Dan Reynolds is a Wuppertal-based design researcher

Rustic: A five-weight family with broad-nib-style slab serifs. It is based on Ehmcke-Rustika, a 1914 typeface designed by Fritz Helmuth Ehmcke. Published by Fontstand in 2017.

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

OMV Highlight: A Latin and Cyrillic script custom display typeface for a Typejockeys client. Michael Hochleitner was the project lead, I did the design of the font.

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

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.

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.

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.

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

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.

Printing Historical Society grant (2018) for research into the distribution of nineteenth-century sans serif typeface designs within German-speaking typefoundries.

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.

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

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).

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

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

Staff positions:

1. Johannes Gutenberg-Universität Mainz, Gutenberg-Institut für Weltliteratur und schriftorientierte Medien, Abteilung Buchwissenschaft: Half-time research associate, since October 2024.
2. Hochschule Niederrhein, Fachbereich Design: Full-time Lehrkraft für besondere Aufgaben (typography and digital print tools), since September 2020.
3. Hochschule für Bildende Künste Braunschweig: Half-time künstlerisch-wissenschaftlicher Mitarbeiter (typography). This was a Qualifikationsstelle. October 2011 through December 2016.

Lehraufträge:

1. Hochschule für Technik und Wirtschaft Berlin, Fachberich 5 (Gestaltung und Kultur): A compact course called Typo-Geschichte interpretiert – Eine Auseinandersetzung mit Schrift im öffentlichen Raum. October 2018.
2. FSG Freie Schule für Gestaltung Hamburg: Several typography and type design courses offered between 2010 and 2018.
3. Hochschule Darmstadt, Fachbereich Gestaltung: Type design courses offered during most of the semesters falling between April 2009 and February 2018. Occasionally two courses per semester.
4. Weißensee Kunsthochschule Berlin: A compact course in type design, July 2017.
5. Beijing Normal University, Zhuhai: Western Typography. Three five-week long sections in November/December 2016.
6. HBKsaar: Two compact type design courses, one in January 2012 the other in June/July 2013.
7. Universität der Künste Berlin: Type design course for the Klasse Hickmann, summer semester 2012.
8. Burg Giebichenstein Kunsthochschule Halle: Compact type design course. May 2011.

The typographic poster as historical fiction. Moholy-Nagy University of Art and Design. Budapest, Hungary (online workshop). February 1–5, 2021. You can watch my introductory lecture, I you want.

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.

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

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.

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

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

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

Dusting off the blackletter types. Herb Lubalin Lecture series [online lecture]. December 2, 2024.

VEB Typoart: Better fonts than you’d think. UMPRUM, Prague, Czech Republic. November 26, 2024.

Making/Remaking Neuland. ANRT, Nancy, France. November 28, 2023. With Edvinas Žukauskas and Jérôme Knebusch. [Watch online]

Salon Series 45: Die Fläche: Design and Lettering of the Vienna Secession. Virtual event hosted by Letterform Archive, San Francisco/California, USA. November 16, 2022. With Diane Silverthorne and Megan Brandow-Faller. [Watch online]

Type for bookbinders: Germany’s other typefoundries. Type Amsterdam, Allard Pierson Museum, Amsterdam, Netherlands. June 1, 2023.

Vom Werk der Bücher zu Lernorten: Ehemalige Schriftgießerei-Gebäude als Bildungshäuser. Gestalten und Erhalten, Zehntes Berliner Forum für Industriekultur und Gesellschaft, Deutsches Technikmuseum, Berlin. October 28, 2022. [Watch online]

Von wann ist die Probe? Woher kommt die Schrift? Einführende Bemerkungen. Berlins typografisches Kulturerbe, Deutsches Technikmuseum, Berlin. June 10–11, 2022.

Weird but worthwhile: Otto Hupp’s typefaces for Genzsch & Heyse with Dan Reynolds. Herb Lubalin Lecture series [online lecture]. November 1, 2021. [Watch online]

German designs in Archivio Typografico. Nebiolo Type Foundry, 1878–1978: New critical assessments, Castello del Valentino, Turin, Italy. September 16–17, 2021.

PhDs in Europe, Part One: Students. ATypI Working Seminar, école supérieure d’art et de design d’Amiens, France. February 6–7, 2020. Panel discussion with Sahar Afshar, Petra Dočekalová, Borna Izadpanah, Sarah Kremer, and Ana Catarina Silva. [Watch online]

Should every foundry have its own sans serif? Sans Everything #2, école supérieure d’art et de design d’Amiens, France. October 24, 2019. [Watch online]

Lecture on the history of the Berlin typefoundry H. Berthold AG. Deutsches Technikmuseum, Berlin, Germany. June 18, 2019.

Kurios und phantasiereich, aber selten zu sehen, die fast-vergessene Alphabete des französischen Kalligrafen Jean Midolle. 7. Dresdner Schriftenfest, Offizin Haag-Drugulin, Dresden, Germany. June 15–16, 2019.

German sans serif typefaces from the 19th century. TypeParis 2019, Le Tank, Paris, France. June 13, 2019. [Wach online]

Schriftgestaltung zu großherzoglichen Zeiten. Walbaum-Wochenende »100 Jahre Bauhaus«, Pavillon-Presse, Weimar, Germany. May 25–26, 2019.

The most characteristic hybrid typeface within nineteenth-century German type founding. Gotico-Antiqua, Proto-Roman, Hybrid: 15th century types between gothic and roman, Atelier national de recherche typographique, École nationale supérieure d’art et de design de Nancy, France. April 25–26, 2019. [Watch online]

Ante desinatores: Die Verbreitung einzelner serifenlosen Schriften durch das deutschsprachige Schriftgießereigewerbe im 19. Jahrhundert. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Berlin, Germany. January 22, 2019. [Watch online]

New details about the origins of Akzidenz-Grotesk. Wrocław Type Forum 2018, Eugeniusz Geppert Academy of Fine Arts, Wrocław, Poland. December 7–8, 2018.

How a Frenchman unknowingly became Germany’s first type designer. ATypI 2018, Arenberg Theater, Antwerp, Belgium. September 11–15, 2018. [Watch online]

Die Norddeutsche Schriftgießerei. Berlin Typostammtisch Pecha Kucha evening, Moniteurs, Berlin, Germany. June 28, 2018.

Schriften im Auftrag – Die HGB als Schmiede der Typoart-Schriften zwischen den 1950er und 1970er Jahren. Typotage 2018, Museum für Druckkunst, Leipzig, Germany. April 28, 2018. [Watch online]

What proportion of a typeface’s design is the type designer responsible for? Narratives around designing and manufacturing type in Wilhelmine Germany. Kerning 2017, Faenza, Italy. June 9, 2017. [Watch online]

Goudy und Koch. Klingspor-Museum, Offenbach am Main, Germany. February 1, 2017.

Tell me about Type Design. Beijing Normal University Zhuhai Campus, Zhuhai/Guangdong, China. November 9, 2016.

On the Suitability of Garamond for Brecht: Albert Kapr’s Leipzig School and Book Typography. The Typophiles Luncheon at the Grolier Club, New York/New York, USA. October 26, 2016.

Did photography kill punchcutting? ATypI 2016, Academy of Fine Arts, Warsaw, Poland. September 13–18, 2016. [Watch online]

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, 2016.

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

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

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

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

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

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

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

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.

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 broad nib in German design education from 1900 to 1914. ATypI 2013, Hotel Krasnapolsky. Amsterdam, Netherlands. October 9–13, 2013. [Watch online]

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

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

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

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

25 years of German typefaces, and the revivals still with us. Guest lecturer for Paul Shaw’s class at the School of Visual Arts. New York/New York, USA. February 12, 2013.

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

“The Past Shapes the Present: How Walter Käch’s Lettering Became an Essential Handbook for Type Designers.” In: Madeleine Morley, Petra Schmid, and Barbara Junod (ed.): Lettering: The Handbook for Lettering by Walter Käch. Berlin: Dinamo Editions and Zürich: Museum für Gestaltung Zürich, 2025. n.p.

“Berlin Type Specimens in the Deutsches Technikmuseum’s Möllenstädt Collection: Information for the Historical Archive’s AUGIAS Database.” In: Gerhard Lauer et al. (ed.): Gutenberg-Jahrbuch 99. Wiesbaden: Harrassowitz Verlag, 2024. Pages 224–244.

“The industrial sandcasting of brass types for bookbinders in Germany around 1910.” In: Kyle Anthony Clark (ed.): Guild of Book Workers Journal 52. The Guild of Book Workers, Inc., New York, 2023. Pages 85–94.

»Die Moderne in Blei gießen: Werbung für neue Schriften in der Sammlung des Deutschen Museums für Kunst in Handel und Gewerbe«. In: Magdalena Holzhey et al. (eds.): Die Große Verführung: Karl Ernst Osthaus und die Anfänge der Konsumkultur. Köln: Wienland, 2023. Pages 236–241.

“Rudolf von Larisch: Vienna’s Theorist of Artistic Writing.” In: Chris Wescott (ed.): Die Fläche (Facsimile Edition): Design and Lettering of the Vienna Secession, 1902–1911. San Francisco: Letterform Archive, 2023. Pages 34–59.

“German designs in Archivio Tipografico. A study on Nebiolo/Augusta types advertised between 1889 and 1914.” In: The Nebiolo History Project, Alessandro Colizzi, et al. (eds.): Fonderia Caratteri Nebiolo, 1878–1978. Nuovi studi critici. Milan: Lazy Dog Press, 2023. Pages 46–65.

Making Neuland. Edited by Jérôme Knebusch and Alice Savoie. Frankfurt am Main: Poem Pamphlet 7 (2023).

Review of Christopher Wakeling’s book Sabon: Tschichold & Hochuli. In: David Jury (ed.): Parenthesis: Journal of the Fine Press Book Association. Issue 44 (Spring 2023). Pages 56–57.

»Nach der Mechanisierung: Stempelschneider und Schriftgießereien in Deutschland zwischen 1858 und 1894.« In: Pirckheimer-Gesellschaft (ed.): Marginalien, Zeitschrift für Buchkunst und Bibliophilie. Issue 246 (Fall 2022). Jena: quartus-Verlag, 2022. Pages 55–72.

»Über die Gebr. Klingspor und ihre Schriftkünstler«. In: Laura Brunner et al. (ed.): Beyond the Archive. Von der Gießerei zum Klingspor Type Archive. Offenbach am Main: Klingspor Museum Offenbach and the Hochschule für Gestaltung Offenbach, 2022. Pages 82–103.

Foreword. In: Richard Kegler (ed.): The Faces of Victor Hammer. Aurora, New York: Wells College Press and Rochester, New York: Dry Inc. 2022. Pages 1–6.

“Selected Type Specimen Broadsheets from Gustav Mori’s Collection at the Gutenberg Museum in Mainz.” In: David Jury (ed.): Parenthesis: Journal of the Fine Press Book Association. Issue 42 (Spring 2022). Pages 10–15.

Foreword. In: Petra Dočekalová et al. (eds.): Jaroslav Benda 1882–1970 – Typographic Designs and Letterforms. Prague: UMPRUM Academy of Arts, Architecture and Design 2021. Pages 6–7.

“The Unfinished Museum: Leonardo da Vinci’s Work from the Perspective of a Modern Technical Collection in the Deutsches Technikmuseum/»Das unfertige Museum: Leonardo da Vincis Werk aus Sicht einer modernen technischen Sammlung im Deutschen Technikmuseum.« In: Jürgen Renn, Matteo Valleriani, Sabine Hoffmann and Antonio Becchi (eds.): Leonardo’s Intellectual Cosmos. Florence: Giunti Editore 2021. Pages 253–260. With Nikolaus Weichselbaumer and Kerstin Wallbach.

“About the Rotis typeface” (»Rotis: Über die Schrift«). In: Ute Eskildsen and Gerhard Steidl (eds.): timm rautert – otl aicher/rotis. Göttingen: Steidl 2021. Pages 80–95. Thanks to Inga Plönnigs, who improved my German translation.

“Midolline. The most characteristic hybrid typeface within nineteenth-century German type founding/Midolline. Le caractère hybride le plus représentatif de l’industrie typographique allemande du XIXe siècle.” In: Christelle Kirchstetter, Thomas Huot-Marchand and Jérôme Knebusch (eds.): Gotico-Antiqua, proto-roman, hybrid, 15th-century types between gothic and roman/Caractères du XVe siècle entre gothique et romain. Nancy: Atelier National de Recherche Typographique and Frankfurt am Main: Poem 2021. Pages 135–160.

Louis Hoell and the making of the Eckmannschrift. Edited by Jérôme Knebusch and Alice Savoie. Frankfurt am Main: Poem Pamphlet 4 (2020).

“The distribution of sanserif types across German typefoundries during the nineteenth century.” In: Paul Nash (ed.): Journal of the Printing Historical Society. Third series, issue 1 (2020). Pages 123–145.

“New details about the origins of Akzidenz-Grotesk.” In: Beata Bartecka, Maciej Majchrzak and Iwona Matkowska’s (eds.) book Typestories: Interviews and Papers on Typography and Type Design. Wrocław: Akademia Sztuk Pięknych we Wrocławiu 2020. Pages 93–110.

“How Many Fonts Are in a Font?” In: Communication Arts. Menlo Park, CA (Typography Annual 10, January/February 2020 issue). Pages 20–23.

Review of Caroline Archer-Parré and Malcolm Dick’s (ed.) book John Baskerville: art and industry of the Enlightenment. In: Paul Nash (ed.): Journal of the Printing Historical Society. New series, no. 31 (winter 2019). Pages 161–162.

“Hessen Typefaces and Bauhaus Lettering: Typographic Equals or Worlds Apart?” In: Tobias Becker and Sandra Hoffmann Robbiani’s book Surfing Bauhaus – Hessen + Typography Links, Quotes, References, Data, Texts, and more. Berlin: Jovis Verlag (2019). Pages 190–195.

New details about the origins of Akzidenz-Grotesk. klim.co.nz. November 2019.

An Essay on Typefounding. Excerpt from Werkstäte der heutigen Künste, oder die neue Kunsthistorie (vol. 2, 1762). In: CAST Cooperativa Anonima Servizi Tipografici (ed.): Cast it #3. Lazy Dog Press, Milan 2019. Translation of Halle’s text from German to English; I also wrote an accompanying introduction to the text.

“The godfather: retracing the origins of Akzidenz-Grotesk.” In: Mathieu Christe’s (ed.) Footnotes. Issue C. Geneva: La Police (2019). Pages 134–143.

“Blackletter Today.” In: Communication Arts. Menlo Park, CA (Design Annual 59, September/October 2018 issue). Pages 182–185.

“Of centers and peripheries: Insights from two type designers in India.” In: Type Geist. Type Directors Club, New York (Issue 1, August 2018).

From the Collection: The Alphabet Lithographs of Jean Midolle. In: LetterformArchive.com. January 2018.

Contributing editor for the second 365typo: 365 stories on type, typography and graphic design. Edited by Linda Kudrnovská. Paris: étapes editions (2016).

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

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

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

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

»Schriftwahl – ästhetisch motiviert oder technikabhängig? Albert Kapr und die Marx-Engels-Gesamtausgabe«. In: Silvia Werfel (ed.): 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.

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

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

“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.

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

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

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

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

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

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

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

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

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

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

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

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

“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.

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

Published Translation Work

Hendrik Weber: Italic: What gives Typography its emphasis. Salenstein: Niggli (2020). Translated from German to English. The book was originally published as Kursiv: Was Typografie auszeichnet by Niggli in 2010.

Chris Campe and Ulrike Rausch: Designing Fonts: An Introduction to Professional Type Design. London: Thames & Hudson (2020). Translated from German to English. The book was originally published as Making Fonts! Der Einstieg ins professionelle Type-Design by the Verlag Hermann Schmidt Mainz in 2019.

typ-o.eu: Type classification website developed at the FH Aachen. I translated just about all of the text on the site.

Johann Samuel Halle: »Der Schriftgießer.« An Essay on Typefounding. Excerpt from Werkstäte der heutigen Künste, oder die neue Kunsthistorie (vol. 2, 1762). CAST Cooperativa Anonima Servizi Tipografici (ed.): Cast it #3. Lazy Dog Press, Milan 2019. Translated from German to English. I also wrote an accompanying introduction to the text.

Christian Mengelt: “Typeface Redesign. Think before your draw.” Article in Mathieu Christe’s (ed.) Footnotes. Issue B. Geneva: La Police (2017). Pages 64–69. Translated from German to English.

Pierre Pané-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.

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.

»Interview mit Dan Reynolds«. In Laura Brunner et al. (ed.): Beyond the Archive. Von der Gießerei zum Klingspor Type Archive. Offenbach am Main: Klingspor Museum Offenbach and the Hochschule für Gestaltung Offenbach, 2022. Pages 106–115.

Interview about Akzidenz-Grotesk on the Swedish Inte min typ podcast episode „Vi måste måste prata om Akzidenz-Grotesk“. For non-Swedish listeners, skip ahead to 14:20 mark. The language switches to English until 40:50. March 2021.

“In the world of typefaces from the turn of the century: An interview with Dan Reynolds.” Article in Beata Bartecka, Maciej Majchrzak and Iwona Matkowska’s (eds.) book Typestories: Interviews and Papers on Typography and Type Design. Wrocław: Akademia Sztuk Pięknych we Wrocławiu 2020. Pages 39–46.

“Q&A Dan Reynolds.” TypeParis. June 2019.

Video interview with BRUT magazine. HTW Berlin. February 2014.

Interview on Typeradio. November 2013.

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

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

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

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

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

»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.

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

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

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

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

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

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

Gesellschaft zur Förderung der Druckkunst Leipzig e.V., www.druckkunst-museum.de

Internationale Gutenberg-Gesellschaft in Mainz e.V., gutenberg-gesellschaft.de

Vereinigung der »Freunde des Klingspor Museums« e. V.

Letterform Archive, letterformarchive.org

Maximilian-Gesellschaft e.V., maximilian-gesellschaft.de

Pirckheimer-Gesellschaft e.V., pirckheimer-gesellschaft.org

The Printing Historical Society, printinghistoricalsociety.org.uk

Verein für die Schwarze Kunst, verein-fuer-die-schwarze-kunst.de

Werkbundarchiv – Museum der Dinge, museumderdinge.de