FRIDAY, AUGUST 08

Main Program Day 1

11:45a–12:00p
Opening remarks
Theresa Dela Cruz, Sharon Oiga, Neil Summerour, Molly Doane, Nick Di Stefano

12:00p–12:45p
Keynote address
Kate Bingaman-Burt

12:45p–12:50p
Q+A

Kate Bingaman-Burt is a designer, illustrator, and educator based in Portland, Oregon. Her work is all about helping people discover and express their creative voices, whether through drawing, zine-making, or experimenting with printmaking. Her own creative practice combines illustration, lettering, and the documentation of everyday life, while also embracing projects that spark conversation and community.

As a professor and the head of the Graphic Design program at Portland State University since 2008, Kate has dedicated her career to teaching and mentoring the next generation of designers. Beyond teaching, she creates illustrations for clients like The New York Times, Hallmark, Highlights Magazine, Chipotle, and local businesses such as OMSI and Blue Star Donuts.

In 2017, Kate founded Outlet, a community-driven print space in Portland. It is home to a fully operational Risograph studio, workshops, pop-up events, and a zine library designed to inspire creativity and foster connection.

At her core, Kate is all about creating, sharing knowledge, and building connections through the power of making.

Instagram

12:50p–1:20p
Coffee break & book signing


PRESENTATIONS

1:20p–1:40p
Why is TypeCon in Portland Again? So You Can Hear This Story. Lloyd Reynolds, Reed College, and the Calligraphic Renaissance in Portland Oregon
Gregory MacNaughton

Lloyd Reynolds founded the Graphic Arts Workshop at Reed College in 1948 and for the next forty years the program had a profound impact on Beat Generation poetics, American Zen Buddhism, handwriting instruction, and the advent of digital typography.

In this lavishly illustrated presentation we’ll trace the impact of Lloyd Reynolds on each of these fields of interest and discover why it only took Steve Jobs six months to get everything he needed from his Reed education.

1:40p–2:00p
You’re Losing Your Soul

AJ Mercer

Typography today relies on digital tools to refine, optimize, and systematize letters, but in the pursuit of pixel-perfection, something vital is being erased. With algorithms on the rise, natural intuition about what is optically right is being replaced by what’s mathematically correct.

This presentation explores personal experiences around the erosion of soul in contemporary typography, the influence of sign painting on type design, and how automation is stripping away the nuance, imperfection, and humanity that makes type an expression rather than a replication. Through stories from the studio, examples from travels, and a few lovingly flawed letters, we challenge perfection and demand room for vernacular, character, and personal touch in an increasingly homogenized world.

2:00p–2:20p
Put Your Type in the Blender: Using 3D Animation to Market Your Fonts

Brian Dove

In a time where video content is king of the ever-shortening attention span, how can our typefaces earn more of that attention? For the past two years, I have been using Blender, an open-source 3D modeling and animation software, to make captivating videos and graphics to promote my fonts in a sea of moving images.

By adding 3D animation to my digital toolbelt, I’ve built vibrant 3D worlds for each of my typefaces that help me create a unique visual identity for each family. Combining 3D animations, 3D images, motion graphics, and static typesetting adds up to a more diverse visual language in the promotion and marketing of fonts.

In this presentation I’ll go over the basic capabilities of Blender, the pros and cons of using it for type related graphics, useful plugins/resources, and how to get started with this software even if you have no prior 3D experience. I’ll share the results of some of my experiments with Blender, along with roadblocks I’ve hit along the way (so maybe you don’t have to).

2:20p–2:30p
Q+A

2:30p–2:50p
Coffee break

2:50p–3:10p
Reclaiming Typographic Lineages

Vida Sačić

What happens when letterforms fall out of circulation—forgotten, fragmented, or physically worn down? This presentation explores how underdocumented typographic histories can be brought back to life through a hybrid practice that spans archival digging, cultural research, and hands-on making. I’ll share insights from collecting and cataloging wood type in Croatia—pieces that carry traces of migration, memory, and regional identity—and how those forms are reactivated through both traditional letterpress and digital tools like laser cutters and CNC routers. The talk highlights two recent projects: Ms. Olga, a typeface inspired by the lettering of Olga Höcker, a hugely influential but largely forgotten 20th-century artist; and a display face based on Hairy Who catalogues, created for a community-centered project at Hyde Park Art Center in Chicago. These works show how typographic heritage can be remixed and reprinted, and how tactility, labor, and experimentation shape new typographic futures from overlooked pasts.

3:10-3:330p
Nastaʿlīq: The Art of Identity in Iranian Calligraphy

Kourosh Beigpour

Nastaʿlīq: The Art of Identity in Iranian Calligraphy explores the profound connection between the Nastaʿlīq script and Iranian cultural identity. Originating in the 14th century, Nastaʿlīq became not only a dominant form of Persian calligraphy but also a visual representation of Iranian intellectual and artistic expression. This talk delves into how Nastaʿlīq reflects the complexities of Iranian identity, weaving together historical, cultural, and philosophical elements. By examining its fluid forms, aesthetic intricacies, and usage in poetry, literature, and visual arts, Kourosh Beigpour highlights how this script transcends mere text to become a symbol of continuity and transformation in Iranian culture. The presentation will also explore the role of Nastaʿlīq in contemporary Iranian art, demonstrating how it continues to serve as a bridge between tradition and modernity, embodying the evolving nature of cultural identity in the digital age. Through this examination, Beigpour invites a deeper understanding of how calligraphy can be a powerful vessel for cultural memory and artistic innovation.

3:30p–3:50p
The Phaistos Risk: On Movable Typo-Colonialism

Joshua Unikel

The Phaistos Disc is often called the oldest movable type in the West, if not the world. Dated during the Late Minoan Period (1700–1400 BCE), the disc is printed with cryptic, repeating glyphs. Despite its mystique, however, the disc is likely whitewashed and fake. In this talk, I’ll reckon with this history and the ways we might decolonize the Phaistos Disc in 2025.

First, I’ll unpack the contemporary whitewashing of the disc. I’ll explore how the disc is simultaneously used as the origin point of Anglo-European movable type while in actuality being an artifact of the racially diverse Minoans, a society that may not have been European or even Western.

Next, I’ll discuss why the disc may be fake. First, I’ll explain how its discovery is probably part of a tradition of suspicious archaeology based on fabricated relics. I’ll also show how the disc itself—from its unprecedented glyph system to its spiral typesetting—suggests its falsity.

To close, I’ll examine how the disc contributes to issues of typographic colonialism in design history. Namely, I’ll reposition the disc as an object used to demote if not eclipse Asian and other non-Western origins of type throughout the world.

3:50p–4:00p
Q+A

4:00p–4:20p
Coffee break

4:20p–4:40p
Type Without Borders: Enabling Multilingual and Bidirectional Typography for Emerging Markets

Ifran Ahmad

As digital communication transcends linguistic and geographic boundaries, the need for inclusive, culturally aware, and technically sound typography grows. In emerging markets like MENA, South Asia, and Southeast Asia, right-to-left (RTL) and complex scripts—such as Arabic, Urdu, Persian, Hebrew, and Devanagari—pose unique challenges for software platforms, type designers, and content creators.

This session explores the technical and cultural complexities of designing and localizing type for bidirectional and complex scripts. Drawing from real-world globalization projects, it highlights how thoughtful typography enhances usability, creativity, and digital inclusion.

Attendees will gain insights into key RTL design challenges, the business value of localization-aware type, and the evolving role of designers in enabling multilingual access. This talk invites you to see type not just as design, but as a bridge between languages, users, and cultures.

4:40p–5:00p
Codifying a Handwritten Cursive-Mode Exemplar

Jonathan Dubay

Nearly fifty years ago, educators and artists Barbara Getty and Inga Dubay, inspired by Lloyd J. Reynolds and others, created the Getty-Dubay Italic script, a monoline version of the Arrighi’s Chancery style. They authored eleven handwriting books for children and adults in this script, catching the attention of media outlets such as TIME Magazine, The Wall Street Journal, Los Angeles Times, Good Morning America, The New York Times, and others.

Getty and Dubay drew their letterform models by hand until recently, when—in their mid-eighties—they agreed to have their handwriting style codified into a set of digital fonts. Unlike looped continuous cursive styles, the Getty-Dubay Italic cursive mode utilizes letterform alternates and optional joins. These myriad choices make Italic appealing for handwriting, but difficult to replicate in a join-as-you-type cursive handwriting font.

Jonathan Dubay presents his experience working with the authors to capture their letterforms, creating the 72 variants that now make up the Getty-Dubay Font family. His dive into the deep end of the contextual alternates may provide a roadmap for those contemplating an educational script project.

5:00p–5:20p
Researching Italian Type History: On Analog and Digital Archives, and a Scrappy Database

Marta Bernstein

I started my research in 2005 with the aim of filling a gap in Italian type history: not much was known about the hundred years between the death of Bodoni, the famous printer and punchcutter from Parma in 1813, and the rise of Nebiolo type foundry.

The project aimed at mapping type foundries active in Italy, their production, and the evolution of the local type founding industry.

More than showing the results, this presentation would focus on the process of finding primary sources and retrieving information from type specimens, magazines, newspaper articles, local registries. Where do you start if you don’t know what to look for? How do you find primary sources? What is available online? How do you access libraries and private archives? How do you build a database to keep track of information?

Type historians don’t talk enough about how to start research, how to organize research materials. I hope my journey as an independent researcher digging in the past of my home country will inspire and support more researchers, because so much of the history of type is yet to be rediscovered, made accessible, preserved, archived, narrated.

5:20p–5:30p
Q+A

5:30p–5:40p
Closing remarks


7:30p–9:30p
SOTA Spacebar Party
Sponsored by Monotype

Location: Jupiter Next Hotel, 2nd floor back room
900 E Burnside St Portland, OR 97214 (10 minute walk from Revolution Hall)

Conference badge required.



BIOS

AJ Mercer
Instagram

AJ Mercer is a partner at CLUB, a Los Angeles–based design studio known for bringing personality, warmth, and artistry to brand identities. He holds a BFA in Visual Communication Design from Northern Kentucky University and studied typography through sign painting at Los Angeles Trade-Technical College under Doc Guthrie and Juan Carlos Aguilar.

His studies in vernacular typography informs the studio’s unique approach to branding by bridging historical context with modern adaptations. The studio’s work often features expressive, personality-driven typography brought to life through dimensional elements in physical spaces, adding a personal, tactile touch to each brand experience.

Brian Dove
Instagram

Brian Dove is a jack of all trades that always remembers the rest of that phrase—“A jack of all trades is a master of none, but oftentimes better than a master of one.” Brian studied in VCU’s Kinetic Imaging department, where students explore everything from 3D animation, to video game design, to sound installation and performance art, setting him down a path of continuous exploration in a wide range of digital media.

In 2020, Brian jumped head first down the type design rabbit hole, releasing three single style faces independently and with Blaze Type. In April, Brian launched Big Fog Foundry with a catalog of four typefaces. Brian lives in Bloomery, West Virginia where he runs the branding and design studio Big Fog alongside his creative (and life) partner, Valerie Burgess.

Gregory MacNaughton

Gregory MacNaughton is the community engagement coordinator at the Douglas F. Cooley Memorial Art Gallery on the campus of Reed College. As such, he is a K-12 art educator in a museum setting on a college campus and also coordinates Reed’s calligraphy and paleography program.

Irfan Ahmad
Instagram
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Irfan Ahmad is a software globalization and localization expert specializing in emerging markets across MENA, South Asia, and Southeast Asia. With an M.Phil in Software Localization from Jawaharlal Nehru University and a Ph.D. in Digital Culture, he has led the adaptation of flagship products for major ISVs, focusing on multilingual and bidirectional text support.

A frequent speaker at international forums—including the United Nations General Assembly, STC Bangalore, and EuroSTAR Stockholm—he is also a co-inventor on a software patent related to text directionality and digital accessibility. Irfan brings a unique blend of technical insight and cultural sensitivity to the evolving intersection of language, technology, and type design.

Jonathan Dubay
Instagram
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Trained in music performance, Dr. Dubay has always had an interest in design, evidenced by his doctoral thesis about compositional techniques shared between Béla Bartók and M.C. Escher. He considers handwriting to be music of the hand on paper. Dr. Dubay is CEO and Curriculum Specialist of Handwriting Success, which publishes Getty-Dubay Italic workbooks, apps, fonts and other educational materials for children and adults.

Joshua Unikel

Joshua Unikel has given talks at the AIGA Design Educators Conference, The Design History Society Conference, ReViewing Black Mountain College Conference, AWP, and NonfictioNow. His work has been collected by Cooper Hewitt’s Library, the Letterform Archive, Yale’s Beinecke Library, the Library of Congress’ Rare Books and Manuscripts Collection, the Center for Book Arts, and elsewhere. Unikel is an assistant professor in the University of Houston’s School of Art.

Kourosh Beigpour
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Kourosh Beigpour is an award-winning graphic artist and type designer from Kermanshah, Iran, now based in Los Angeles. His work blends traditional and contemporary influences and has been published in over 20 countries. He has collaborated with clients like Google, The Broad, Getty, UCLA, UCI, Canada Type, and more. His work is part of LACMA’s permanent collection. He founded K-B Studio in 2011 and recently completed a fellowship at Stanford focused on type design. Beigpour holds a BFA from Tehran University of Art, an MFA from Limkokwing University, and a postgraduate certificate from Type West. Influenced by his Kurdish heritage and mysticism, these elements shape his design philosophy.

Marta Bernstein
Instagram

Marta Bernstein is a designer, researcher, teacher and co-founder of the Italian digital type foundry CAST. She’s creative director at Studio Matthews, a Seattle-based, woman-owned practice of designers, teachers, and makers. She’s taught students at USC Roski, the Polytechnic University in Milan, and the University of Navarra. Type and typography are her true passions and the common threads of all her projects. She has a soft spot for 19th century type, which she’s been researching for more than a decade. She’s given talks at Typographics, ATypI, the Letterform Archive, and the Cooper Union. She’s a member of the Nebiolo History Project, a group of researchers studying the history of Italy’s most prominent type foundry. She holds a MDes in type design from Type and Media (KABK).

Vida Sačić
Instagram

Vida Sačić is a Chicago-based artist and typographer whose research investigates vernacular wood type, diasporic print histories, and the preservation of typographic heritage across cultural contexts. Her recent work includes typeface design rooted in Croatian lettering, wood type collections, and visual research conducted at Hamilton Wood Type & Printing Museum and the Newberry Library. Sačić’s practice bridges archival inquiry with contemporary making, using analog and digital tools—including fabrication via CNC routers and laser cutters—to reimagine historic forms. She has exhibited internationally and presents regularly on typographic histories, material culture, and print as a site of cultural memory and translation.