Dan Reynolds is a type designer, educator & design history researcher in Berlin and Braunschweig, Germany.


I am an independent designer with a focus on letters: I draw typefaces, build fonts, write about typography, and teach, too. Together with Martina Flor, I’m a Berlin Type School organizer; our first events will take place in the summer of 2016. Since 2011, I’ve been part of the communication design faculty at the Braunschweig University of Art. Before that, I spent seven years at Linotype GmbH – first in the product marketing department, and then in the font development group. In 2004, I co-founded the Offenbach Typostammtisch; similar type meet-ups have since appeared in Basel, Berlin, Hamburg, Saarbrücken, Stockholm, and Zürich.

Although I’m originally from Baltimore, I’ve spent most of my adult life in Germany, and I’ve lived in Berlin since 2009. My BFA in graphic design is from the Rhode Island School of Design; my MA in typeface design is from the University of Reading. For a time between 2003–2005, I also studied visual communication at the Hochschule für Gestaltung in Offenbach.

Photo: Norman Posselt


Published Typefaces

Mountain: A four-font revival of the old Offenbach Roos & Junge Teutonia typeface; Volcano-Type foundry, 2006.

Morris Sans: Revival and extension of Morris Fuller Benton’s Bank Gothic typeface for Linotype GmbH, 2007. Three weights, each with two widths and small caps, oldstyle figures, etc.

Malabar: New serif typeface for extensive text; designed at the University of Reading in 2008 and released by Linotype GmbH, 2009. Three weights, each with an Italic.

Carter Sans: This one’s an assist on my part. Carter Sans is a “humanistic stressed sans” from Matthew Carter for International Typeface Corporation, 2011. Four weights, each with an Italic. I also did similar work in 2011 on Gerard Unger and Linda Hintz’s Demos Next, which Monotype released in 2014.

Carlyle Quaint: Digitization of an alphabet by Paul Carlyle for Photo-Lettering, 2013.

Carnival Extra Condensed: Digitization of an Italienne alphabet drawn by the Photo-Lettering staff, 2014.

I also am working on some OpenSource fonts. Check their files out on GitHub: There is Martel Devanagari, a Devanagari text face with stroke contrast. The font family has seven weights, and the Latin glyph components are based on Merriweather, from Eben Sorkin. Then there is Martel Sans, a Latin sans serif and monolinear Devanagari family, which also has seven weights. There is also Biryani, a more geometric Latin and Devanagari pairing. Biryani currently has seven weights, too. Both Biryani and Martel Sans were designed together with Mathieu Réguer. Finally, there is Dasa, a single-weight informal-handwriting font for the Gujarati and Latin scripts. All four families are still works in process, and any feedback is appreciated.


Certificate of Excellence in Type Design for Malabar: Type Directors Club of New York. TDC² 2009 Competition.

Silver Award for Malabar: Original Typeface category, European Design Awards competition. ED-Awards 2009.

Malabar awarded the Federal German Design Prize in gold for 2010: Gold beim Designpreis der Bundesrepublik Deutschland 2010, Bundesministerium für Wirtschaft und Technologie und Rat für Formgebung (German Federal Ministry of Economics and Technology, German Design Council).

Gold Award for Malabar: First place in the typeface design category, Joseph Binder Award competition 2010. Design Austria.

Colin M. Ford chose Carter Sans as one Typographica’s Favorite Typefaces of 2011. Paul Shaw chose Carlyle Quaint as one of Typographica’s Favorite Typefaces of 2013.


Universität der Künste Berlin

  • Typografie (Schriftgestaltung), Sommersemester 2012

Hochschule für Bildende Künste Braunschweig

  • Projektbetreuung Typografie, Wintersemester 2011–2012, Sommersemester 2012, Wintersemester 2012–2013, Sommersemester 2013, Wintersemester 2013–2014, Sommersemester 2014, Wintersemester 2014–2015, Sommersemester 2015, Wintersemester 2015–2016 und Sommersemester 2016
  • Schrift- und Druckgeschichte in Braunschweig, Sommersemester 2012
  • Schrift, Schriftschreiben und Kalligrafie, Wintersemester 2012–2013 und Wintersemester 2015–2016
  • Geschichte der Typografie von der Kelmscott-Presse bis zur Emigre, Wintersemester 2013–2014
  • Kunstgewerbemuseen, Sommersemester 2014
  • Typografie um 1900, ein Vergleich (Deutschland, Frankreich, Großbritannien, Österreich-Ungarn und die Vereinigten Staaten), Wintersemester 2014–2015
  • Die Wiederverwendung älterer Schriftarten in den 1950er und 1960er Jahren, Sommersemester 2015

Hochschule Darmstadt, Fachbereich Gestaltung

  • Darstellungsmethoden III/IV: Schriftgestaltung, Sommersemester 2009, Wintersemester 2009–2010, Sommersemester 2010, Sommersemester 2011, Wintersemester 2011–2012, Sommersemester 2012, Wintersemester 2012–2013, Sommersemester 2013, Wintersemester 2013–2014 und Sommersemester 2015
  • Experimentelles Gestalten I/II: Schriftgestaltung, Sommersemester 2012

Burg Giebichenstein Kunsthochschule Halle

  • Schriftgestaltung anfangen! Kompaktwoche, Mai 2011 [Link]

FSG Freie Schule für Gestaltung Hamburg

  • Typografie, Sommersemester 2010 und Wintersemester 2010–2011
  • Schriftgestaltung, Sommersemester 2011, Wintersemester 2011–2012, Wintersemester 2012–2013, Sommersemester 2014, Wintersemester 2014–2015 und Sommersemester 2015

HBK Saar

  • Vektorisierung und Schriftgestaltung, Januar 2012 und Juni–Juli 2013


Stencil lettering. Tage der Typografie, ver.di Institut für Bildung, Medien und Kunst. Lage-Hörste, Germany. June 7–10, 2007.

Logo design workshop. École Estienne. Paris, France. March 19, 2009. With Franck Jalleau and Jean-Baptiste Levée.

On the selection of newspaper typefaces. HBK Saar. Saarbrücken, Germany. November 17, 2009.

Introduction to Indic typeface design. Typography Day 2011, National Institute of Design. Ahmedabad, India. March 5, 2011. With Amélie Bonet, Erin McLaughlin, and Satya Rajpurohit.

Typography Master Class. Brand Perfect Tour, Hotel East. Hamburg, Germany. June 14, 2011.

Co-organizer of the Berlin Type School Away-Days 2016, hosted by the UdK TypoLabor. Universität der Künste, Berlin, Germany. July 29–30, 2016. With Jenny Baese, Benedikt Bramböck, and Martina Flor.


Zurück in die Zukunft? Typo.Graphic.Beirut 2005, Lebanese American University. Beirut, Lebanon. April 13–15, 2005.

Enabling typography, worldwide. AdPrint 2006. Brasov, Romania. February 2006. With Arash Shahidi.

Face it: Keys to success. BrandCamp 2006. Bucharest, Romania. November 22–23, 2006. With Arash Shahidi.

Bend it like Benton: A swan song for Bank Gothic. 3rd ICTVC (International Conference on Typography and Visual Communication), University of Macedonia. Thessaloniki, Greece. June 18–24, 2007.

Wieso gibt es so viele Druckschriften? 5 Uhr T, Academy of Visual Arts. Frankfurt, Germany. February 18, 2009.

Linotype : Les caractères de la Platinium Collection. Platinum 2009: Linotype–École Estienne, Institut National du Patrimoine. Paris, France. April 10, 2009.

Do all Hindi newspapers really use the same typeface? TypeCon 2009. Atlanta/Georgia, USA. July 14–19, 2009.

Malabar. Oder, wieso es so viele Druckschriften gibt. Typografische Gesellschaft München. Munich, Germany. April 20, 2010.

Die Leidenschaft des jungen Multi-Script-Schriftgestalters. TYPO-Berlin 2010, Haus der Kulturen der Welt. Berlin, Germany. May 20–22, 2010.

Some of India’s most-read newspapers and their typefaces. 4th ICTVC (International Conference on Typography and Visual Communication), University of Nicosia. Nicosia, Cyprus. June 17–19, 2010.

The passion of the young, multi-script type designer. Type Talks, House of the Lords of Kunštát. Brno, Czech Republic. June 21, 2010.

Non-Latin typefaces for global clients. ATypI PreFace 2010, Dublin Institute of Technology. Dublin, Ireland. September 8–9, 2010.

Victor Hammer’s relationship with the Klingspor foundry. ATypI 2010, Dublin Castle. Dublin, Ireland. September 9–12, 2010.

Multilinguale Schriftentwicklungssysteme. Visual Systems Lectures, Berlin University of the Arts. Berlin, Germany. February 7, 2011. With Roman Wilhelm.

Webfonts: Das Web wird schöner. Webinale 2011, Maritim proArte Hotel Berlin. Berlin, Germany. June 1, 2011.

Forget the copies, go back to the source! What old books from the metal type era can still teach us. Typogravieh lebt 7, Lichthaus Kino (Bauhaus University Weimar). Weimar, Germany. June 24, 2011.

Reading Albert Kapr. ATypI 2011, Harpa Reykjavík Concert Hall and Conference Centre. Reykjavík, Iceland. September 15–18, 2011.

TrueType, OpenType, AllesType! Berlin InDesign User Group, Laserline Druckzentrum. Berlin, Germany. November 11, 2011. With Silke Ploog.

Alte Schriften werden durch Webfonts nicht besser. Webfontday, Typografische Gesellschaft München. Munich, Germany. November 19, 2011.

Typo Talk, Gespräche über Schrift. Gutenberg-Museum, Mainz, Germany. March 21, 2012. With Dani Klauser and Jakob Runge.

Die Marx–Engels Gesamtausgabe von Albert Kapr. Schrift/Macht/Welten. Typografie und Macht. Fünfte Jahrestagung der Gesellschaft für Designgeschichte e.V., Gutenberg-Museum. Mainz, Germany. May 4–5, 2012.

Albert Kapr und die Typografie der Marx-Engels Gesamtausgabe (MEGA). Talking Heads lecture number four, MZIN. Leipzig, Germany. July 11, 2012.

Type Design 101: Creating a design based on vernacular lettering. TypeCon 2012, Type & Design Education Forum. Milwaukee/Wisconsin, USA. August 2, 2012.

25 years of German typefaces, and the revivals still with us. TypeCon 2012. Milwaukee/Wisconsin, USA. August 3–5, 2012.

Kick-start your type prowess. OpenTechSchool Berlin UI/UX User Group #4, Co-Up. Berlin, Germany. March 26, 2013.

Saubere Typo mit InDesign. PubKon 2013. Berlin, Germany. April 18–20, 2013.

Klassische Druckschriften und Webfonts. PubKon 2013. Berlin, Germany. April 18–20, 2013.

Fontlab vs Glyphs. Funktioniert Schriftgestaltung heute? Beispiele aus Praxis und Lehre, Bauhaus-Archiv. Berlin, Germany. July 24, 2013.

The broad-nib pen in German design education from 1900 to 1914. ATypI 2013, Hotel Krasnapolsky. Amsterdam, Netherlands. October 9–13, 2013.

Von Erste Hilfe bis zur Font-OP: Gute Fonts, schlechte Fonts und technische Eingriffe in InDesign und Font-Editors. Berlin InDesign User Group, Laserline Druckzentrum. Berlin, Germany. October 25, 2013.

The Full Story of the German Modernist Movement in relation to Typography. typ.dk, Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering. Copenhagen, Denmark. May 13, 2014.

Als Type Designer müsst du spinnen. InDesign User Group Rhein/Main, Verband Druck und Medien Hessen e.V. Frankfurt, Germany. May 19, 2014.

Lecture at the Image Knowledge Gestaltung interdisciplinary laboratory, Humboldt-Universität zu Berlin. Berlin, Germany. June 13, 2014.

A few methods for teaching letter-drawing to graphic design students. ATypI 2014, BAU Design College, Barcelona, Spain. September 17–21, 2014.

Lecture at the Image Knowledge Gestaltung interdisciplinary laboratory, Humboldt-Universität zu Berlin. Berlin, Germany. June 1, 2015.

Libre Devanagari fonts. Fontes et carac­tères dans tous leurs états, Campus Fonderie de l’Image, Bagnolet, France. December 1, 2015. With Mathieu Réguer.

East German typefaces: 25 years on. Face Forward 2015, Dublin Institute of Technology, Dublin, Ireland. December 11–12, 2015.

East German typefaces: 25 years on. Typostammtisch Zürich, Switzerland. June 3, 2016.

Lecture for students in the CAS/MAS Type Design courses at the Zürcher Hochschule der Künste, Zürich, Switzerland. June 4, 2016.

Is it love, is it hate? Das E-Book, das mich inspiriert! E-Book-Pecha Kucha. E-Book Festival 2016. Colonia Nova, Berlin, Germany. June 25–26, 2015.


The e-a-t exhibition: A selection of contemporary Czech and Slovak type design. Typotheque.com. October 2004.

“Inside the library at the Gutenberg Museum,” Linotype Matrix. Bad Homburg, Germany (Vol. 4 Issue 2, Spring 2006). Republished on iLoveTypography.com as “The library of the Gutenberg Museum,” Feburary 28, 2010.

“Mesquite, Rosewood: Where did these come from?” Slanted, Western Fonts. Karlsruhe, Germany (Issue 2, May 2006).

“Farewell Gill,” Slanted, Handmade Custom Fonts. Karlsruhe, Germany (Issue 3, October 2006).

Review of Fred Smeijers Counterpunch. iLoveTypography.com. December 2007.

“Geometric type and where it comes from,” Slanted, Geometrics. Porn. Karlsruhe, Germany (Issue 7, March 2009).

“Typography tomorrow 5: Typographic vacuum in a void called the future,” D+ Seoul, Korea (Volume 5, January–February 2010).

Review of Martin Majoor, Jan Middendorp, and Sébastien Morlighem’s José Mendoza y Almeida. iLoveTypography.com. April 2010.

“Create a text font in FontLab,” Computer Arts Projects. Bath, UK (Issue 137, June 2010).

Review of Adrian Shaughnessy’s How to be a graphic designer without losing your soul. TypeOff.de. November 2010.

“A Brief History of Uncial Type,” 8 Faces. United Kingdom (Issue 2, Winter 2010).

“Some new sans serif typefaces from France,” Slanted, Grotesk 1. Karlsruhe, Germany (Issue 13, March 2011).

»Typografie als Filter zwischen Inhalt und Lesbarkeit«, interview in Typoversity. Hamburg: Norman Beckmann Verlag & Design (2011). Pages 227–229.

“The Many Faces of India.” With Kimya Gandhi. Article in Jan Middendorp’s book Hand to Type – Scripts, Hand-Lettering and Calligraphy. Berlin: Gestalten (2012). Pages 18–23.

“Each of my Typefaces has its own History: Interview with Dieter Hofrichter.” Slanted, Slab Serif. Karlsruhe, Germany (Issue 20, November 2012). Previously published as part of the “Creative Characters” series in English on MyFonts.com and in German on MyFonts.de, April 2012.

Robothon 2012, RoboHint, and the Gerrit Noordzij Prize. Typographica.org. April 2012.

How To Choose The Right Face For A Beautiful Body. SmashingMagazine.com. May 2012.

»Schriftwahl – ästhetisch motiviert oder technikabhängig? Albert Kapr und die Marx-Engels-Gesamtausgabe«. Edited by Silvia Werfel. Journal für Druckgeschichte (Neue Folge Volume 18, 2012 Issue 4). Bound together with Deutscher Drucker. Ostfildern, Germany (Issue 36, November 29, 2012). Pages 27–28.

Socialist TV typeface Videtur finally freed. iLoveTypography.com. April 2013. With Christoph Koeberlin.

“The Origins of Senatus.” With Werner Schneider. Article in Paul Shaw’s book The Eternal Letter – Two Millenia of the Classical Roman Capital. Cambridge, MA: The MIT Press (2015). Pages 208–211.

Contributing editor for 365typo – 365 stories on type, typography and graphic design. Edited by Linda Kudrnovská. Paris: étapes editions (2015).

Interview with Jovica Veljović for the “Creative Characters” series. In English on MyFonts.com and in German on MyFonts.de, February 2016.

Published Translation Work
Rob Banham: »Die allergrößten Schriften Englands. Holzlettern für den Akzidenzdruck zwischen 1800 und 1830«. Article in Julia Blume, Pierre Pané-Farré, and Fred Smeijers’s (ed.) Vom Buch auf die Straße. Große Schrift im öffentlichen Raum. Journal der HGB #3. Leipzig: Hochschule für Grafik und Buchkunst (2014). Pages 27–40. Translated from English to German. The original English-language article, “‘The largest type in England.’ Wood lettering for jobbing printing 1800–1830” appears in the same book on pages 181–192.

Pierre Pan-Farré: “What came after black and red? The development of chromaticity in letter-press posters by the German-speaking print industry from 1827 to 1865.” Article in Julia Blume, Pierre Pané-Farré, and Fred Smeijers’s (ed.) Vom Buch auf die Straße. Große Schrift im öffentlichen Raum. Journal der HGB #3. Leipzig: Hochschule für Grafik und Buchkunst (2014). Pages 211–226. Translated from German to English. The original German-language article, »Was kam nach Schwarz und Rot? Zur Entwicklung der Farbigkeit im Hochdruck-Plakat des deutschsprachigen Druckereiwesens zwischen 1827 und 1865« appears in the same book on pages 61–80.

Press Coverage

»Das 27. Zeichen – Das Versal-ß soll die typografische Landschaft bereichern: Viele Typografen finden diese Initiative sinvoll, andere halten davon aber recht wenig.« PAGE. January 2008. Pages 52–54.

“type… four more emerging talents,” Allan Haley for STEP Inside Design (US). January–February 2008. Pages 106–111.

“Open brief,” Anna Richardson for Design Week (UK). November 26, 2009. Pages 14–15.

»›Lebendig wirkend neue Wege suchen‹ – LT Malabar von Dan Reynolds, neue Satzschrift für das Gutenberg-Jahrbuch 2010/11«, Prof. Ralf de Jong in Gutenberg-Jahrbuch 2010. Wiesbaden: Harrassowitz Verlag. Pages 237–244.

“Letter heads,” Jo Spurling for Dekstop (Australia). September 2010. Pages 16–19.

“Update: Typtekens,” by Henk Gianotten for Publish (Netherlands). February 2011. Pages 14–15.

Interview on Typeradio. November 2013.

Video interview with BRUT magazine. Hochschule für Technik und Wirtschaft Berlin. February 2014.


Schrift in Form. Klingspor Museum. Offenbach, Germany. September 3–26, 2008.

55th annual typography exhibition. Worldwide-traveling exhibition of the Type Directors Club, 2009.

Winners of the Communications Design Category, Federal German Design Prize 2010. Museum für Angewandte Kunst Frankfurt. Frankfurt, Germany. February 13–March 7, 2010.

Schrift in Form. Bangkok International Typographic Symposium. Cadson Demak. Bangkok, Thailand. August 19–October 31, 2010.

Types for the New Century – An Exhibition of Contemporary Type Design. Worldwide-traveling exhibition of the Worshipful Company of Stationers and Newspaper Makers in London, 2012.

Schrift im 21. Jahrhundert. Museum für Druckkunst. Leipzig, Germany. March 10–May 5, 2013.

PRAXIS. Druckgrafik, Fotografie, Film, Bücher, Objekte, Skulptur, Klangkunst, Installation vom MitarbeiterInnen aus der PRAXIS der Hochschule. Braunschweig, Germany. June 1–19, 2015.