Step Up Leadership Conference Book

COLUMBUS, OHIO AUGUST 2-5, 2020

Welcome!

A dedicated team of volunteers has once again worked together to create what we believe to be an exciting and inspiring five-day program. Working with the Hamilton Wood Type and Printing Museum and the Peck School of the Arts we are able to offer two full days of fascinating workshops offsite, while SOTA continues to show its commitment to education with the Education Forum all day Thursday. Our evening events start on Tuesday with a reception and exhibit of the work of John Downer at Hanson Dodge Creative where we’ll mingle and enjoy some music and lite bites.

Heads of State will inspire us on Wednesday evening and our Keynote Christian Helms on Thursday night will formally kick off the conference. The main conference features nearly 40 speakers, the TypeGallery and TDC show will again showcase type and design, and the SOTA store will offer items you won’t want to miss. For those who have not yet seen Linotype: The Film you’ll be able to join the first Wisconsin showing on Friday night and of course the annual TypeQuiz, Silent Auction and party on Saturday will entertain us all.

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

Enjoy the conference and have a great time!

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

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August 2

CONFERENCE WORKSHOPS Full-Day Workshops

9:00 A.M. – 12:00 NOON

Morning Workshops

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

Keynote Presentation Christian Helms

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9:00 A.M. – 4:30 P.M.

Photo by: Ian Schneider, Unsplash.com

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August 3

CONFERENCE WORKSHOPS 8:00 A.M.

Continental Breakfast, Exhibits & Marketplace Open

8:30 A.M.

Opening Remarks

9:25 A.M. Inside Paragraphs Cyrus Highsmith 10:05 A.M.

Coffee Break

10:30 A.M. The Vista Sans Wood Type Project Ashley John Pigford & Tricia Treacy 10:50 A.M.

What’s Our Vector Victor? Optimizing Typefaces for Cockpit Navigation Steve Matteson

11:10 A.M. 25 Years of German Typefaces, and the Revivals Still With Us Dan Reynolds 12:15 P.M.

Lunch Break

2:00 P.M. Engraving and Type, A Beautiful but Somewhat Dysfunctional Relationship Nancy Sharon Collins 2:50 P.M.

H&FJ’s Landmark: Discoveries in Creating Inline and Dimensional Type Erin McLaughlin

3:10 P.M.

Harmonization versus Standardization: The Case of Air Inuit Jean-Baptiste Levée

3:30 P.M.

Coffee Break

4:40 P.M.

SOTA Catalyst Award Presentation

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

Linotype: The Film

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8:40 A.M. From The Monotype Archives Daniel Rhatigan

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August 4

CONFERENCE WORKSHOPS 8:00 A.M.

Continental Breakfast, Exhibits & Marketplace Open

8:30 A.M.

Opening Remarks

9:25 A.M. Learning To Design The Cherokee Syllabary Mark Jamra 10:05 A.M.

Coffee Break

10:30 A.M. HTML5 Enabled: Responsive Web Fonts Craig Kroeger 10:50 A.M. PersonaType: Living Type Specimens Amy Papaelias 11:10 A.M. Press Checks in the Age of Web Type Erik Vorhes 11:35 A.M. Mongolian Script: From Metal Type to Digital Font Jo De Baerdemaeker 12:15 P.M.

Lunch Break

2:00 P.M. My Type of Beer Rafael Díaz & Ketty Miranda

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8:40 A.M. Bustani: A Classic Arabic Typeface with Calligraphic Features Patrick Giasson & Kamal Mansour

2:20 P.M. The Daily Pangram Craig Eliason 2:45 P.M. Kickstarter Panel Discussion Thomas Phinney 5:00 P.M. 8:30 P.M. to 11:00 P.M.

SOTA Typography Award Presentation The Infamous Type Quiz & Silent Auction

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August 5

CONFERENCE WORKSHOPS 8:30 A.M.

Continental Breakfast Exhibits & Marketplace Open

9:15 A.M.

Opening Remarks

10:05 A.M.

Coffee Break

10:30 A.M.

Before the Circus Came To Town: The Prairie Print Shop of Andrew King Gillian Mothersill

10:50 A.M. Custom Stop Antonio Cavedoni 11:10 A.M. Perception of Typefaces: A Quantitative Visual Methodology Beth Koch 11:35 A.M. Mayan Writing Reform Steve Ross 12:00 P.M. Tablets and Their Typographic Challenges Ricardo Martins 12:20 P.M.

Closing Remarks

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9:25 A.M. Hamilton Wood Type & Printing Museum Presentation Bill Moran & Jim Moran

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Details

T H U R S DAY AU G U S T 2 N D Workshops

All pre-conference workshops will be held at the University of Wisconsin with the exception of the full-day letterpress workshops at the Hamilton Wood Type & Printing Museum. Transportation between workshops and the conference hotel will be provided.

9:00 A.M. – 4:30 P.M. 12:00 P.M. to 1:30 P.M. Full day workshops break for lunch

Don’t Dog Ear Your Books: Letterpress Bookmark Making N. Adam Beadel Location: University of Wisconsin, Milwaukee Utilizing the collection of type and ornaments available at the UW-M letterpress studio, students will type set and print their own 2-color bookmarks. Skills covered will include: letterpress terminology, use of pica and composition sticks, setting up a form, use of California job case, proper printing technique with the Vandercook SP-15, and general discussions of typography as it relates to letterpress.

Switching to Glyphs.app Rainer Erich (Eric) Scheichelbauer Location: University of Wisconsin, Milwaukee This workshop is intended for people with prior experience in applications such as FontLab or Fontographer. Topics covered include exporting Fontlab projects into Glyphs, differences in the workflow, how to radically boost your efficiency with Glyphs, and nifty things you can do in Glyphs that you cannot do in any other software.

Workshop participants can purchase a full version of Glyphs at a discount price.

Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Mac OS X 10.6.6 or later.

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Full-Day Sessions

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T H U R S DAY AU G U S T 2 N D 9:00 A.M. – 12:00 P.M. Workshop Half-Day Sessions: Morning

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Using Adobe InDesign to Create Beautiful Typography James Fritz Location: University of Wisconsin, Milwaukee With the rapid release of software and technology many find themselves unaware of advances in type manipulation and design. In this session, you’ll learn practical tips for achieving consistently beautiful typography. We’ll cover topics such as selecting and manipulating typefaces, the anatomy of type, the proper use of white space and break characters, using special glyphs and ligatures, using the story editor, every type of style that you can imagine, plus tips and much more. Requirements: Workshop attendees must bring their own laptops with the following pre-installed software: Adobe InDesign CS5 or later.

Web Typography Now! Jason Cranford Teague Location: University of Wisconsin, Milwaukee Typography on the web has undergone a Renaissance in the last few years with the advance of web fonts, allowing you – at least in theory – to choose from any font you could use in print. Web typography expert Jason Cranford Teague will lead you through recent advances in technology, helping you apply your own design skills to the medium. He starts with a quick review of the basics, and then goes into how to choose the best fonts for screen display, helping you understand the new web font service bureaus that simplify the process of finding and deploying fonts.

7:30 P.M. – 9:00 P.M. Evening Program

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

Columbus Convention Center

F R I DAY AU G U S T 3 R D 8:00 A.M. Continental Breakfast Exhibits & Marketplace Open

8:30 A.M.

Opening Remarks

8:40 A.M.

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

9:25 A.M.

Inside Paragraphs Cyrus Highsmith A paragraph of printed text is where typography started from. Since then typography has evolved in all sorts of directions, some times leaving printing behind entirely.

However, understanding what goes on inside a paragraph of printed text is still a solid foundation for strong typographic education. With this in mind, Cyrus Highsmith wrote the book, Inside Paragraphs: Typographic Fundamentals. It explains what goes on inside a paragraph of text, including how type works, how we read, and how the typographer works with different kinds of space within a paragraph. In this presentation, he will explain how and why he did it.

10:05 A.M. Coffee Break — sponsored by Microsoft

10:30 A.M.

Type in 20: The Vista Sans Wood Type Project Ashley John Pigford & Tricia Treacy The Vista Sans Wood Type Project is a highly collaborative and experimental pursuit involving the creation of wood type of the Vista Sans typeface with a purpose-built CNC router and the dissemination of this type to the studios of 21 international artists, designers, printmakers, and letterpress operators with the intention of creating 38 sets of prints reflective of the post-digital and multidisciplinary nature of contemporary, collaborative artistic practice. Each participant received five letters of the same word: “touch” and 50 sheets of paper.

10:50 A.M.

Type in 20: What’s Our Vector Victor?

Optimizing Typefaces for Cockpit Navigation Steve Matteson The history of cartography is a vast and complex story of calligraphy, illustration, iconography, typography, and now GPS technology. From Ptolemey’s famous “Geographia” written in the year 150 AD to OnStar Turnby-Turn navigation the once sacred art of cartography can be enjoyed on any family vacation from the seat of a rental car. However, aircraft pilots still lumber aboard jumbo jets carrying a suitcase full of paper approach charts, maps and other critical information about their flight plan.

Steve Matteson worked with an industry leading producer of aviation charts as they adapted typefaces to best display this complex information on screen and print.

11:10 A.M.

Type in 20: 25 Years of German Typefaces, and the Revivals Still With Us Dan Reynolds Around 1890, as Industrial Design formed into a profession, German foundries began hiring external artists to create their new typefaces, instead of developing these in-house. By 1914, the type design profession was established. A virtual Schriftmania seems to have arisen: not only was new type more popular with printers than ever, but calligraphy was added to art school curricula, and the Blackletter/Roman question was even debated in parliament. Today, we still use several designs from this period, including Akzidenz-Grotesk, Korinna, and Venus. Other gems are due for a comeback, like Nordische Antiqua or Breite Grotesk (FF Bau).

12:15 A.M. Lunch Break

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F R I DAY AU G U S T 3 R D C O N T I N U E D 2:00 P.M.

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Engraving and Type, A Beautiful But Somewhat Dysfunctional Relationship Nancy Sharon Collins This presentation will explore a chronology of how commercial engravers have interacted with more traditional typographic communities – such as type foundries and publishing houses – and how these relationships are mutually beneficial.

Examples will include: Introduction to Hart Engraving – how a small engraving press currently functions; the process through which Steve Matteson and Terrance Weinzierl, Monotype Imaging, created two fonts from historic engravers’ lettering styles; how digital media exponentially changed the technology, and appearance, of legal stationery and branding; how, according to the 1923 American Type Founders Company catalog, ATF blatantly copied traditional engravers’ styles to stimulate new mark ets. Mr. and Mrs. Brian Hart own and operate Hart Engraving, the third generation Milwaukee engraving press founded by Brian’s grandparents almost a century ago.

2:50 P.M.

Type in 20: H&FJ’s Landmark: Discoveries in Creating Inline and Dimensional Type Erin McLaughlin How do you kern an invisible letter? What happens when shadows overlap? This presentation will highlight the unexpected amount of tears, trickery, and trompe l’oeil involved in creating “Landmark”, a new typeface release by Hoefler & Frere-Jones.

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

3:10 P.M.

Type in 20: Harmonization versus Standardization: The Case of Air Inuit Jean-Baptiste Levée Air Inuit is an airline company operating in the Canadian Great North. In 2011, a rebranding was initiated that implied the design of a custom typeface family. The Air Inuit rebranding project started with the following question: how to communicate efficiently in three languages and two scripts? How to preserve cultural sensibilities whilst retaining the essential need for consistency? during this presentation, various aspects of a multicultural typeface design project will be equally discussed: brief analysis, client relationships, work process, tryouts, failures, and successes.

3:30 P.M. Coffee Break — Sponsored by Typekit

4:40 P.M.

SOTA Catalyst Award Presentation The Society of Typographic Aficionados will present Niko Skourtis with the 2012 SOTA Catalyst Award for his achievements and future promise in the field of typography.

Niko will provide a presentation of his work, entitled Typograph. The result of his undergraduate graphic design thesis at California College of the Arts, Typograph is an interactive database cataloging thirty years of typography. Typograph presents each typeface that appears in the Type Directors Club annuals and their frequency through various interactive platforms that offer perspective, insight, and context. They range from an interactive chart that displays hard data for each typeface, a dynamic imagebased timeline to view the type in context over the years, to a visual built with Processing that offers a more atmospheric overview on the past thirty years of typography.

Evening Program 8:30 P.M.

Linotype: The Film Presented by UW Peck School of the Arts, SOTA, and Typekit At the Milwaukee InterContinental Hotel We are pleased to present the Wisconsin premiere of this feature-length documentary centered around the Linotype type casting machine. Called the “Eighth Wonder of the World” by Thomas Edison, it revolutionized printing and society. The film tells the charming and emotional story of the people connected to the Linotype and how it impacted the world.

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S AT U R DAY AU G U S T 4 T H 8:00 A.M. Continental Breakfast, Exhibits & Marketplace Open

8:30 A.M. Opening Remarks

8:40 A.M. STEP UP LEADERSHIP CONFERENCE

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

9:25 A.M.

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

10:05 A.M. Coffee Break — Sponsored by MyFonts

10:30 A.M.

Type in 20: HTML5 Enabled: Responsive Web Fonts Craig Kroeger With great power, comes great responsibility. This presentation will explore how a mobile first, responsive web design approach can be enhanced with web fonts.

Topics to be covered include flexible grids, media queries, and web font deployment options. Focus will be placed on type optimized for mobile devices.

10:50 A.M.

Type in 20: PersonaType: Living Type Specimens Amy Papaelias PersonaType: Living Type Specimens is an experiment in web typography that makes auditory and visible the emotive qualities of type. Through the magical wizardry of web fonts, CSS3 animation and a few sweet jQuery plugins, these “living” type specimens allow users to watch/listen to text speak/move, demonstrating the personified characteristics of a typeface. The project serves as an experimental prototype to model future methods for exploring the kinetic experience of web fonts, screen readers and voice recognition software.

11:10 A.M.

Type in 20: Press Checks in the Age of Web Type Erik Vorhes With the proliferation of webfonts over the past few years, the demands on web designers have increased. Instead of having a handful of typefaces from which to choose, a designer is faced with thousands of options, from more than a dozen sources. While this embarrassment of riches feels like the best thing to happen to web design since embedded images, not all webfonts are created equal. A wrong choice can doom a design. This presentation will discuss the challenges that webfonts present designers and web users and offer a practical approach to prevent the worst of them.

11:35 A.M.

Mongolian Script: From Metal Type to Digital Font Jo De Baerdemaeker This presentation introduces De Baerdemaeker’s postdoctoral research project at the Department of Typography & Graphic Communication, University of Reading (UK).

De Baerdemaeker’s research investigates the development of Mongolian writing practices and printing types, adopting a methodology tested in his work on Tibetan typeforms, and offers practice-oriented guidance for the design and development of new digital fonts for the Mongolian script. He will clarify the main objectives of the project and will highlight the descriptive framework that he developed for communicating about Mongolian typefaces. The talk will be supported by original and rare material especially collected for the project’s database.

12:15 A.M. Lunch Break

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S AT U R DAY AU G U S T 4 T H C O N T I N U E D 2:00 P.M.

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Type in 20: My Type of Beer Rafael Díaz & Ketty Miranda Beer has always been the most consumed drink in Colombia. Today, it’s a huge part of its collective identity; even to those who don’t drink it. It’s an important part of celebrations and sports; being a major sponsor of both. Bavaria, the nation’s biggest industrial brewery, is also the oldest and most influential company in Colombia.

Through a tour along its beer labels, the recent history of a country and its people emerges. From the first signed and hand-drawn label of Bavaria Bogota, to the Helvetica-only designs of Bogota Beer Company.

2:20 P.M.

Type in 20: The Daily Pangram Craig Eliason Type designers just love a-z idioms like ‘the quick brown fox…’ That sentence not only describes pangrams, but is a pangram itself, as it contains every letter of the alphabet. Pangrams have long been a useful tool for testing or exhibiting typefaces.

In 2008 Craig Eliason began authoring original pangrams and publishing them every weekday on his Daily Pangram blog, which in January hit number 1,000 and is still going. Eliason will explain some of the history of the pangram, give a behind-thescenes look at the Daily Pangram, and share some of his favorites from over four years of pangrams.

2:45 P.M.

Kickstarter Panel Discussion Moderator: Thomas Phinney (Cristoforo) Panel: Jeremy Dooley (Chatype), Marcelo Magalhães Pereira (Londrino/Folk), Matt Griffin (Letterpress Wood Type Fonts) Are we witnessing the rise of a new model of funding font development? Many type designers have tried Kickstarter to “crowdsource” font funding; we can learn from their collective experience. How does it work? Does it work for type design? What are the main factors in successfully funding a typeface? Why do some succeed and others fail? How important has been the backing of Google Web Fonts, and how has Kickstarter worked for proprietary (rather than open source) fonts? How will it impact the financial and aesthetic future of type design? Thomas explains Kickstarter and discusses the results of his surveys and interviews; the panel discusses their Kickstarter font funding experiences and what they learned.

5:00 P.M.

SOTA Typography Award Presentation The Society of Typographic Aficionados will present the 2012 SOTA Typography Award to this year’s recipient.

Evening Program 8:30 P.M. – 11:00 P.M.

The Infamous Type Quiz & Silent Auction Presented by Monotype Imaging It’s time to put on your typographic thinking cap. This year’s brain-bending shindig will feature delicious desserts, refreshing cocktails, and the (in)famous Type Quiz with your host and quizmaster Allan Haley. It promises to be a night filled with trivia, laughter, and some good eats.

Photo by: Naassom Azevedo, Unsplash.com

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S U N DAY AU G U S T 5 T H 8:30 A.M. Continental Breakfast, Exhibits & Marketplace Open

9:15 A.M. Opening Remarks

9:25 A.M. STEP UP LEADERSHIP CONFERENCE

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

10:05 A.M. Coffee Break — Sponsored by Monotype Imaging

10:30 A.M.

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

10:50 A.M.

Type in 20: Custom Stop Antonio Cavedoni From fast cars to Star Trek, Stop by Aldo Novarese is a typeface one can’t forget.

Under those future-of-the-past shapes lies the perfect logo-making machine – by design. But what makes it so successful? Why is it such a ubiquitous and universal design? Unlock the secrets of the Custom Stop, let it guide you to a galaxy far, far away…

11:10 A.M.

Type in 20: Perception of Typefaces: A Quantitative Visual Methodology Beth Koch There are virtually no rules to empirically interpret the meaning inherent in typeface designs – people intuitively decipher typefaces (Van Leeuwen, 2005).

Terminology, methods, and scales used in typeface perception research have been inconsistent. Recent scientific findings provided evidence about the role of emotion in visual processing, suggesting an alternative approach for design research. An animated interactive survey, PrEmo™, validated in product emotion research (Desmet, 2002) was adopted to collect emotion response to typeface samples. Paired t-Tests (a=.05) compared one typeface design’s features to another. The resulting quantitative approach proved a successful method for evaluating emotion response to visual design features.

11:35 A.M.

Mayan Writing Reform Steve Ross An estimated 7.5 million Maya currently inhabit southern Mexico and Central America, and approximately 2 million of these speak Mayan languages. As a people, the Maya remain alive and well, although they will be forever linked to the grandeur of their ancient civilization. One of the Maya’s greatest accomplishments was the original logosyllabic writing system the employed to record their ancient history.

At the time of conquest, however, the use of such writing was forbidden, (nearly) all recorded histories were burned, and the Maya were forced to adopt the Latin alphabet to write their own language.

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12:00 P.M.

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Type in 20: Tablets and Their Typographic Challenges Ricardo Martins Tablet devices have forced designers to “MKE A SHIFT� in the way they think about the layout and typography. In the printed matter, pages flow side by side. In tablets, they flow vertically. In print, the designer fully controls the final layout. In tablets, the user is who gives the last word. So, what are the implications for the design and typography? Liquid layouts? Liquid type? Parallax scrolling and text independent of the background? The purpose of this presentation is to discuss the challenges that the publication in tablets brings to typography. And how we could think less about limitations in digital layout and focus more on typographic new interactions that are emerging from them.

12:20 P.M. Closing Remarks

Step out of your comfort zone.

Photo by: Will Kell, Unsplash.com

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Keynote Speaker Christian Helms Christian Helms is the founder and creative director of Helms Helms Workshop™.

Helms Workshop™ is an independent, strategic brand design studio. We love the process of working with companies to build, amplify and revitalize their brands. We create identities with personality— living, working brands with a point of view, and with character. We express that character through design. We do our best work for clients who are passionate about their businesses; Companies willing to express a point of view, and show what makes them different— brave clients. Often we work with new businesses, but we also help big brands take a look at what it might be like to be brave as well.

About SOTA SOTA Mission The Society of Typographic Aficionados (SOTA) is an international organization dedicated to the promotion, study, and support of type; its history and development; its use in the world of print and digital imagery; its designers, and its admirers. Visit us at typesociety.org.

SOTA Charter The Society of Typographic Aficionados exists for the affordable education of its members and participants; to further the development of type, typographical information and typography; and to appreciate on multiple levels the attributes of type, typography, design, the book arts, and calligraphy. SOTA is committed to sponsoring relevant programming in pursuit of these goals. SOTA pursues these goals through an annual conference, TypeCon, which is held in a different host city each year.

Acknowledgements

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SOTA Board of Directors Deborah Gonet, Monotype Imaging Inc. — Chair Shu-Yun Lai, Pereira & O’Dell — Vice Chair Michelle Perham, Microsoft — Treasurer Juliet Shen, Shen Design / School of Visual Concepts — Secretary Corey Holms, Corey Holms Design Grant Hutchinson, Typostrophe / Butter Label Matthew Carter, Carter & Cone James Grieshaber, Typeco Allan Haley, Monotype Imaging Richard Kegler, P22 Type Foundry David Pankow, Rochester Institute of Technology Christopher Slye Grant Hutchinson Neil Summerour

Website, Social Networking & Communications Grant Hutchinson, lead Shu-Yun Lai

SOTA Store Deborah Gonet SOTA Auction Allan Haley Tiffany Wardle de Sousa Volunteer Manager Michelle Perham

TypeGallery Shu-Yun Lai, Audio/Visual Director JP Porter, Shoot the Moon

Typography Award Judges Otmar Hoefer David Lemon Alejandro Lo Celso Jan Middenthorp Jill Pichotta

Special Thanks Brian Artka Jane Backes Kim Beckmann Pam Bednarczyk Roger Black Adream Blair Stephanie Carpenter Doug Cheever Jon Coltz Kim Cosier John Downer James Grieshaber Allan Haley Wade Hobgood Brian Jaramillo Chris Klein Akira Kobayashi Ellen Kullerstrand Lisa Moline Bill Moran Jim Moran Aymie Spitzer Grace Villanueva Erik Vorhes Heads of State Allison Elizabeth Treen Kory Bo Gabriel

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Mission

The Society of Typographic Aficionados (SOTA) is an international organization dedicated to the promotion, study, and support of type; its history and development; its use in the world of print and digital imagery; its designers; and its admirers. Visit us at www.typesociety.org.

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Charter

The Society of Typographic Aficionados (SOTA) exists for the affordable education of its members and participants; to further the development of type, typographical information and typography; and to appreciate on multiple levels the attributes of type, typography, design, the book arts, and calligraphy. SOTA is commit- ted to sponsoring relevant programming in pursuit of these goals. SOTA achieves this aim through its annual conference, TypeCon, which is held in a different host city each year.

Board of Directors

Richard Kegler, Chairman, Heidi Andermack, Matthew Carter, Simon Daniels, Robert Goods, Allan Haley, Rod McDonald, David Pankow, Laurence Penney, Archie Provan, Tamye Riggs, Nick Shinn, Brian Sooy, Brian Willson, Hermann Zapf

Sustaining Members

Daidala, Font Diner, FontLab, Lewandowski and Associates, Rod McDonald, P22 type foundry, Terminal Design, Tiro Typeworks COLOPHON

Design

Natalie Swallow

Principal Type

Zeitung Micro Pro

Printing FedEx

Auction & Sponsorship Richard Kegler

Audio/Visual Services

JP Porter, Shoot the Moon Productions