- 【 Osamu Torinoumi 】
- Type Designer
- Born in1955 in Yamagata, Torinoumi joined Sha-Ken Co. Ltd. in 1979 upon his graduation from the Graphic Design department at Tama Art University. Torinoumi is the president and type designer of JIYUKOBO Ltd., which he established in 1989 with Tsutomu Suzuki and Keiichi Katada. He designed the Hiragino series and Koburina Gothic for Dainippon Screen Mfg. Co. Ltd., and has developed more than 100 typefaces for his company brand, focusing on basic typefaces such as Yu Mincho and Gothic of the Yu typeface library. Torinoumi is the recipient of the first Keinosuke Sato Typography Award in 2002, Good Design Award for the Hiragino series in 2005, and Tokyo TDC Type Design Award in 2008. He also teaches at Kyoto Seika University.
- 【 Yasuhito Nagahara 】
- Graphic Designer
- Nagahara is a graphic designer and professor at the Information Design department at Tama Art University. He is known for his promotion of designs across various media, from book designs and digital media projects to art direction of exhibitions. He served successive tenures as art director for the Japanese pavilion “Cyber Nippon-kan” at the 2005 Aichi Expo and for the Japanese pavilion website at the 2008 Saragoza Expo in Spain. His major publications include The Landscape of Design (published by BNN Shin-sha), Design of Japanese Language (Bijutsu Shuppan-sha), The Interaction of Universe (co-author, Kosaku-sha) among others. His numerous awards include the Grand Prize from the MMCA Multi-media Grand Prix. Nagahara is a member of the Association Typographique Internationale, and president of the electronic publishing project epjp / ePublishing Jp.
- 【 Kenya Hara 】
- Designer, Kenya Hara (b.1958) emphasizes the design of both objects and experiences. In 2000, he produced the exhibition “RE-DESIGN–Daily Products of the 21st Century”, which successfully presented the fact that the resources of astonishing design are found in the context of the very ordinary and casual. In 2002, Hara became a member of MUJIʼs advisory board and began acting as its art director. In 2004, he planned and directed the exhibition “HAPTIC – Awakening the Senses” revealing to the audience that great resources of design are dormant in the human senses. Much of his work, including the programs for the Opening and Closing Ceremonies of the Nagano Winter Olympic Games and Expo 2005 is deeply rooted in Japanese culture. In 2007 and 2009, he produced two exhibitions titled “TOKYO FIBER — SENSEWARE” in Paris, Milan and Tokyo, and from 2008 through 2009, the exhibition “JAPAN CAR” in Paris and at the Science Museum in London. Haraʼs focus in these kinds of exhibitions is on visualizing and widely disseminating the potentiality of industry. The radius of his activity has been expanding to the rest of Asia as well, including the traveling exhibition “DESIGNING DESIGN Kenya Hara 2011 China Exhibition” that starts in Beijing in 2011. Several books authored by Hara, including Designing Design and White, have been translated into a number of languages, including other Asian languages.
Representative, the Nippon Design Center Inc.
Professor at Musashino Art University President, Japan Design Committee Co., Ltd. Vice President, Japan Graphic Designers Association Inc.
- 【 Taro Yamamoto 】
- Japan R&D
Sr. Manager, Japanese Typography
Adobe Systems Co., Ltd.
- Born in Kyoto in 1961. Yamamoto graduated from Department of Science of Design, College of Art and Design, Musashino Art University and joined Morisawa Inc. in 1983. Later in 1992, he joined Adobe Systems Incorporated. Currently, he is engaged in the development of Japanese font types and related technologies as senior manager for Japanese typography in the Japan R&D division of Adobe. He is Chairman of Society of Typography, Japan.
- 【 Cyrus Highsmith 】
- Type Designer
- In 1997 Cyrus Highsmith graduated with honors from Rhode Island School of Design and joined the Font Bureau. As Senior Designer, he concentrates on development of new type series. A faculty member at RISD, he teaches typography in the department of Graphic Design. He lectures and gives workshops across the United States, Mexico and Europe. In 2001, Highsmith was featured in Print Magazineʼs New Visual Artist Review. His typefaces Prensa and Relay were among the winners at Bukva:Raz!, the international type design competition. He has exhibited his work in the United States and Europe.
Martha Stewart Living, The Source, MensHealth, the Spanish edition of Playboy, Rolling Stone, The Montreal Gazette (Canada), and The Sunday Independent (London) have featured his faces. He has designed types for La Prensa Grafica (El Salvador) and El Universal (Mexico City). In 2002 he produced new headline series for The Wall Street Journal that satisfied complex contemporary requirements while remaining within the traditional typographic character that distinguishes the Journal.
The wide range of his work is important to Highsmith. He considers himself above all a draftsman. Drawing is his lifelong passion. He combines an energetic illustrative approach with enthusiasm for typographic communication, leading to a diverse library of original designs. Highsmith draws a calligraphic script for a wedding invitation as comfortably as an industrial strength sanserif.
- 【 Fred Smeijers 】
- Dutch type designer, teacher, researcher, and writer
- After studying at the school of art at Arnhem, he worked as a typographic advisor to the reprographic company Océ, then became a founding member of the graphic design practice Quadraat, which provided the name for his first published typeface (FontFont, 1992).
Among the most versatile contemporary type designers, Smeijers has a whole range of distinctive typefaces to his credit. Among his retail typefaces are: Renard (TEFF); Nobel (DTL); Arnhem, Fresco, Sansa, Custodia, Monitor, and Ludwig – all published by OurType, the company that he co-founded in 2002. His custom type designs include bespoke typefaces and lettering for Philips Electronics, Canon-Europe, and Tom-Tom.
His first book – Counterpunch – has been published by Hyphen Press in 1996. In 2001 Smeijers was awarded the Gerrit Noordzij Prize for outstanding contribution to type design, part of which was a book about his work – Type now (Hyphen Press, 2003).
Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig.
- 【 Sara Soskolne 】
- Type Designer
- Sara Soskolne is senior designer at the New York foundry Hoefler & Co. Originally a graphic designer in her home town of Toronto, after ten years of apparently never being able to find quite the right typeface for the job she finally decided to just learn how to make them herself, jumping careers and an ocean to study typeface design at the University of Reading where she earned her MA in the subject in 2003. Since joining H&FJ in 2005 she has contributed to the design of a wide range of both bespoke and retail typefaces, including Verlag, Chronicle, Sentinel, Gotham, and Tungsten, and has taught typeface design at the Yale School of Art, New Yorkʼs School of Visual Arts and The Cooper Union.
- 【 Matthew Carter 】
- Type Designer
- Matthew Carter is a type designer with fifty yearsʼ experience of typographic technologies ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies he was a co-founder in 1981 of Bitstream Inc., the digital typefoundry, where he worked for ten years. He is now a principal of Carter & Cone Type Inc., in Cambridge, Massachusetts, designers and producers of original typefaces.His type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian (for newspaper text), Bell Centennial (for the US telephone directories), ITC Charter, and faces for Greek, Hebrew, Cyrillic and Devanagari. For Carter & Cone he has designed Mantinia, Sophia, Elephant, Big Caslon, Alisal and Miller.
In 2011 Monotype Imaging released his Carter Sans.
Carter & Cone have produced types on commission for Time, Newsweek, Wired, U.S. News & World Report, Sports Illustrated, The Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times, BusinessWeek, Le Monde, The Walker Art Center, the Museum of Modern Art, Yale University, and the Hamilton Wood Type Museum.
Starting in the mid-ʼ90s Carter has worked with Microsoft on a series of “screen fonts” designed to maximize the legibility of type on computer monitors. Of these, Verdana, Tahoma and Nina (a condensed face for hand-held devices) are sanserif types; Georgia is a seriffed design.
Carter is a Royal Designer for Industry, a member of the Art Directors Club Hall of Fame, and a Senior Critic on Yaleʼs Graphic Design faculty. He has received a Chrysler Award for Innovation in Design, the AIGA medal and the Type Directors Club medal, and a MacArthur Fellows Award. In 2011 he received the Lifetime Achievement Award from the National Design Awards, given by the Smithsonian Cooper-Hewitt National Design Museum.
- 【 Tsunehisa Morisawa 】
- President, Morisawa Bunken Inc.
- Born in 1964 in Akashi, Hyogo prefecture. Upon joining Morisawa Bunken Inc. in 1987, Morisawa promoted the use of computer systems in typeface development. He became the director of Morisawa Bunken Inc. in 2003 and was appointed president in 2006. Since 2007 he has spearheaded the “Creation of Attractive Typefaces” project.
The Emeritus Jury
- 【 Masahiko Kozuka 】
- Type Design Director
- Born in 1929. At the Mainichi Newspapers technology head office, Kozuka engaged in development of all typefaces for the newspapers from 1950 until his retirement in 1984. From 1985 to 1992, he served as advisory design director for Morisawa Inc. and directed the development of major typefaces such as Shin Gothic. Kozuka was a juror for the Morisawa Type Design Competition from 1992 to 2002.As Japanese typography director, Kozuka worked for Adobe Systems from 1992 through 2001 and helped develop Adobeʼs original Kozuka Mincho and Gothic typefaces. He served as a part-time lecturer at Aichi Prefectural University of Fine Arts and Music from 1979 to 1997. He has been a member of the International Typographic Association and the ATypI. Since 1974.