Dan Reynolds is a type designer and educator. Born in Baltimore, he studied graphic design at the Rhode Island School of Design, visual communication at the HfG Offenbach, and typeface design at the University of Reading. In 2004, Dan co-founded the Offenbach Typostammtisch, which still meets monthly. Similar type meet-ups occur regularly in Basel, Berlin, Hamburg, and Saarbrücken. After several years with the marketing and font development teams at Linotype, he founded his own design practice in Berlin.

A research assistant and doctoral candidate at the Hochschüle für Bildende Künste Braunschweig, Dan also teaches typography at the FSG Hamburg, and type design at the Hochschule Darmstadt. Additionally, Dan is a moderator at Typophile and a member of the ATypI, the International Gutenberg-Gesellschaft in Mainz e.V., and the Verein der Freunde und Förderer des Fachbereichs Gestaltung der Hochschule Darmstadt e.V.

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Published Typefaces | Awards | Teaching | Workshops | Lectures | Articles (Print) | Press Coverage | Articles (Web) | Exhibitions

 
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.

 
Awards
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.

 
Teaching
Fachbereich Gestaltung, Hochschule Darmstadt

• Darstellungsmethoden III/IV: Schriftgestaltung, Summer Semester 2009
• Darstellungsmethoden III/IV: Schriftgestaltung, Winter Semester 2009–2010
• Darstellungsmethoden III/IV: Schriftgestaltung, Summer Semester 2010
• Darstellungsmethoden III/IV: Schriftgestaltung, Summer Semester 2011
• Darstellungsmethoden III/IV: Schriftgestaltung, Winter Semester 2011–2012

FSG Freie Schule für Gestaltung Hamburg

• Typografie, Summer Semester 2010
• Typografie, Winter Semester 2010–2011
• Schriftgestaltung, Summer Semester 2011
• Schriftgestaltung, Winter Semester 2011–2012

Hochschule für Bildende Künste Braunschweig

Projektbetreuung Typografie, Winter Semester 2011–2012

 
Workshops
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.

Schriftgestaltung anfangen! Burg Giebichenstein Kunsthochschule Halle. Halle, Germany. May 9–13, 2011.

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

Vektorisierung und Schriftgestaltung. HBK Saar. Saarbrücken, Germany. January 5–8, 2012.

 
Lectures
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.

 
Published Articles
“Inside the library at the Gutenberg Museum,” Linotype Matrix. Bad Homburg, Germany (Vol. 4 Issue 2, Spring 2006). Republished on I Love Typography 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).

“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).

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

 
Selected 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.

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

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

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

 
Exhibitions
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.