Inspirational talk on ADLaM—An African Alphabet Adventure

ADLaM script in use

Some days, there are too many overlapping events. On Thursday, 15 February 2018, there were at least three:

3rd ADLaM Conference January 2018 in Mamou, GuineaI ended up at the IMUG presentation on the ADLaM script. Craig Cornelius gave an introduction to the script and its history with stories of how he got involved plus his recent attendance at the 3rd ADLaM Conference in Mamou, Guinea, 5–8 January 2018. Over 800 people attended the conference from the Democratic Republic of the Congo to Mauritania and Chad to Liberia, plus Angola, Kuwait, Belgium, Spain, USA, and beyond. After Craig’s presentation, Ibrahima & Abdoulaye Barry (creators of the ADLaM script) joined in via video chat for the question and answer part of the evening. They started creating the script in 1989 when they were ages 10 and 14.

The presentation and discussion were inspirational. The ADLaM script seems effective in teaching how to read and write Fulani/Pulaar and has potential to improve literacy for millions. Its use has spread across Africa and seems to be gaining momentum among the Fulbe people. The script can also be used for other African languages. One of the advantages over Latin and Arabic script (both currently used to write various African languages) is that ADLaM represents some of the sounds unique to those languages with less ambiguity. At some point, I may design some ADLaM typefaces.

Some of the current challenges:

  • convert existing ADLaM writing from the old encodings to the new Unicode encodings.
  • technology integration of ADLaM script, keyboard, and fonts support.
    • Operating system support: Google has started support. I don’t know Apple’s, Microsoft’s, nor Unix systems plans.
    • Support in apps and web apps, especially when base OS doesn’t yet support the script.
  • design more fonts and styles.

I suspect that eventually Richard Ishida (@r12a) will add ADLaM to his tools for various scripts, like he has for N’Ko (script summary, character picker, and character notes) and many other scripts. View the ADLaM Unicode block in his UniView tool.

Adlam availability from Google:

  • Android 8.0 & standard Chromebook release Q4 2017+ include Noto Sans Adlam font.
  • GBoard Adlam keyboard available as of December 2017.
  • Supported in Google Input tools extension for any Chrome browser window (any computer) and Chromebooks.

It was fun to see familiar names as part of the story, some unexpectedly, like mention of Stephen Rapp helping connect the Barry brothers to the Unicode Consortium (@unicode) by way of Deborah Anderson of UC Berkeley’s Script Encoding Initiative at the 2013 Lettering Arts/Calligraphy Conference in Colorado Springs, Colorado, USA. Coincidentally, on the same day of this ADLaM talk I attended on 15 February 2018, Deborah Anderson was presenting a Sawyer Seminar on Preserving the World’s Languages and Cultures (through character encoding) at the Institute for Comparative Literature and Society at Columbia University (@ICLSColumbia).

Craig Cornelius also has worked with the Cherokee Nation on their script. @NPR talked about some of his work in Gmail Sends Message in Cherokee (20 November 2012). Craig also presented some of his work in Indigenous languages and technology—Challenges, standards, & tools for small language communities at the United Nations International Expert Group Meeting on Indigenous Languages (@UN4Indigenous), 19–21 January 2016.

Read and watch more about ADLaM and other African scripts (plus one in Sri Lanka):

IMUG related links:

Jeff Kellem (@composerjk / @slantedhall)
1403 Vintage Mono Pro typeface specimen

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Type Design Conferences

There are a number of great type design & typography related conferences happening around the world, these days. Several conferences coming up include:

Some conferences have video archives of talks. Here are some other type design conferences you might have missed:

Let me know of other type-related conferences you enjoy!

Jeff Kellem (@composerjk / @slantedhall)
1403 Vintage Mono Pro typeface specimen

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Shift CTRL 2016 Conference Trip Report

The Shift CTRL (#shiftCTRL)—New Perspectives on Computing and New Media conference was held at Stanford University Humanities on Friday & Saturday, 6–7 May 2016, organized by Thomas S. Mullaney (@tsmullaney). This gathering was a follow-on to the American History Association 2016 Annual Meeting (@AHAhistorians) session Shift Ctrl: Computing and New Media beyond the US and Europe that Tom chaired on 10 January 2016, 11am–1pm EST, in Atlanta, Georgia, USA.

Each session topic included two to three presentations, giving a glimpse into the papers the participants had shared among themselves ahead of time. Afterwards, the presenters gathered at a table to answer grouped questions from the audience. As the discussions happened, the participants found unexpected connections between different areas of work. Some of that is what can happen when presentations are combined like that. A great conference.

My notes were minimal, though I enjoyed all the talks. Squeezing this writing in between my type design work means this trip report will also be minimal with raw notes and links as opposed to nice prose.

One of the challenges of an independent researcher like myself is getting access to resources while being unaffliated with a university. It’s still possible but sometimes requires a bit more effort. This conference reminded me of some of the things I like about a good research community. I will also be looking for funding sources for projects on:

  • the oral history of some type designers related to my past research, and
  • typeface design to support preserving endangered languages and minority languages.
The Shift CTRL conference aligned well with my background in technology development and history. My type design work includes research into history for each script & language, but also for technology used in printing and writing. Some of that research was included in the talks I gave on Resurrecting Type of the IBM 1403 about the mainframe line printer, its use around the world (Iceland’s first computers, Vietnamese land titles & first legal documents printed on computer), and the development of my resultant 1403 Vintage Mono Pro typeface.


Languages & Logics

    • Mention of English only. Though not the same, common language for air traffic control is English. So, all pilots need to know English. Think it would be okay to have programming language with keywords based in another language. The issue comes when one wants to involve others who may not speak that language. Same issue with English-based programming languages.
    • There have been programming languages that were not based in English. If I had more time, I would dig up references. For now, here’s the Wikipedia page on Non-English-based programming languages.
    • Games.
    • Assumptions built into development tools, based on past major games and structure.
    • New meanings to familiar core elements, e.g., collision.
    • Jason Rohrer’s (@jasonrohrerPassage — Two others attending the conference wrote about it, also.
    • Mainichi — an experiment in sharing a personal experience through a game system.
    • Dys4ia — spatial and conversation.
      • layoff and carry(??) life
    • My own note: Are these types of games becoming more common, now, or are we just seeing them more often because of greater connection?


  • Janet Abbate (@JanetAbbateVT), Virginia Tech — Code Switch: Rethinking Computer Expertise as Empowerment
    • How and why we teach computer science is important.
    • mentioned Anita Borg Institute (@anitaborg_org) re: diversity and inclusion. I worked with Anita at the DEC research laboratories back in the 1990s.
    • (@codeorg) — but noted focus on coding and diversity in PR materials, then videos mostly from older white guys. Not getting into what one could do other than program, be successful. (My simplification of her more clear statements.)
    • #YesWeCode (@yeswecode) — founded by Van Jones and musician Prince.

Authorities & Truths

  • Honghong Tinn, Earlham College — Econometric Models and Computers: Manufacturing Economic-Planning Projects in Taiwan
    • “explores the early use of mainframe computers to assist in econometric-knowledge production and economic-project planning in Taiwan in the 1960s.
      … Specifically, this paper explores the computer-assisted production of inter-industrial input-output analysis in Taiwan. Harvard economist Wassily Leontief developed the method in 1941.
      In the case of Taiwan, a Cornell University Professor, Ta-Chung Liu, visited the country in 1964 to help form an economic-planning project. Liu helped a Taiwanese government agency to produce inter-industry input-output analyses of Taiwanese industries with the IBM 1620 computer. The limited capacity of the IBM computer however, hindered the process of producing such analysis. The Taiwanese team, thus, had to reconfigure economic data to accommodate the capacity of the computer. By using Taiwan as an example, this paper reveals the underlying historical tensions and contingencies in visualizing, representing, and making sense of economic activities during the Cold War.”
    • Taiwan 1964–1969
    • Cold War
    • IBM 1620
    • Ta-Chung Liu’s “A Macro-Econometric Model for Taiwan’s Economy,” CIECD, 1965.
    • The Econometric Practice of Ta-Chung Liu [PDF] by Hsiang-Ke Chao and Chao-Hsi Huang, 2010.


  • Nick Montfort (@nickmofo), Massachusetts Institute of Technology — Shifting to Free Software
    • Think argument could be made stronger. Focusing on longevity of access to information (archival and beyond).
    • Same for all tech and archiving.
    • Note that there’s also a risk that free software stops being maintained or requires more work than one is able to put to be able to use again. 

Infrastructures & Economies

Liza Loop (@LizaLoopED) mentioned that in 1987 that the way they had copies of a book made in Russia was retyping because copy machines were so regulated. Meant to ask if same for printing presses. I assume so?
For some reason, I had a note “to Fred Turner: Critical Systems Interdependency & Failure Modes Failure Analysis” referring to the Clinton Presidential Commission Report in the late 1990s. Alas, I do not recall why I wrote that down. So, I’ll just leave a link to PDD-63 on Critical Infrastructure Protection, 22 May 1998.

Final Discussions and Computer History Museum Tour  

Some random quotes during the fabulous Revolution Exhibit tour at the Computer History Museum (@ComputerHistory)…
  • Both Jenna (@jennaburrell) & Janet (@JanetAbbateVT) asked “where’s the Discourse key?” when looking at lovely old computer keyboards. 😉
  • “Innovation under constraints”—Jenna (@jennaburrell)
  • “My Drunk Computer History”—Tom (@tsmullaney)
During the Computer History Museum tour, there was only time to explore the Revolution Exhibit. Next time, check out the demo labs:
  • PDP-1 Demo Lab with working demonstrations of the DEC PDP-1 and the Spacewar! game on 1st & 3rd Saturdays, 2:30pm & 3:15pm. Learn about the PDP-1 and restoration and the Spacewar! game.
  • IBM 1401 Demo Lab with working demonstrations of the IBM 1401 mainframe and the IBM 1403 line printer that inspired my 1403 Vintage Mono Pro typeface. Demonstrations in the lab are on Wednesdays at 3pm and Saturdays at 11am. A custom version of my font to more closely match the original printer chain was used in the short film 6EQUJ5, directed by Trevor Brymer, New Zealand. Coincidentally, I worked at both IBM and DEC (Digital Equipment Corporation) research laboratories.
The shiftCTRL conference brought together a great group. It sounds like there will be a longer-term publication to bring their ideas together in some cohesive form. One of the goals seems to be to encourage more discourse and research. Some of the things that could be done to foster continuing conversations include:
  • Book, journal of the papers with commentary added to encourage more discussion. An important aspect of the Shift CTRL conference: the discussions that happened after the talks, connecting and exploring the topics presented.
  • Periodic articles, blog posts, etc. in shorter form. Perhaps all linking with the #shiftCTRL as a connector keyword. Note that shiftCTRL may be used for other topics.
  • Continually updated collection of related publications, posts, resources.
  • I believe there was mention of considering ACM Interactions (@interactionsmag). Perhaps Communications of the ACM (@CACMmag) would also be appropriate.
  • Also, perhaps consider IEEE Computer Society’s (@ComputerSociety) Annals of the History of Computing (@computingnow).

Other posts about the ShiftCTRL Conference

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TypeCon 2015 Conference Trip Report

TypeCon (@typecon / @typesociety) was held in Denver, Colorado, USA, 12–16 August 2015. Though attendance seemed lighter this year, it was another great conference. Lots of good folk, past attendees, and ones at their first TypeCon.

In between TypeCon and finishing up this trip report, the following have happened:

I may have to miss TypeCon this year due to a potential conflict to attend a wedding in Moscow. If I am able to manage that trip, I hope to be able to also extend it to attend ATypI Warsaw 2016. Alas, NAMM Musikmesse Russia is being held at the same time, 15–18 September 2016. It would be fun to attend that, also.

Jump to: WednesdayThursdayFridaySaturdaySundayType Crit,
Robert Slimbach SOTA Award, Shiva Nallaperumal SOTA Catalyst Award,
KeynoteLinks (write-ups, presentations, photos)Feedback.

Tuesday, 11 August 2015

After checking into the hotel, I walked a couple miles to catch the latter portion of Kyle Read’s (@kyleread) launch party for his new Badson Studio (@BadsonStudio). Glad to be able to make it there before the end to help him celebrate. Kyle also designed the Local Survival Guide. It was one of the best designs I’ve seen of the local guides for TypeCon. Great job, Kyle!

Wednesday, 12 August 2015

I started the conference off with Rainer Erich Scheichelbauer’s (@mekkablue, @schriftlabor) workshop on Color Fonts with Glyphs. It was fun to see more folk moving to, or considering, Glyphs (@glyphsapp) for their type design work. It’s what I use every day.

Nicholas Felton (@feltron) designed the brand for the 2015 conference. Alas, I had to skip the Type Directors Club (@typedirectors) sponsored event with Nicholas speaking. I had a last minute request to teach an impromptu Mazurka Tango class at the American Vernacular Dance Wednesday Waltz Etcetera at The Avalon Ballroom in Boulder, Colorado. Last minute, meaning I was picked up five minutes after agreeing to teach and teaching the class 20 minutes after arrival in Boulder. Here’s a demonstration video of the Mazurka Tango (aka Mazurka Clandestine) showing some of the style of dance I taught that evening.

Later that night, there were some good conversations with Scott Boms (@scottboms), Luke Dorny (@luxuryluke), and James Todd (@JTDType), until late. I should’ve gone to bed earlier, but it was difficult to leave fun conversation with good folk.

Thursday, 13 August 2015

TypeCon 2015: Cyrillic for Real workshop with Alexandra Korolkova

The was a good group of folk in Alexandra Korolkova’s Cyrillic for Real Use workshop, including Chris Lozos (@dezcom), Thomas Phinney (@thomasphinney), Anna Konyuhova, Neil Patel (@neilspatel), and others. Great tips and history about the Cyrillic script. In addition to the useful cheatsheet booklet she gave us, she showed details from previous presentations. A sample of what’s in the booklet can be see in this livejournal post. While practicing drawing Cyrillic, I had my first experience with a pointed pen and learned a little how to use one as a left-hander. Anna wrote about her experience and practice after the conference. 

I heard great things about John Downer’s 2-day workshop on Sign Painters’ Single-Stroke Majuscules and Stephen Rapp’s Expressive Brush Lettering workshop. Some nice photos from both workshops are near the top of Helen Lysen’s TypeCon 2015 photos. I also wish I could have attended Education Forum, but the Cyrillic workshop was not to be missed.

Marian Bantjes’ (@bantjeskeynote was an enjoyable look at her past work and the paths she took. I thought about asking her to talk about her fabulous work on the Tales of the Brothers Grimm book with drawings by Natalie Frank (@nataliepainter4), but figured if she hadn’t mentioned it, there might have been a reason she wasn’t including it. Turns out, it would’ve been fine. Next time, I’ll ask.

The AIGA-sponsored (@aigacolorado) after party was at a large bar with pool tables. I didn’t play pool, though it had come up in conversation the night before.

Conference Talks

Friday, 14 August 2015

Mary Mashburn, of Maryland Institute College of Art [MICA] (@mica_news) and Typecast Press, showed some of the great history of iconic jazz and R&B posters in Life Lessons from Globe Poster, including lovely posters from their collection of B.B.King, Marvin Gaye, Aretha Franklin, and many others. MICA now keeps Globe alive and in production. Some folk I know went to MICA including Erin Ellis (@rrrellis) and Shiva Nallaperumal (@shiva__n). Some of the posters were given as prizes at the Type Quiz.

In Wrong reading: Examples of Double-Sided Wood Type, Jason Wedekind (@genghiskern) provided an overview of pieces collected and the history of some of the double-sided wood type he’d found and researched. Some of the #typetwofers images are on Instagram.

Frank Grießhammer (@kioskfonts) talked about the vector fonts that Dr. A.V. Hershey designed (while at the U.S. Naval Weapons Laboratory in the late 1960s) in The Hershey Fonts [video]. Welcome to my world, Frank. A fun exploration into some of the history and his path to resurrect the Hershey fonts using the original data points combined with modern OpenType font technology. Hershey wrote the technical report Calligraphy for Computers in 1967. Thanks for the shout-out, too.

My first experience with the Hershey fonts was in the X Window System back in the mid-to-late 1980s. I knew or worked with a number of the X Window System developers. I also had re-visited the fonts in the past couple years, thinking I’d convert them to modern outlines. That project can now be crossed off. Frank plans to put his results on Adobe Type’s github. May help, if that makes sense.

In 2011, my friend Windell Oskay (@oskay) of Evil Mad Scientist Laboratories (@emsl) wrote the Hershey Text: An Inkscape extension for engraving fonts (for laser cutters, CNC routers, 3D printers, pen plotters, etc., along with their EggBot). The Hershey Text extension is included in Inkscape version 0.91, as of January 2015.

Joe Galbreath talked about the history and show samples of The Commercial Monograms from the GramLee Collection [at West Virginia University (@wvucca)]. There were some great wood type examples in this presentation.

Scott Boms (@scottboms) moderated a nice panel on Filmotype Junto: The First Font Cooperative by Stuart Sandler of Font Diner (@fontdiner) & Font Bros. (@fontbros). Other panel participants included Lily Feinberg (@lilyfeinberg), Patrick Griffin, Mark Simonson (@marksimonson), and Neil Summerour (@positype). It would be fun to participate in some of those Filmotype revivals.

Steve Ross (@steveross1956) & Miguel Sousa (@forcebold) talked about A New Approach to Type Design at Adobe [video] The program Adobe Type Concepts was introduced in early 2015 with a new typeface release by Miguel called Vortice.

Rainer Erich Scheichelbauer (@mekkablue) presented fun experiments with OpenType in Yes, But Can OpenType Do This? The entire presentation had no slides but live typing showing games, animation, and more using OpenType features in fonts. The examples came from Eric’s and his classes’ experiments. Nicholas Felton (@feltron) captured a version of the nim game from the 1961 film L’année dernière à Marienbad implemented by Erich (@mekkablue) in a font’s OpenType features.

Playing with OpenType—games, animation, … by @mekkablue @typecon #typecon2015

A post shared by Jeff Kellem (@composerjk) on

Andrej Krátky (@AndrejKratky) talked about The History and Future of Font Licensing and introduced the Fontstand (@fontstand) service.

Dave Addey’s (@daveaddey) talk Typeset in the Future was a fun exploration of type used in sci-fi films and how it affects the characters in the film. He included great detail from the film Alien (totally worth reading) and how English and French versions for the self-destruct procedure were different. It seems that the French translation left out a couple important steps. Hmm…

The 2015 SOTA Catalyst Award was presented to Shiva Nallaperumal (@shiva__n). Check out some of his fabulous design work.

Saturday, 15 August 2015

Paul Herrera talked about The Life and Times of Father E.M. Catich. An interesting look into Edward M. Catich’s life. I thought it was a little over the top to throw the Adobe Silver Anniversary book to the ground since it didn’t reference Catich’s contribution to those forms. Still, it was good to hear about his life.

Paul D. Hunt (@pauldhunt) went through An Illustrated History of Non-Latin Typeface Development at Adobe. It was interesting to see what’s gone on and what’s happening for the future. I would have liked to hear more about the process.

John Hudson (@tirotypeworks) talked about the MCLI (Murty Classical Library of India) (@MurtyLibrary) publication and fonts John & Fiona Ross designed for it in The Bee in the Lotus Flower [slide deck PDF] John invited four folk to read translated poetry while the original Indian text was displayed on the screen. The readers included: Jeff Kellem (me, @composerjk), Marian Bantjes (@bantjes), Kent Lew, and Diane Collier. Nice comments from folk on the reading. Always great research and details in John’s talks.

Radek Sidun (@RadekSidun) covered type design in the Czech Republic in Briefcase Type (@BriefcaseType) Foundry: Milestones in Czech Type Design. I wish I’d made time to visit type folk when I was in Prague and Plzeň last summer for the Dvorana Vintage Dance Week 2015. It was nice to see some of the Czech type design history.

Alas, I missed Nikki Villagomez’s (@nikki_vz) talk How Culture Affects Typography and some others due to conversations.

Joseph Alessio (@alessio_joseph) showed a nice sample of old and new stencil forms across a wide array of writing systems around the world in Stencil Type: Fusing Form and Function [video]. There was a fun sample by Regan Fred Johnson (@reganjohnson).

Rob Saunders (@Lett_Arc) gave an interesting, as always, dive into the work of Ernst Schneidler & his Students, including some possibly familiar books, such as The Very Hungry Caterpillar, by Eric Carle (@ericcarle), student of Ernst Schneidler, published by Rob. Samples can be viewed at the wonderful Letterform Archive (@Lett_Arc) in San Francisco, California, USA. Worth a visit or several.

The SOTA Typography Award was presented to Robert Slimbach. Christopher Slye (@ChristopherSlye) accepted the award on Robert’s behalf. The 21 minute video presentation can be seen on the SOTA Typography Award page or on Vimeo.

The Infamous Type Quiz is often fun, especially with Nick Sherman (@NickSherman) and Stephen Coles (@typographica) as masters of ceremonies. I managed to scored 33. I don’t recall the max. Check out the great photos of the quiz by Helen Lysen (@hcdarling). James Edmondson’s (@ohnotypeco) fun Hobeaux typeface was used in the Type Quiz slides.


Sunday, 16 August 2015

I missed the Sunday morning talks due to participating in the Diversity committee meeting, led by Erin McLaughlin (@hindirinny). It was a good brainstorming session with 28 folk. Discussions continued after the conference. A report of suggestions to consider was sent to the SOTA Board (@typesociety, @typecon) on 12 October 2015.

While we were having productive discussions… Meta Newhouse (@metanew) talked about her Type of Place project. Max Phillips (@SignalType) talked about Letters & Crime on Hard Case Crime (@HardCaseCrime), publishing yesterday’s and today’s crime fiction. And, Doug Wilson (@realdougwilson) talked about The Beautiful Island of San Seriffe.

Dan Rhatigan (@ultrasparky) delved into the rub-down type and history in Learning (and Unlearning) from Letraset. When he displayed a foreign languages sheet, someone in the audience said they might have one. Both Dan and I exclaimed “oooo!” or had that breathe of excitement. That sheet would be fun to see.

Nick Shinn (@ShinnTypeInc) covered history and his own explorations into OpenType features in Adventures in Contextuality.

Type Crit

TypeCon 2015: Type Crit with Laura Rossi Garcia

One of my favorite aspects of TypeCon is the Type Crit. A type designer gets 10 minutes of quick critique with three master type designers: Akira KobayashiJohn Downer, & Roger Black (@RogerBlack). The brave type designers who showed samples of their in-progress work included:

TypeCon 2015: Type Crit with Kenneth Ormandy

The closing night party was in the parking lot of Our Mutual Friend Brewing Company (@OMFbrewing). Luckily, the Taj Palace and Mobile Meltz (@mobilemeltz) food trucks had non-alcoholic drinks, as OMF Beer did not (other than water). Rick Griffith (@rickgriffith) of MATTER (@matter) was the DJ for music in the lot. I ended up dancing a little with a few partners. It was great to catch up some more with Roger Black (@RogerBlack) on the way to the airport the next morning; thanks, Roger.

TypeCon always energizes me. There were some fruitful business discussions, too. A couple included plans to work on specimens (web and print) for my 1403 Vintage Mono Pro typeface, about which (and its inspiration) I talked about at TypeCon 2013. The interactive web specimen designed by Kenneth Ormandy (@kennethormandy) is now available, coinciding with the major typeface update. Check it out at

1403 Vintage Mono Pro typeface interactive specimen site

Other Posts about TypeCon

Here are some other posts about TypeCon 2015:




  • The Bee in the Lotus Flower, John Hudson [slide deck PDF].
  • Using Type to Add Data to Data Visualizations, Richard Brath [blog post with link to PDF].

Posts about ATypI 2015

Please let me know if any corrections are needed. I look forward to seeing folk at future type gatherings. If I can find space in the peninsula/south bay of the bay area, California (and people would be interested), I may try to organize type get-togethers. Probably near Mountain View, CA.

Jeff Kellem (@composerjk / @slantedhall)

Posted in 1403 vintage mono pro, atypi, conference, presentation, typecon, typecon2015, typeface | Tagged , , , , , , | Leave a comment

TypeCon 2014 Conference Trip Report

27 Jun 2015 Update: Registration is now open for TypeCon 2015: Condensed, 12–16 August 2015 in Denver, Colorado, USA. Save $50 by first becoming a member of SOTA. Check out the great workshops and a preview of the program! Hope to see you there!

Update: TypeCon 2015: Condensed will be held 12–16 August 2015 in Denver, Colorado, USA. Videos from 2014 are added as SOTA releases them and linked throughout this post and in the Links section.

It’s that time of year: another type design conference. TypeCon (@typecon / @typesociety) was held in Washington, D.C., 28 July 2014 through 4 August 2014. Though a number of friends (and regular attendees) were not in attendance this year, it still managed to be a great conference. Lots of great folk, past attendees and ones at their first TypeCon.

Jump to: WednesdayThursdayFridaySaturdaySundayType Crit,
Fiona Ross SOTA AwardIndependent Type Designer Business Workshop,
KeynoteEducation ForumLinks (write-ups, presentations, photos)Feedback.

I arrived on Tuesday afternoon into DCA, took the Metro to the hotel. It’s been over 20 years since my last visit to D.C. Nice to have a good metro, again. A large group of us walked along H Street to find dinner, for a long while. The place we attempted to eat had a 1.5 hour wait. So, a few split off to head to the south asian place that smelled good. I joined them at Cusbah (Yelp). Indeed, it was quite tasty. Another group of four showed up a little while later.

Wednesday: I’d signed up for the Devanagari: Simplifying the Complex workshop by Rob Keller (@rnkeller) & Kimya Gandhi (@KimyaGandhi), partially due to input from Erin McLaughlin (@HindiRinny). Unfortunately, the buses left very late from the hotel to head to the Corcoran College of Art + Design—I heard that at least one went to the wrong location, first—so, the workshop started 45 minutes late. The best part was the 44-page booklet they put together for us as an overview and reference to Devanagari. Though OpenType & Unicode are finally being used more, there are still lots of proprietary font formats and encoding in use. Though we practiced handwriting and reviewed features useful for Indic scripts in Glyphs (@glyphsapp), we did not get to working on any exercises designing/digitizing Devanagari glyphs with Glyphs. They probably needed another hour or two to cover everything they wanted. I had hoped to do some work designing digitally in the class. Still, a useful class, especially due to the booklet. A good group of folk in the class, including Eben Sorkin (@ebensorkin), Lisa Maione (@lisamaione), Lila Symons (@daycalligraphy), Amit Patel (@apatel314), James Puckett (@Dunwich_Type), Chris Lozos (@dezcom), and others.

The for the Pros class had a good group in it. It sounded like some good discussions occurred, though I was not in the class to hear. This workshop was aimed for those coming from another type design software program, such as FontLab. I’d been using Glyphs for the past couple years, but I always like to hear about other folks’ workflow and how they’ve chosen to use Glyphs. Now, to get back to some of those type design workflow tools projects.

Wednesday night: Dana Tanamachi talked about her path to chalk lettering and design. She graduated from the University of North Texas (@UNTnews), Denton, TX. Also created the posters for Roundabout Theatre’s (@RTC_NYC) production of Bye Bye Birdie. (As an aside, Roundabout’s archivist Tiffany Nixon was helpful in getting a photo of Bill Irwin & Mary Bond Davis from Scapin for the 2012 tribute presentation & 6-piece dance performance I put together for Stanford University dance historian Richard Powers at the New York Baroque Dance Company’s Santa Barbara Historical Dance Workshop [Tribute videos]; Richard was choreographer and dance historian for Bill Irwin’s Scapin.)

Thursday: The first workshop I signed up for when registering was Between the Letters: The Business of Being an Independent Type Designer. It filled up very quickly. Luckily, they found space at the hotel (bonus: we didn’t have to take the long bus ride!) and added another 15 slots. So, we had 30 independent type designers in the room. The panel was run by Silas Dilworth (@silasdilworth), Matthew Butterick (@mbutterick), & Jackson Cavanaugh (@okaytype). Attendees included a great mix of type folk, from a few wanting to get started to those who’ve been doing this for 50 years. A great workshop! I’ll hopefully transcribe some of my notes in another post and will link to it here.

I also really wanted to take Liron Lavi Turkenich‘s (@LironLaviTur) workshop on Hebrew Type Design: Tasting of a Square Script, but the Independent Type Designer Business workshop was more important for me, right now, even though I have Hebrew designs completed and in-progress. She gave a talk at TDC (@TypeDirectors) in New York City right after TypeCon on her Aravrit project, ambitiously blending Hebrew & Arabic.

Education Forum

Here are a few mentions of the talks in the Education Forum. It looked like a good program this year. If I hadn’t been in the Business workshop, I’d have attended.

The superb Aoife Mooney (@aoifemooney) of Kent State University, Ohio talked about The Design Process Made Manifest: Teaching to Learn, Learning to Teach. Gerry Leonidas (@typefacedesignagrees. Heard her talk went quite well. Later, I made sure to introduce Max Phillips (@signaltype) and Aoife; Max is currently in Dublin while Aoife is from there.

Martina Flor‘s (@martinaflor) Golden Secrets of Lettering: Look, Explore, Sketch Fast, Practice.

Martina’s student’s answers to “What is the work of a type designer like?”

They take days to draw a single letter. Work on the same project for years. It’s a lonely job. Don’t have to deal with clients. Take pills to stay up.

She also has Wallpapers for Type Nerds available.

Sumner Stone (@sthoths) on Teaching Letterform: Modularity & Refinement.

Thursday night started with the keynote by Tobias Frere-Jones (@tobias_fj). Some were wondering what he might talk about. He presented exactly what I’d hoped: some of the fabulous historical research he’d been doing recently on the typography of bank notes and counterfeit reduction techniques using type that he’d uncovered. Great stuff. He does the kind of research that I like to do. I hope that Tobias publishes a book of the material he’s found. It would make a good one. A fun slide from his talk with a quote from U.S. President Barack Obama on U.S. Treasury Secretary Jacob Lew’s illegible signature (looks like a series of loops).

I had never noticed Jack’s signature, and when this has highlighted in the press, I considered rescinding my offer to appoint him. Jack assures me that he is going to work to make at least one letter legible, in order not to debase our currency, should he be confirmed as secretary of the Treasury.

Check out some of the banknote images on his blog plus a couple lottery tickets from France (1936) & Latvia (1965).

As a related aside…For the first time, I finally walked into The Jehning Family Lock Museum of Mountain View. My dad did pioneering work in security that included working with locks and was also in the Navy. Al Jehning was in the Navy in WWII. It was great to talk with Audrey & Al. Other unexpected connections appeared. Daniel T. Ames (who built the building in 1903) was also a handwriting and forgery expert in addition to being a prolific calligrapher and teacher during the mid to late 1800s. They had a copy of his book Ames on Forgery: Its Detection & Illustration (1900) and samples of his pen work. Reminded me of Tobias’ TypeCon keynote on banknotes; I’ll pass along contact info and such. Other books he authored include Ames’ Alphabets, adapted to the use of Architects, Engravers, Engineers, Artists, Sign Painters, Draughtsmen (1884), Ames’ Guide to Self-Instruction in Practical and Artistic Penmanship (1884), The Daniel T. Ames Notebook (1860s), and Ames’ Compendium of Practical and Artistic Penmanship. He was also the founder and editor for 20 years of The Penman’s Art Journal of New York (link for Volume 1, 1877).

Indra Kupferschmid (@kupfers) & Jacob Heftmann (@jheftmann) put together a web page about Tobias’s early typefaces at FontBureau (@fontbureau). Totally worth reading.

Conference talks

The main conference program started Friday morning with Rob Saunders (@lettarc) of the fabulous Letterform Archive showed 20th Century Metal Type Foundry Ephemera with great, fun type specimens from 1900 to the 1960s. If you’re in the San Francisco, California area, you should make an appointment to visit extensive collection at the Letterform Archive. During Rob’s talk, I recognized some of the pieces I viewed, such as the Hebrew one here, during my last visit. He also had an exhibit of the specimens on display throughout the conference. 

TypeCon 2014: Rob Saunders on 20th Century Metal Type Foundry Ephemera

John Collins of MyFonts (@MyFonts) talked about the business of MyFonts and how it’s helped type designers to make a living. From his “Some Amazing Successes” slide:

  • Dozens of independent font designers have been able to quit their day jobs and focus on type design.
  • 6–8 out of 10 of the MyFonts Top 50 fonts are typically from independent designers.
  • Not unusual for #10 on the MyFonts Top 50 to sell $20K per month.

Marcin Wichary (@mwichary) & Dustin Senos (@dustin) talked about Crafting Type at Medium. Talking about the work they did seemed to get a number of type folk more interested in Medium. Good job. There was mention of the previous work on Crafting Link Underlines on MediumAlas, I missed introducing myself to Marcin and thanking him; I used a photo of his (under a CC BY 2.0 license) to introduce my TypeCon 2013 talk Resurrecting Type of the IBM 1403. 

Mitch Goldstein (@mgoldst) showed his experiments with typography and photography/videography, creating new images, in Typo + Photo. Reminded of experiments with cameras many of us did in the past, exploring the media.

Nancy Sharon Collins (@thengravinglady) shared the history & examples of calling cards from the Victorian era through the 1950s in Codes and Cards: Symbology from Victorian-Era Calling Cards. It’s great to see the etiquette of the past. My dance troupe Academy of Danse Libre (@danselibre) recreates and performs social dances as they were danced from the Victorian era through the 1930s, bringing to life that period of history, including mannerisms and attire. I thought I took some notes, but haven’t located them, yet.

Mark Simonson (@marksimonson) showed his fun history with offset press in The Romance of Offset [video]. Lots of fun experiments and images.

Offset press, @marksimonson at @typecon #typecon2014

A post shared by Jeff Kellem (@composerjk) on

Hrant Papzian (@hhpapazian) talked about libre type design and helping improve typography support for minority cultures in Liberation from Mediocrity, or, The Freedom of Paying Bills [video]

Friday evening: Krista Radoeva (@kristaradoeva) received the 2014 SOTA Catalyst Award. Well deserved. She’s been doing some fabulous work.


In David + the Machine, Aaron Bell (@aaronbell) gave an interesting talk on how an Intertype machine had been modified by Rev. Dae-Wii (David) Lee in the early 1900s to fit Hangeul onto the 90-key keyboard, allowing Korean typesetting.

Mila Waldeck showed The Typography of George Maciunas (leader in the Fluxus group). Some of the music groups that Fluxus worked with include John Cage, Velvet Underground, John Lennon, among many others. Always nice to see the crossover into my music world. Their exploration with experimental music makes me think of the fabulous contemporary art music, mostly improvised, house concerts at my friend Tom’s Place in Berkeley, California.

Mark Jamra showed work of his class on creating wood type with a CNC router in Word Type Teamwork: From Analog to Digital and Back Again, talking about the Philasoro project, so named for sisterly love, as the ladies in this class were doing all the work with the project in Philadelphia, the city of brotherly love. And, the guys in the class had dropped out. 12-line 4A wood type.

Thierry Blancpain (@blancpain), co-founder of Grilli Type, described the current state of Swiss design in Young Swiss Style: Contemporary Swiss Graphic Design, showing samples of the variety of work coming from good, young designers in Switzerland.

Sample of Grilli Type Foundry’s (@grillitype) work.

David Lemon (@typenerd1) showed the process of the past Three Decades of “Getting Better” in type design at Adobe from the first PostScript fonts until today. The tweet photo is the first version of Courier, stroke + offset. It’s also worth reading The Adobe Originals Silver Anniversary Story, a nice overview of some of the history of type at Adobe (@adobetype).

Nick Shinn showed The Look of Sound: Branding and Marketing of New Technology in the American Record Industry, 1888-1967. Though I saw a related talk of his at TYPO SF 2013, there was new material and other interesting work in here. Always fun to see. Plus, given my photography work with bands (albums, tour posters, etc.), my own music work, and love of history, I have a strong affinity to this type of presentation. Folk I know in The Recording Academy (@grammypro) and TapeOp (@tapeopmag) communities would have enjoyed this presentation, also.

TypeCon 2014: Nick Shinn on The Look of Sound

Liron Lavi Turkenich (@LironLaviTur) talked about a great oddity in the history of Hebrew type design—the Schoenfieldian script in Radical Anecdotes in Search for Solutions.

TypeCon 2014: Scott Boms on Type at Scale: An Inside Look at Typography at Facebook

Scott Boms (@scottboms) talked about Type at Scale: An Inside Look at Typography at Facebook [video] and how they find ways to integrate typography throughout the Facebook campus.

What is everybody doing here?

He talked about the Analog Research Lab printing studio and workshop at Facebook. Here’s an inside look photo spread from 2010–2013 by Ben Barry (@benbarry).

Scott Boms also mentioned the customized version of Process Type Foundry’s (@processtypeKlavika (designed by Eric Olson @xeolsonx), customized by Neil Summerour (@positype) with help from Erin McLaughlin (@HindiRinny) for the Arabic wordmark.

Carl Crossgrove (@CarlCrossgrove) showed a history of The Sans with Contrast: Seriflessness Across Time. Fun examples of sans-serif designs with contrast. As Theresa Dela Cruz (@theresadelacruzwrote, “The Serifless Romans in Carl Crossgrove’s talk are really lovely.” Agreed.

Matthew Carter gave a lovely tribute to Hans Eduard Meier, who passed away on 15 July 2014.

TypeCon 2014: Tribute to Hans Eduard Meier by Matthew Carter

TypeCon 2014: Tribute to Hans Eduard Meier by Matthew Carter

There’s a nice 2012 piece on Hans Eduard Meier, a life dedicated to letter design by Roxane Jubert at Typotheque (@typotheque) in English, Français, & Español with added illustrations; totally worth reading. My copy of his Die Schriftentwicklung arrived while at TypeCon, along with the updated edition of Size-specific adjustments to type designs by Tim Ahrens & Shoko Mugikura (@timandshoko)!

Here are some tributes for Hans Eduard Meier from:

Nadine Chahine (@arabictype) showed her design process and work on Zapfino Arabic: A Question of Slanted Writing and working with Hermann Zapf. She had some nice quotes in praise of the type design program in which I do most of my current type design, Glyphs (@glyphsapp).

Glyphs improved my quality of life. How many use Glyphs? How many who design typefaces use something else? All of you should switch!—Nadine Chahine

SOTA Typography Award

It was great to see Fiona Ross one night. We’d met at a previous conference; I always enjoy talking with her. At the time, I didn’t know she’d be receiving the 2014 SOTA Typography Award. Well-deserved! A great choice. In addition to all the non-Latin work Fiona’s accomplished, she also pioneered phonetic keyboard input. John Hudson presented the award to Fiona. [Presentation video.] A quote from Fiona that Thomas Phinney captured:

300M Bengali speakers, but they still send text msgs in Latin because no good Bengali font exists on cell phones.—Fiona Ross

Let’s get to work, then!

Here are some other write-ups about Fiona receiving the award, from:

This year, the Type Quiz was extra fun since Nick Sherman (@NickSherman) & Stephen Coles (@stewf / @typographica) were leading! Awesome fun! Martina Flors and I scored around the middle area. I even missed some things I remember reading about in the past week or two. D’oh. There was a fun three-way tie at the end for top score. It took a while to break that tie. And, here was a fun question; I believe the answer was covered in the original question slide. Typefaces for National Geographic (@NatGeo). Here’s a nice Smithsonian (@SmithsonianMag) post on The Secret to National Geographic’s Maps Is an 80-Year-Old Font, showing this image.

TypeCon 2014: Type Quiz!

Sunday morning started with David Jonathan Ross (@djrrb) of FontBureau (@fontbureau) talking about Cracking the Code and his work on looking at typefaces used for coding, considering proportional, differing widths and styles, and other typography. He included a history of monospace typefaces. This presentation also showed his design for and introduced his latest typeface Input. It was quickly used in Nicholas Felton’s (@feltronFeltron Annual Report (FontBureau blog post). 

It was quite nice of David to call out my talk on Resurrecting Type of the IBM 1403 mainframe line printer from TypeCon 2013, showing a specimen of my resultant 1403 Vintage Mono Pro typeface. Thanks, David!

TypeCon 2014: David Jonathan Ross on Cracking the Code

John Hudson of Tiro Typeworks (@TiroTypeworks) talked about the Problems of Adjacency [annotated slides PDF with new ideas in the afterword from Q&A with Nadine Chahine (@arabictype)]. John always provides great information and insight with the technical detail, knowledge, and history he presents.

Here’s some info about DecoType’s Advanced Composition Engine (ACE), formerly known at the Arabic Calligraphic Engine. The manual for the Tasmeem fonts [PDF] and this video on Tasmeem describe some of ACE. Thomas Milo (@ThomasMiloNL) talked about it at the Stanford University Library (@StanfordLibs), 7 February 2014, in Raising the Stakes in Arabic Text Handling. Ramzi Salta (@ramzisalti) wrote a nice post about the talk. Nice to catch up with Thomas there.

Kimberly Elam showed the work of Josef Müller-Brockmann, like this Beethoven concert poster.

TypeCon 2014: Kimberly Elam on work of Josef Müller-Brockmann

The Type Crit is one of my favorite parts of TypeCon. A type designer gets 10 minutes of quick critique with three master type designers: Akira Kobayashi, John Downer, & Matthew Carter. You can learn a lot by listening and watching the proceedings. Here’s one shot of James Todd’s (@JamesToddDesign) critique with James and Akira smiling.

TypeCon 2014: Type Crit

I also got permission to use a nice quote from Matthew Carter during last year’s Type Crit with me regarding my 1403 Vintage Mono Pro typeface.

 I may steal that…you may see that again.—Matthew Carter

This year, I donated a copy of Michael Harvey’s Creative Lettering Today book to the Silent Auction; I believe that Shelley Gruendler (@dr_shelley) managed to get that one. I also donated a couple copies of Microsoft’s Mathematical Typesetting booklet. There was a great Mathematical Typesetting book that John Hudson had donated (along with the Microsoft booklet)—it might have been The Printing of Mathematics, Oxford Press; I let JR Osborn (@jrosborn) get that book, since he’d have a more immediate use for it. I did manage to pick up a few items:

Hrant Papazian‘s (@hhpapazian) photo of the Webtype (@Webtype) demo table for David Jonathan Ross’s (@djrrb) new Input typeface, showing “three eras of monospaced fonts.” Hrant and I talked about Armenian type design and other things. It would be fun to someday include Armenian designs in my typefaces. Good to finally meet.

Some random discussions occurred during meals and in the hallways. Max Phillips (@SignalType) and I discussed type design workflow patterns, tools, and Glyphs at the West Wing Cafe, across the way. The cafe was good for breakfast, each day, with an English muffin egg over hard sandwich. Yum. Dinner with James Todd (@JamesToddDesign), Taylor Bryn Hultquist (@Taylor_Bryn), Paul Hunt (@pauldhunt), & Mark Simonson (@marksimonson). At the bar with Gerry Leonidas (@gerryleonidas / @typefacedesign), Liron Lavi Turkenich (@LironLaviTur), Rob McKaughan (@robmck), and others. I wanted to talk more with Jimmy from FontLab; met him with Emily Connors (@emilylimedesign). I met Frank Martinez (interview), briefly, but didn’t run into him again for chat, alas; it would be interesting to talk about font licenses in today’s world. Some nice conversations with Monika Bartels (@MoniBPython) & Sonja Keller (@sonja_keller); Sonja’s also doing font production work with TypeTogether (@typetogether). And, it’s great to have James T. Edmondson (@jamestedmondson) back in the bay area. Jan Middendorp (@JanMiddendorp) and I talked about music and how his nicely designed Shaping Text: Type, Typography, and the Reader book would make a great introductory typography course. The music side related to my return to music notation type design.

I also had the chance to chat with Irina Petrova & Alexandra Korolkova of ParaType about my possible trips to Russia (and my past) for dance and type. They mentioned the Serebro Nabora conference at the end of November 2014. I already had that on my list to consider attending, especially since I canceled a Europe & Russia dance & type trip this summer. Though, I just found out that a wedding may cause me to miss the conference this year. Other type folk I know will be speaking, including John Hudson (@TiroTypeworks) and David Jonathan Ross (@djrrb). Would be fun to connect with other type designers in Russia. 


TypeCon 2014: Smithsonian Museum of Natural History Ocean Hall

TypeCon 2014: Smithsonian Museum of Natural History Ocean Hall

On Sunday afternoon, I finally took a walk along The National Mall, popped into the Smithsonian National Museum of Natural History (@NMNH), and checked out the Sant Ocean Hall (@OceanPortal) exhibit. Taylor Hultquist (@Taylor_Bryn), an illustrator with a love of ocean stuff, recommended checking out the Coelacanth in the exhibit. Alas, The National Fossil Hall was closed for renovation (photos + time-lapse). The future exhibit looks to have some fun potential. Rainer (Eric) Scheichelbauer (@mekkablue) and I caught up with each other and walked around the National Gallery of Art’s Sculpture Garden (@ngadc). My phone battery had died, so there are no photos of the Sculpture Garden. We also ran into Rob Keller (@rnkeller) & Kimya Gandhi (@KimyaGandhi) on the way back to the hotel. If I hadn’t told folk that I’d join them before the evening events, we would have gone with Rob & Kimya to a café.

TypeCon 2014: David Sudweeks, always stylish. Seahorse socks!

I carpooled with Theresa Dela Cruz (@theresadelacruz) and David Sudweeks (@nondescriptes) to the Sunday evening party. David was preparing video for the revival of the FontCast video series. Check out the first one (#18) with John Hudson (@TiroTypeworks)! The music was composed by Theresa, too. More musician + type folk! David is always fashionable. Check out his seahorse socks. He might have picked them up at the Sock Shop on Telegraph, Berkeley, California. The party was at Lucky Strike Bowling. A good job with continuous food, bowling (and attempts thereof), some random fun fusion dancing (a mix of tango, salsa, blues, etc.) with fellow dancer Andrea Leksen (@leksendesign) in between frames, plus some nice conversations and a bit of salsa dancing. There was also a salsa dance & class happening in Lucky Strike. Later, I found that some friends had managed to grab one of the three pool tables. So, I joined them for some pairs 8-ball. Ages ago, I used to play billiards regularly. Alas, the local pool halls with all the pros coming in closed.

After the party was over, a bunch of us ended up across the street at the Rocket Bar (@rocketbardc). Turns out they had a bunch of pool tables, also. Plus shuffleboard and skee ball. Fun to pull up some nostalgia by playing skee ball with Erin Ellis (@rrrellis) and make some attempts at shuffleboard. With the conference over, JP Porter finally gets to relax, too. She does a fabulous job of running the show smoothly, each year, for us!

TypeCon 2014: After Party with bowling and a little billiards.

Feedback for conference

The Independent Type Designer Business workshop could’ve been a full day for more in-depth discussions. We should also try to have related talks more incorporated into the conference program. The workshop would still likely be useful even with that integration, I think, for some smaller face-to-face introductions and discussions.

How to make Education Forum better attended? I always want to attend, but sometimes have conflicts. This year, it sounded like talks were better than last year. Good job! There was mention of a discount for conference attendees to encourage more participation, but I don’t recall seeing it. Consider making that more obvious. Also, the Education Forum link should perhaps be a first class citizen.

Other Posts about TypeCon

Here are some other posts about TypeCon 2014:

Presentations / Slide decks:

My TypeCon trip reports:

And, now, it’s time for ATypI 2014 (@ATypI) in Barcelona, Spain. Looking forward to good reports from there. A bunch of friends are presenting. And Glyphs 2.0 (@GlyphsApp) will be announced & described.

Please let me know if any corrections are needed. I look forward to seeing folk at future type gatherings. If I can find space in the peninsula/south bay of the bay area, California (and people would be interested), I may try to organize type get-togethers. Probably near Mountain View, CA.

—Jeff Kellem (@composerjk / @slantedhall)

Posted in 1403 vintage mono pro, atypi, conference, presentation, typecon, typecon2014, typeface | Tagged , , , , , , , , | Leave a comment

Survey: Opinions on Music Notation & Scores

One of my next projects will be designing quality music symbol fonts. Getting back to my roots, so to speak. My first foray into type design 20+ years ago was working on music notation software research and development projects.

The resultant fonts will be for use within music notation programs, such as Noteability ProSibelius (@AvidSibelius), Finale (@finaleofficial), LilyPond (@GNU_LilyPond & @LilyPondBlog), MusiXTeX, MuseScore (@MuseScore), and Steinberg’s (@steinbergmediaDorico by former Sibelius engineers (@dspreadbury has been writing the scoring application’s progress notes in the Steinberg blog Making Notes). The Steinberg folk have been working on SMuFL (Standard Music Font Layout) which I also plan to support.

I’m interested in hearing opinions on various aspects of scores you’ve used. What you liked, what caused issues during rehearsal, etc. If you’d prefer, you can send your opinions via email:

Here’s the direct link to the embedded survey below.

Jeff Kellem (@composerjk / @slantedhall)

Posted in music notation, typeface, typography | Tagged , , | 1 Comment

1403 Vintage Mono font used in book cover design for Grantland’s sports analytics compilation book

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While preparing to teach and work with some fabulous 6-12 grade movement teachers about social partner dancing at the 2014 Movement Education Week (@HealthyMovement), I heard an update from one of our typeface customers.

Our 1403 Vintage Mono typeface was used in the book cover design for Grantland‘s new sports analytics book Talk Nerdy to Me: Grantland’s Guide to the Advanced Analytics Revolution. Jason Oberg (@ExtraBlasedesigned the cover. Nice work, Jason! This paperback compilation was published by ESPN (@ESPN) and Grantland (@Grantland33) in conjunction with the MIT Sloan Sports Analytics Conference (@sloansportsconf & #SSAC14), 28 February 2014 to 1 March 2014. The book is part of the conference attendee gift bag.

I wish I were attending the conference to receive a copy of the book for both the content and to see the printed copy using my 1403 Vintage Mono font. I did a bit of work in analytics and visualization in the past. It’s been added to the font in use examples of 1403 Vintage Mono.

Talk Nerdy to Me: Grantland's Guide to the Advanced Analytics Revolution. Book cover design & photo by Jason Oberg.

Photo credit: Jason Oberg (who also designed the book cover).

Bill Simmons (@BillSimmons) posted the front/back cover photo (listing contributors) on Facebook that’s used on Grantland’s Facebook page.

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If the list of contributors on the back cover is complete, it looks like the compilation did not include Bess Kalb‘s (@bessbell) Grantland article on John Burgeson, The Lost Founder of Baseball Video Games: A tale of obsession, punch cards, and a ’60s computer the size of a hatchback. Given the use of my IBM 1403 inspired typeface on the cover, it would’ve been fitting to include the article (even if not directly related to the analytics revolution).

Links about the book & font:

Jeff Kellem (@composerjk / @slantedhall)

Posted in 1403 vintage mono pro, book design, fonts in use, typecon2013, typeface, typography | Tagged , , , , , , , , | Leave a comment