley workshop, Cambridge UK, and collaborating with Lida on the typeface Pulle. He is currently living in Boston and is a freelance type designer. Eben’s Reading MA dissertation included a scientific experiment looking at how and why reading speed decreases when text is negatively tracked. Eben is interested in empirical methods’ potential to contribute to typography and to type design.

  • Session A17 in room Palace A | Sun 21 Sep | 14:00 – 14:50
  • Konstantin Startsev

    | Russia

    Senior Instructor, Saint Petersburg State University (Faculty of Philology and Arts). Russia. Born in 1950, Konstantin Startsev graduated from St. Petersburg Vera Mukhina (now Baron Stieglitz) State Academy of Industrial Art (Class of 1977). In 1975–1980 worked at the National Design Research Institute (VNIITE). Since 2000 Startsev teaches graphic design at the Saint Petersburg State University (Faculty of Philology and Arts). Startsev is a member of the Designers Union of Russia. He participated in many professional exhibitions and competition—as a designer and the author of graphic design educational programmes.

  • Session B09 in room Palace B | Sat 20 Sep | 10:30 – 11:20
  • Keith Chi-hang Tam

    Assistant Professor School of Design, The Hong Kong Polytechnic University | Hong Kong

    Keith Tam is a typographer, type designer and design educator with a multicultural perspective. Keith is currently Assistant Professor and Visual Communication Discipline Leader at the Hong Kong Polytechnic University. Keith’s pedagogy and research focus on typography, with particular interest in text typography, typographic structures, complex information and bilingual issues. In 2005, Keith co-founded Type Initiative, a type foundry and design collective, and is the designer of Arrival, a legible typeface for directional signing. Keith is a graduate of the Emily Carr Institute in Vancouver, Canada and the MA Typeface Design course at the University of Reading, UK.

  • TypeTech TT06 in room Palace A | Wed 17 Sep | 16:20 – 17:10
  • İpek Torun

    Lecturer Anadolu University | Turkey

    İpek Torun graduated from the Graphic Design Department at Bilkent University, FADA, in 1999. He received his MFA in 2003 from the Animation Department at Anadolu University, ISS, having completed his thesis on “German Expressionism’s Effects on Animation Through Historical Development and an Experimentation on the Subject”. He now works as an instructor in the Graphic Design Department in FFA, in Anadolu University in Eskisehir, Turkey

  • Session B13 in room Palace B | Sat 20 Sep | 16:20 – 17:10
  • Adam Twardoch

    Product and marketing manager Fontlab Ltd. | Germany

    Based in Berlin, Adam Twardoch is working in the field of font technology, multilingual typography, CSS webfonts, Unicode and OpenType. He serves as product and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide. He is member of the ATypI Board and was involved in the organization of four ATypI conferences. Adam has been teaching workshops in font creation in the UK, USA, Germany, Russia and his native Poland. In 2007, he edited the Polish edition of Robert Bringhurst’s book “The Elements of Typographic Style”.

  • TypeTech FL02 in room Palace B | Wed 17 Sep | 11:00 – 11:50
  • TypeTech FL03 in room Palace B | Wed 17 Sep | 12:00 – 12:50
  • TypeTech FL04 in room Palace B | Wed 17 Sep | 14:00 – 14:50
  • TypeTech FL06 in room Palace B | Wed 17 Sep | 16:20 – 17:10
  •  Typophile

    | USA

    Typophile is an international collaborative community of visual designers, typographers and type designers. Typophile is driven by sharing and the idea that we’re always learning. Now in its seventh year, it is one of the oldest design communities online. Typophile is a Punchcut brand.

  • Entertainment A07 in room Palace A | Fri 19 Sep | 17:20 – 18:20
  • Gerard Unger

    Type Designer | The Netherlands

    Gerard Unger (b. 1942) is a graphic designer, type designer, typographer and typographic consultant. He studied at Gerrit Rietveld Academie in Amsterdam, and becaine a freelance designer in 1972. He now teaches at the Academie, and at the Department of Typography and Graphic Communication at the University of Reading, England. His numerous typeface designs include the highly regarded newspaper types Swift and Gulliver, and Capitoleum, designed for the city of Rome during the Catholic jubilee of 2000. He has received many awards for his work, including the 1991 Maurits Enschedé prize for his overall contribution to type design.

  • Session A08 in room Palace A | Sat 20 Sep | 09:30 – 10:20
  • Karin von Ompteda

    PhD Candidate Royal College of Art | United Kingdom

    Karin von Ompteda is a designer and researcher based at the Royal College of Art. Her design work has been published internationally including by Laurence King, RotoVision, Index Books, IDEA Magazine and the Brno Biennial. She has presented her research at ATypI ’08, Include ’09 (International Conference on Inclusive Design), and conferences hosted by the University of Cambridge and Central Saint Martins. Karin’s background is in biology (MSc) and her current PhD has been funded by the Commonwealth Scholarship Commission in the United Kingdom, and a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada.

  • TypeTech TT03 in room Palace A | Wed 17 Sep | 12:00 – 12:50
  • Jürgen Willrodt

    Managing Director URW++ | Germany

    Dr. Jürgen Willrodt studied Physics and Mathematics and got a PhD in theoretical particle physics in 1976. Jürgen joined URW in 1983 as a software developer. His first major development project was the porting of Ikarus from DEC to Sun Unix. He has been the main developer of the Ikarus font production sytem since 1985, developing interpolation, auto-tracing and hinting algorithms as well as special algorithms for Kanji separation. Since 1995 Jürgen is managing director at URW++ Design & Development and responsible for font production and font tools development (Ikarus, DTL FontMaster, DTL OTMaster).

  • TypeTech FM01 in room Palace B | Thu 18 Sep | 09:40 – 10:30
  • TypeTech FM03 in room Palace B | Thu 18 Sep | 12:00 – 12:50
  • Emil Yakupov

    Director ParaType | Russia

    Emil Yakupov was born and lives in Russia. His interests and activities of the last 20 years belong to digital typography and computer fonts. Since early 1990s he has worked for ParaType (then ParaGraph) as a product manager and later as a director. ParaType is a multilingual type foundry, the biggest and renowned supplier of Cyrillic fonts. Accepting Russian and Soviet type heritage, ParaType not only converted and redesigned the library to digital format, but notably expanded type collection with new original fonts and Cyrillic adaptations of the best Latin types. ParaType applies multilingual approach to font developments — standard character set of ParaType fonts covers main European languages including EU newcomers. ParaType also pays special attention to technical quality of fonts and principally to TrueType hinting.

  • TypeTech TT02 in room Palace A | Wed 17 Sep | 11:00 – 11:50
  • Yuri Yarmola

    Vice President R&D Fontlab Ltd. | Russia

    Yuri Yarmola began dabbling with fonts in 1989, and designed the first of many font editors and utilities in 1991. He designed and led development of all versions of FontLab and FontLab Studio, as well as a number of other applications published by Fontlab Ltd. He lives and works in St Petersburg, Russia, as Vice President Research & Development of Fontlab Ltd. In 2007, Yuri received the 2nd Linotype Font Technology Award. When not working, he skis on high mountains.

  • TypeTech FL05 in room Palace B | Wed 17 Sep | 15:00 – 15:50
  • Vladimir Yefimov

    Art Director ParaType | Russia

    Vladimir Yefimov is a type designer with more then twenty years of experience. He has designed many Cyrillic typefaces, and several Indian, Greek and Hebrew typefaces. He writes on typography and type design. Vladimir Yefimov lectures on type design at the Higher Academical School of Graphic Design, Moscow (since 1997) and at the British Higher School of Art and Design, Moscow (since 2003). He is the art director and a co-founder of ParaType, a member of the Moscow Artists Union and the Academy of Graphic Design, and a member of the ATypI.

  • Workshop W04 in room W2 | Thu 18 Sep | 14:00 – 17:30
  • Plenary session A00 in room Palace A | Fri 19 Sep | 09:00 – 09:30
  • Pascal Naji Zoghbi

    Arabic type designer & typographer 29letters | Lebanon

    Pascal Zoghbi graduated in July 2006 with a Master of Design from the Type & Media course at the Royal Academy of Arts (KABK) in The Hague, The Netherlands. Prior to his postgraduate studies, he worked in Beirut for several years as a graphic designer in print and web design. He is an independent Arabic type and graphic designer since August 2006 and is currently a part-time instructor teaching type and typography courses at LAU (Lebanese American University) and NDU (Notre Dame University). Currently, he is working on Arabic corporate fonts and bi-script (Arabic/Latin) fonts. He gives lectures and workshops about Arabic type regularly.

  • Workshop W01 in room W1 | Wed 17 Sep | 09:30 – 13:00
  • Workshop W01 in room W1 | Thu 18 Sep | 14:00 – 17:30