Between 20, I designed type for Fontstore, Photo-Lettering, and the Typejockeys.

When I left for Braunschweig, I started picking up freelance assignments. Later, I was part of the font development group. I started at the old Linotype GmbH before it got taken over by Monotype, initially working in the product marketing department. For Fontstand, I edit the Fontstand News website and I’ve translated entire books for Niggli and the Verlag Hermann Schmidt.īefore that, I primarily worked as a practical designer drawing letters, building fonts, and marketing them, too.

Additionally, I’ve contributed chapters to books from the jovis Verlag, the Klingspor Museum, the Kunstmuseen Krefeld, Letterform Archive, the Nebiolo History Project, and Steidl. Together with CAST – Cooperativa Anonima Servizi Tipografici and Poem Editions, I’ve published pamphlets in various typographic historical topics. Since 2016, I’ve increasingly focussed on design writing and deliver articles to Communication Arts, Footnotes, Klim Type Foundry, and the TDC’s Typegeist, among others. My current research projects include a database cataloging all sans serif typefaces sold in Germany during the nineteenth century and a look into Germany’s brass types industry. This was Schriftkünstler: A historiographic examination of the relationship between handcraft and art regarding the design and making of printers’ type in Germany between 18. In January 2019, I successfully defended my dissertation for a German philosophical doctorate there. My area of research revolves around the German typefoundries active during the nineteenth century.

Now I live in Krefeld and teach typography and digital print tools at the Hochschule Niederrhein.įrom October 2011 to December 2016, I was a half-time künstlerisch-wissenschaftlicher Mitarbeiter at the Braunschweig University of Art. Although I originally come from Baltimore, I’ve spent my adult life in Germany – first in Wiesbaden and Offenbach, then from 2009 to 2020 in Berlin.

Dan mori phd