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Welcome back, type lovers! This episode is especially for you. ;) In this eye opening look into the history of typography, signage, protest, and personal stories, Tré Seals thoughtfully explains the ways in which type has caused a lot of harm to various communities, but the ways in which it’s also a hopeful gateway to make meaningful change. Tré Seals has been on a lifelong path when it comes to design: he's been practicing writing in cursive since he was in kindergarten; sold $3 graffiti style name cards to his classmates between the ages of ten and eleven. He was designing tattoos, bead jewelry, comic strips for the school paper, yearbooks, his first font, and more by high school. After graduating in 2015 with a degree in Visual Communication Design, Seals went on to open his own brand consultancy (2015-2020) known as Studio Seals. Through Studio Seals, he had the opportunity to work with over 250 partners, ranging from small startups to national and global brands (2015-2020). In 2016, he founded a diversity-driven type foundry known as Vocal Type. Inspired by the lack of diversity in the graphic design industry, each typeface highlights a piece of history from a different underrepresented race, ethnicity, or gender—from the Women's Suffrage Movement in Argentina to the Civil Rights Movement in America and beyond. Tré has been named an Ascender by the Type Directors Club, a Young Gun by the One Club for Creativity, a Black Design Visionary by Instagram and the Brooklyn Museum, and a Forbes 30 Under 30 Lister. We’re thrilled to have him join us. In this conversation you’ll hear Tré’s origin story, back to his early childhood learning cursive and calligraphy, as well as the incredible family artifact that’s been translated into a font for broader audiences. You’ll hear how he uses historical references and deep research as the foundation of much of his work at Vocal Type. Tré shares examples of what “diversifying design” really means, as well as the systemic barriers that perpetuate in the type design world today. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in Winter 2026 at The Creative School at Toronto Metropolitan University. Let’s listen in… About Our Guest: Tré Seals has been on a lifelong path when it comes to design: he's been practicing writing in cursive since he was in kindergarten; sold $3 graffiti style name cards to his classmates. He was designing tattoos, bead jewelry, comic strips for the school paper, yearbooks, his first font, and more by high school. After graduating in 2015 with a degree in Visual Communication Design, Seals went on to open his own brand consultancy (2015-2020) known as Studio Seals. Through Studio Seals, he had the opportunity to work with over 250 partners, ranging from small startups to national and global brands (2015-2020). In 2016, he founded a diversity-driven type foundry known as Vocal Type. Inspired by the lack of diversity in the graphic design industry, each typeface highlights a piece of history from a different underrepresented race, ethnicity, or gender—from the Women's Suffrage Movement in Argentina to the Civil Rights Movement in America and beyond. Tré has been named an Ascender by the Type Directors Club, a Young Gun by the One Club for Creativity, a Black Design Visionary by Instagram and the Brooklyn Museum, and a Forbes 30 Under 30 Lister. --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0 is licensed under a CC0 1.0 Universal License. Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

The First Things First manifesto was originally published in 1964 by designer Ken Garland and signed by 21 other designers, photographers, and students who believed in the ethos of his message. While I won’t read the entire manifesto (as it’s protected by copyright) I will read a passage that will help you gain an understanding of what it’s all about: “We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. We hope that our society will tire of gimmick merchants, status salesmen and hidden persuaders, and that the prior call on our skills will be for worthwhile purposes.” It rings true after all these years and I encourage you to search for the original manifesto and read it for yourself. I hope that it sparks something deep inside that makes you think about your talents and the power they hold to make positive change in the world. The First Things First manifesto has since been updated a few times to address contemporary topics, the most recent of which is First Things First 2020, created by Marc O’Brien, Benjamin Gaydos, and Namita Dharia. Today we sit down with two of the three authors to hear more about the project and what it means to be a creative for social good. Marc O'Brien is an award-winning creative director and strategist working at the intersection of design, business, and climate. Since 2016, his focus has been making climate work look good, sound awesome, be seen, and get needed support. In 2019, he co-founded Climate Designers, a global community of designers taking climate action. Marc is Senior Adjunct faculty at California College of the Arts, teaching climate design and social innovation. Benjamin Gaydos is a Detroit-based designer and educator. He received an MFA in Visual Communication/Design from Virginia Commonwealth University, where his research focused on design and anthropology, and he has presented his work at institutions including Rhode Island School of Design, Harvard University, and MIT’s Media Lab. He is co-founder and principal of goodgood, a social impact design studio with offices in Boston and Detroit. He is Professor of Design at the University of Michigan–Flint, where he leads the Community Design Studio, working on participatory, community-based design projects focused on public memory and spatial justice. In this conversation you’ll hear the tremendous global impact of the original First Things First manifesto in 1964 and what it means to each our guests. You’ll hear the way in which the First Things First 2020 manifesto is a collection of voices versus a single voice, and why this was so important to the team in the context of when it was created. You’ll also hear about the actionable ways that you can both work as a designer while staying aligned to your values even if your role isn’t directly in sustainability, climate design, or design for social good. Check out https://firstthingsfirst2020.org/ where you can add your name to the growing list of designers who aim to put this manifesto into practice. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in Winter 2026 at The Creative School at Toronto Metropolitan University. Let’s listen in… About Our Guests: Marc O'Brien is an award-winning creative director and strategist working at the intersection of design, business, and climate. Since 2016, his focus has been making climate work look good, sound awesome, be seen, and get needed support. In 2019, he co-founded Climate Designers, a global community of designers taking climate action. Marc is Senior Adjunct faculty at California College of the Arts, teaching climate design and social innovation. Benjamin Gaydos is a Detroit-based designer and educator. He received an MFA in Visual Communication/Design from Virginia Commonwealth University, where his research focused on design and anthropology, and he has presented his work at institutions including Rhode Island School of Design, Harvard University, and MIT’s Media Lab. He is co-founder and principal of goodgood, a social impact design studio with offices in Boston and Detroit. He is Professor of Design at the University of Michigan–Flint, where he leads the Community Design Studio, working on participatory, community-based design projects focused on public memory and spatial justice. --- https://firstthingsfirst2020.org/ climatedesigners.org https://designjustice.org/ communitydesign.studio goodgoodland.com https://www.marcobrien.net/ --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0 is licensed under a CC0 1.0 Universal License. Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

Welcome back - I’m so glad you’re here. Today I’m serving up a brand new 4-part guest lecture series, featuring an incredible line up of type and design folks from across North America! This first episode features highly sought-after type designer, James Edmondson. James is a type designer based in San Jose, California. He studied graphic design at California College of the Arts, and graduated from the Royal Academy of Art's TypeMedia program in The Hague, Netherlands. With his fabulous comrades at OH no Type Co., he creates custom and retail typefaces. In this conversation you’ll hear James’ typography origin story (he’s still an 8-year-old at heart!), how he uses “Pen Logic” to help construct systems of type, and how he knows when a typeface is complete. You’ll hear some great questions from students asking for all the juicy details about mistakes in his work, as well as what James hates about the process. Please check out the show notes here or on Instagram (or ohnotype.co) to see the visuals mentioned in this episode. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2026 at The Creative School at Toronto Metropolitan University. Let’s listen in… About Our Guest: James is a type designer based in San Jose, California. He studied graphic design at California College of the Arts, and graduated from the Royal Academy of Art's TypeMedia program in The Hague, Netherlands. With his fabulous comrades at OH no Type Co., he creates custom and retail typefaces. --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0 is licensed under a CC0 1.0 Universal License. Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

Welcome, dear friends, to the library. Each episode finds me loitering in a library with a special guest in a location of their choosing. We comb the stacks and have a chat about passions, practices, and possibilities, letting the story unfold as it will. You’re encouraged to read between the lines because it’s going to be a real page turner… Welcome to The Library Loiterers. --- Our story begins in the early days of the 21st century. I, Diana Varma, was a young teen and emerging drama nerd. Our guest was a student teacher who we all adored from day 1 and we were thrilled that he was hired in the drama department to officially begin his teaching career the following fall. I just so happened to be in that first period grade 10 drama class that began on Tuesday, September 4, 2001. The rest, as they say, is history. Tim Miller is a high school educator of 20 years, focusing on drama, but also teaching music, history, and related subjects. His wife of 30 years and-long suffering adult children tolerate him. But his Great Dane, Winston, thinks he’s pretty cool. He is a huge fan of Film and TV but his true love is Improv. When given the option of any library to visit, these were Tim’s words exactly: “I went to U of T… Robarts was my nemesis…THAT might be it!” Robarts Library is Canada’s largest academic library located at 130 St. George St. in Toronto. “Fort Book” is an example of Brutalist design, built in 1973 and home to extensive collections—both print and digital—as well as many study and collaborative spaces. Here are a few facts about Robarts Library from an article in University of Toronto Magazine called “How Robarts Library Got Its Distinctive Look” published in October 2023: The building is massive— each of its sides is the length of a Canadian football field. The bell tower “head” of the peacock or turkey (if you zoom out, the library does look a little fowl…) was accidental and simply decorative. The library houses 4 million volumes! The building cost $42 million in 1973 to construct (about $280 million in 2023 dollars). When it first opened in 1973 it was the largest academic library building in the world. An 8th elevator was never completed but on some floors you can see the outline of doors for the “ghost elevator”. Originally, cloakrooms housed motorized hangers that could store up to 4,000 coats. And so, on a January day in the year 2026, I find myself at Robarts Library, mic-ing up my drama teacher from half a lifetime ago, and getting ready to have a long-overdue reunion (proving—once again—that nothing connects us quite like books). It’s time to hit the stacks to see what unfolds. About Our Guest: Tim Miller is a high school educator of 20 years, focusing on drama, but also teaching music, history, and related subjects. His wife of 30 years and-long suffering adult children tolerate him. But his Great Dane, Winston, thinks he’s pretty cool. He is a huge fan of Film and TV but his true love is Improv. Colophon: Recorded on location at Robarts Library on January 8, 2026. Music tracks used in this episode were both from the Free Music Archive. Bach - Aria Variata, BVW. 989 - Variation No. 2 by Brendan Kinsella is licensed under a Public Domain License. Variatio 6 a 1 Clav. Canone alla Seconda by Kimiko Ishizaka is licensed under a CC0 1.0 Universal License. Sound Effects were all Creative Commons 0 license from Freesound.org Creak 11.wav by jameswrowles -- https://freesound.org/s/323546/ -- License: Creative Commons 0 pages turning.wav by simone_ds -- https://freesound.org/s/366079/ -- License: Creative Commons 0 Scribble.wav by TiesWijnen -- https://freesound.org/s/341738/ -- License: Creative Commons 0 group shush by chapter15studios -- https://freesound.org/s/760256/ -- License: Creative Commons 0 Text is set in conversation, bound by curiosity. Until next time…

Please close your eyes. Now think back to a typical day in high school. That might have been in the distant past or perhaps more recently. What was it like? What did you spend your days doing and learning about? What did your classrooms look like and what did the system look like? Feel like? For most of us in traditional high school environments, the structure of school—whether a mostly positive or negative experience—probably looked pretty similar. A teacher at the front of the room pushing knowledge mostly in one direction, and students working on projects or taking tests to prove their understanding of this knowledge. Repeat the cycle for each new topic and distinct subject area. My high school experience was pretty great because of my friends, creative courses, and extracurricular experiences, but I can’t help but think how much richer the learning would have been in a set up like our guest shares today: Lauren Hortie from Oasis Skateboard Factory (aka. Skateboard High School), an alternative program in the Toronto District School Board. While this program is designed for students who at risk of failing in the typical education system, I couldn’t help but think about 16 year old me who got good grades in high school but who could have benefitted from a program like this. Said another way, hands-on experiential, community-engaged learning can and should be the rule and not just the exception. I gained so much clarity and alignment with the conversation you’re about to hear. If you’re an educator, listen in, but it’s also for students and anyone who works in education systems of any kind. I learned a lot from Lauren (and her colleague, Erin’s) approach to integrated classroom experiences and removing artificial boundaries between “school” and “the outside world” that I believe so much traditional schooling gets wrong. Themes of equity, access, and cultivating community connections are explored. Lauren shares how she and Erin work to cultivate an environment of experimentation, guts, and helping to sabotage self-sabotage. And you will hear the single best unofficial school motto I’ve ever heard. A quick disclaimer that I think is important to state is that the opinions and ideas expressed are solely that of this alternative school, Oasis Skateboard Factory, and not necessarily reflective or representative of the TDSB as a whole. I’m really excited to continue digesting this conversation long after initially recorded, and thinking about how I can invite more of these types of community-engaged opportunities to students at TMU. Let’s listen in… About Our Guest: Lauren Hortie is an artist, DJ and educator based in Toronto. Lauren is the head teacher of the Oasis Skateboard Factory, an award winning Toronto District School Board alternative high school program where at-risk youth earn credits by running a small design business. She is the recipient of a OSSTF Secondary Teacher of the Year award for Ontario and a TDSB Excellence Award. As an artist Lauren works in variety of mediums including pen and ink illustration, printmaking, paper cutting and projections. She has been creating underground queer nightlife and culture for over 20 years, including the popular long running event “Steers & Queers Gay Ole Opry” which explores the intersection between rural and LGBTQ identities. Her work has been displayed at such venues as The Museum of Human Achievement in Austin Texas, ACE Art Winnipeg, The Gladstone Hotel, the Ontario Craft Council and the telephone pole across the street from your house. https://oasisskateboardfactory.ca/ @oasisskateboardfactory --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0 is licensed under a CC0 1.0 Universal License. Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

I’m really, really excited for you to hear today’s conversation with author, Kate Robson, about the magic of using metaphor. This is episode 301, and as I’ve been inching closer towards the 300 episode mark, I’ve been thinking a lot about how this podcast has evolved and how I might describe it using metaphor. Here’s my best try… This podcast has become a space not unlike a community garden . I collect the necessary components, tend to space, plant seeds that allow for great conversation, and I often get to harvest insights, but it’s a space for gathering and contribution from many, many individuals, never just me. And much like a garden, nothing stays the same for long; ideas aren’t static as they grow, intertwine, and sometimes take on a life of their own. Thank you to everyone over the last 300 episodes who has contributed to this space in any way. I’m so thankful we get to collaborate. I can’t wait to see how and with whom we continue to cultivate in the future. Our guest today is Kate Robson who is a registered psychotherapist in Toronto, Ontario. Inspired by her own experiences with her children in a neonatal intensive care unit, she worked with babies, parents, and families for more than twelve years as a NICU family support specialist. She’s travelled all over the world educating parents and clinicians about family-centred care and trauma informed care practices. Her workshops focus on cultivating attachment in relationships and creating emotion-friendly homes and workplaces. Her first book, the bestselling Something to Hold Onto , is a collection of the most inspiring images and experiences from her time in the NICU and in private practice.  Also joining us in conversation today is my friend and colleague, Donna Cormier. Donna’s work intersects creativity and technology through packaging and print innovation. She is an award-winning instructor in the School of Graphic Communications Management at Toronto Metropolitan University, teaching courses in packaging, technical design and business management.  In this conversation, we talk to Kate about her beautiful new book that I plucked from the ‘New and Noteworthy’ section of my local library. And it was so good that I needed my own copy that I could mark up and devour and hold onto for longer than the 3 week window in which it was due back.  Her book is an incredible resource where she shares her ideas about complex human problems through a therapeutic lens to help make challenging moments a little less challenging. You’ll hear about the power of metaphor, through metaphors, to get out of thought ruts. It’s deep, it’s gentle, it’s eye, mind and heart opening. I hope you come away from this conversation realizing that you are, in fact, a cake and I encourage you to wear your invisible raincoat when needed. You’ll see what I mean. Please enjoy… About Our Guest: Kate Robson is a registered psychotherapist in Toronto, Ontario. Inspired by her own experiences with her children in a neonatal intensive care unit, she worked with babies, parents, and families for more than twelve years as a NICU family support specialist. She’s travelled all over the world educating parents and clinicians about family-centred care and trauma informed care practices. Her workshops focus on cultivating attachment in relationships and creating emotion-friendly homes and workplaces. In her private practice she supports individuals and couples experiencing infertility, high risk pregnancies, NICU hospitalizations, major life transitions, and bereavement. She has degrees from McGill University and OISE/UT, completed her psychotherapy training at the Toronto Institute for Relational Psychotherapy, and has also studied modalities such as ACT, the Internal Family Systems Model, EMDR, PACT, and Somatic Embodiment. Her first book, the bestselling  Something to Hold Onto , is a collection of the most inspiring images and experiences from her time in the NICU and in private practice.  www.katerobson.ca https://www.instagram.com/authorkaterobson/ A link to find an indie bookstore with STHO: https://www.indiebookstores.ca/book/9781668091876/ About Our Co-Host: Donna Cormier, MS, intersects creativity and technology through packaging and print innovation. She is an award-winning instructor in the School of Graphic Communications Management at Toronto Metropolitan University, teaching courses in packaging, technical design and business management. Donna creates sponsored experiential learning opportunities that give students a chance to work on meaningful projects with industry partners and oversees the internship program, preparing the next generation with the confidence and curiosity they need to thrive. --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0  is licensed under a CC0 1.0 Universal License . Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by   Alex  on   Unsplash

From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type . Name: Clarendon Release Date: 1845 Designer: Robert Besley Classification: Slab Serif (Egyptian) Owned By: Today its multiple versions are owned by multiple foundries. Claim to Fame: This is the first first-ever registered and patented typeface. About Our Guest: Jordan Grey is a third year GCM student with a strong interest in brand strategy and consumer behaviour. With a background in graphic design and creative communications, Jordan is passionate about building campaigns that are both strategically driven and culturally relevant. Focused on the connection between audience insight and brand storytelling, Jordan aims to create marketing that not only captures attention but builds lasting impacts. --- Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by Alex  on Unsplash

From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type . Name: San Francisco Release Date: 2014 Designer: Apple’s Team (based on Helvetica and FF DIN) Classification: Neo-Grotesque Sans Serif Owned By: Apple Claim to Fame: This is the first new typeface designed by Apple in nearly 20 years, it’s the UI font for Apple’s software. In this episode, we will dig deeper into the San Francisco typeface. The typeface, made by Apple and launched back in 2014, has now been adapted to basically EVERYTHING Apple has! This modern, sleek font came from a completely different look. Wondering how and why they made this specific typeface for their products? Listen more to learn. References: Berlow, D. (2016, May 9). San Francisco – Typographica . Typographica. Retrieved January 31, 2026, from https://typographica.org/typeface-reviews/san-francisco/ Buchholz, C. (2025, March 25). The Psychology of Fonts: How Typefaces Shape Emotion & Influence Design . Skill Share. https://www.skillshare.com/en/blog/the-psychology-of-fonts/?srsltid=AfmBOor3vRCx79Ty2a-jWhL0Q4cvu9oLyLT-Lv73FGIWToRTYUZ0AbH_ Fonts . (n.d.). Apple Developer. Retrieved January 29, 2026, from https://developer.apple.com/fonts/ Font Wiki. (n.d.). San Francisco . Font Wiki. https://fonts.fandom.com/wiki/San_Francisco_(sans-serif_typeface) Hennequin, D. (2018, January 10). The Death of Helvetica and the Rise of the Bespoke Font . Envanto. https://elements.envato.com/learn/death-of-helvetica-rise-of-the-bespoke-font?srsltid=AfmBOoq025uIhkqtWuH5eZw3da3UTDRJSNCeLIKI1eNAp0tkeLfTXah- Hyndman, S. (2016). Why Fonts Matter . Gingko Press. Keppol, N. (2015, October 13). Why San Francisco . martiancraft. https://martiancraft.com/blog/2015/10/why-san-francisco/ Keppol, N. (2015, October 22). Arriving at San Francisco . martiancraft. https://martiancraft.com/blog/2015/10/san-francisco-part-2/#:~:text=With%20the%20Apple%20Watch%20came,piece%20of%20this%20type%20system . Stinson, L. (2015, June 9). Why Apple Abandoned the World's Most Beloved Typeface . WIRED. Retrieved January 30, 2026, from http://wired.com/2015/06/apple-abandoned-worlds-beloved-typeface/ Truong, A. (2022, July 20). Here’s what Apple’s completely different San Francisco fonts looked like in 1984 and 2014 . Quartz. https://qz.com/409398/heres-what-apples-completely-different-san-francisco-fonts-looked-like-in-1984-and-2014 About Our Guest: Hi! I'm Sheilae Siagian, the Print Nerd. A second-year student from the Graphic Communications Management with a strong passion for print production, design, and digital media. Proficient in creating short-form video productions, signs, and marketing materials using real-world print processes and applications. --- Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by Alex  on Unsplash

From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type . Name: Verdana Release Date: 1996 Designer: Matthew Carter and Thomas Rickner Classification: Humanist Sans Serif Owned By: Microsoft Claim to Fame: A typeface that was designed not for print, but for the screen, changing the way digital text looked and felt. In this episode of An Incomplete History of Type, Sol Riquero takes a closer look at the history of Verdana, a typeface that was designed not for print, but for the screen. Created in the mid-1990s at a time when reading on computers was still uncomfortable, Verdana changed how digital text could look and feel. This episode explores how Verdana became one of the first truly web-safe fonts and why it continues to matter in conversations about readability, accessibility, and human-centered design today. References: Chen, R. (2013, June 25). Where did the names of the fonts Marlett and Verdana come from?. The Old New Thing. Microsoft. https://devblogs.microsoft.com/oldnewthing/20130625-00/?p=3993 John D. Berry (2023, August 23). Matthew Carter Collection · type network. TypeNetwork. https://typenetwork.com/articles/matthew-carter-collection Microsoft Learn. (n.d.). Verdana font family - typography. Microsoft. https://learn.microsoft.com/en-us/typography/font-list/verdana About Our Guest: Sol Riquero is a Toronto-based creative specializing in project management and design. Currently studying Graphic Communications Management at Toronto Metropolitan University, she is passionate about overseeing projects from conception to completion, integrating both creative strategy and technical execution. She seeks to leverage her expertise in creative strategy and production to develop meaningful, impactful projects. --- Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by Alex  on Unsplash

From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type . Name: Garamond Release Date: Mid 16th Century Designer: Claude Garamond Classification: Old Style Serif Typeface Owned By: Not owned by one single person, but digital variations are owned by multiple different companies: Adobe Garamond, Monotype Garamond, Stempel Garamond, and EB Garamond Claim to Fame: Garamond is the most legible text typeface for publishing for centuries.  In this episode we are going back nearly 500 years to meet a typeface that quietly shaped how the world reads. It's elegant without even trying, and so familiar that many of us tend to overlook it. Everybody meet Garamond! You may feel a familiarity when looking at Garamond, maybe you shop at Abercrombie & Fitch and recognize the logo, or possibly you’ve seen the old Google logo or early Apple campaigns. But I’m almost certain, even if you’re not a big reader, you have read the words of children's author Dr. Seuss through the letterforms of the Garamond typeface. Garamond is an old style serif typeface that first appeared around the 1530s, and like many things created during the Renaissance, its exact creation date is extremely blurry. What we do know is that it was originally created by Claude Garamond, a French punch-cutter, publisher, and type designer. Claude Garamond is considered to be one of the most influential type designers of the past, creating numerous old style serif typefaces with little recognition to his name. Claude Garamond's letters revolved around the calligraphy of scribe handwriting, but he was the first of his time to stray away from precisely replicating this handwriting, and instead creating a typeface that would read better when printed with ink. This means that his letterforms were more delicate than the past. After Garamond's passing his wife sold all of his materials and tools, which is how printers and foundries across Europe took interest in the Garamond typeface, widely copying, reusing, and remaking it as their own. Sometimes without any credit to the original creator, Claude Garamond. In the late 19th and early 20th centuries, typographers rediscovered the Renaissance type style and started the great modern revival of Garamond. Many of these new modern variations of Garamond are interpretations of the original, utilizing new technologies and contemporary styles. The most popular modern digital variations are Adobe Garamond, Monotype Garamond, Stempel Garamond, and EB Garamond. And after all of this, the name Garamond still stuck! In today's design world, Garamond often hides behind our bright and flashy statements, but this is exactly what makes it so effective. It is said that Garamond was born to live on paper, which is why so much literature is printed using this typeface. Claude Garamond most likely never imagined that his individual letterform metal punches would make it to our modern day, but here we are, still using Garamond for what it was made to do! So the next time you open that Harry Potter book or shop at Abercrombie & Fitch, take a closer look at what you are seeing because you might be looking at Garamond. References: Garamond History Anatomy Glyphs Uses. ATypeSupreme. (n.d.). https://atypesupreme.com/fonts/garamond02/ Garamond. Meaningful Type. (n.d.). https://www.meaningfultype.com/garamond.html Green, C. (2021, June 2). Playing Favorites: Our Favorite Historical Typefaces (Part I). Hoban Cards. https://hobancards.com/blogs/thoughts-and-curiosities/our-favorite-historical-typefaces-part-1 Johnson, W. D. (n.d.). Punch, Puncheon. Newman Numismatic Portal Washington University. https://nnp.wustl.edu/library/dictionarydetail/516571#:~:text=The%20steel%20punch%2C% 20cut%20from%20plate%20or,by%20grinding%20or%20turning%20on%20a%20lathe The Ontario Historical Society. (2009). About the Typeface. Ontario Historical Society . https://doi.org/10.7202/1065689ar About Our Guest: Lilly Clements is an emerging graphic designer and brand storyteller interested in the intersection between cultural impact and strategy. With a strong background in graphic communications, she is passionate about building work that is both aesthetically strong while staying socially aware. Lilly is especially interested in how design shapes conversations, and forever aims to build thoughtful art that goes beyond the screen. --- Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by Alex  on Unsplash

From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type . Name: Calibri Release Date: 2007 Designer: Lucas de Groot Classification: Sans Serif Owned By: Microsoft Corporation Claim to Fame: Calibri made history by dethroning Times New Roman as the default font of the MS Office Suite. Microsoft’s favourite typographic child is taking the stage on this episode of Talk, Paper, Scissors . That’s right, we’re talking about Calibri!   Designed by Lucas de Groot and released to the world in 2007, Calibri made history by dethroning Times New Roman as the default font of the MS Office Suite. Known for its warm curves and high legibility, this typeface became standard for everything! From poster design to legal contracts, Calibri made its mark on society. But, it wasn’t all smooth sailing. Tune in to hear how this typeface helped catch forgery and why it eventually got booted out of the White House. References: Buining, J. (2025, December 10). Nederlandse Calibri-ontwikkelaar na Amerikaanse ban: 'Te woke bevestigt dat het goed ontworpen is' . BNR. Retrieved January 26, 2026, from https://www.bnr.nl/nieuws/internationaal/10589476/nederlandse-calibri-ontwikkelaar-na-amerikaanse-ban-te-woke-bevestigt-dat-het-goed-ontworpen-is Daniels, S. (2023, July 19). A change of typeface: Microsoft’s new default font has arrived . Microsoft. Retrieved January 26, 2026, from https://microsoft.design/articles/a-change-of-typeface-microsoft-s-new-default-font-has-arrived/ Explore the Netherlands. (2025, December 11). History of the Calibri Font . Visiting the Dutch Countryside. Retrieved January 19, 2026, from https://www.visitingthedutchcountryside.com/explore-the-netherlands/history-of-the-calibri-font/ Kermani, S. (2017, July 12). Pakistani corruption case hinges on a font. BBC . Retrieved January 16, 2026, from https://www.bbc.com/news/blogs-trending-40571708 Now Read This: The Microsoft ClearType Font Collection . (2004). Microsoft. https://learn.microsoft.com/en-us/typography/cleartype/pdfs/nowreadthis.pdf Peters, D. (2019, May 15). The Font Detectives . JSTOR Daily. Retrieved January 16, 2026, from https://daily.jstor.org/the-font-detectives/ Schwarz, H. (2025, December 12). A brief history of Calibri, the 'woke' font . msn. Retrieved January 19, 2026, from https://www.msn.com/en-us/money/smallbusiness/a-brief-history-of-calibri-the-woke-font/ar-AA1SiKqf#:~:text=Lucas%20de%20Groot%20designed%20Calibri,it%20was%20the%20right%20choice About Our Guest: Emma Pereira is a Toronto-based graphic designer and creative strategist driven by impactful communication. Currently completing her degree in Graphic Communications Management at Toronto Metropolitan University, she brings a multifaceted perspective that bridges the gap between creative direction and technical production. With experience spanning marketing, production, and design, Emma excels at transforming complex problems into unique visual solutions. Beyond the screen, she is an avid concert-goer and scrapbooker who enjoys exploring the sociological intersection of design and consumer behavior. --- Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by Alex  on Unsplash

I’ve spent a lot of time in libraries so far this year, both personally, with my kids, as well as professionally, with a variety of guests for my upcoming and ongoing Library Loiterers series. (More on that soon!) I’ve also been thinking a lot about the rapid decline of social trust in the age of digital misinformation and disinformation, never quite  knowing if what you’re reading (and now seeing) is real. In this lonely and scary tsunami of information overwhelm, libraries feel like the exact opposite; a gentle river where we can dip into a system of vetted info using a sharing economy framework that relies on social trust. It’s a place where all are welcome and a space where we’re not  the product, but rather a connected community with open access to information. And it’s all free of charge, all in a way that feels decidedly… human. Today, I have the pleasure of speaking with Marci Stepak, who grew up using Toronto public libraries in the late 1970s and early 80s. Her mom—an incredible woman who understood that curiosity costs nothing and knowledge belongs to everyone—brought her to story hour most weeks and let her check out far too many books. Those visits taught Marci that libraries are more than buildings—they're proof that access, curiosity, and community matter more than what’s in your wallet. In this conversation, you’ll hear about Marci’s journey, walking 300 km to visit all 100 Toronto Public Library branches on foot over 10 days. She’s calling it Every Library TO  and the walk starts today, April 7, 2026. This walk is both a tribute to her Mom (today marks 1 year of her passing) and also to raise to raise funds for the Toronto Public Library Foundation. You’ll hear a beautiful story of love, grief, and why libraries are more necessary than ever in an age of disconnection, loneliness, and algorithmic filter bubbles designed to reinforce existing beliefs.  You’ll hear about the magic of curiosity while engaging in a library environment and why the library might become your new favourite hub for dating. This episode has something for every book and library lover. Let’s listen in… About Our Guest: I'm Marci —a Toronto-based content strategist, former college professor, editor, and writer who's always been better at asking questions than sitting still. I grew up in Toronto Public Libraries in the late 1970s and early 80s. My mom—an incredible woman who understood that curiosity costs nothing and knowledge belongs to everyone—brought me to story hour most weeks and let me check out far too many books. Those visits taught me that libraries are more than buildings—they're proof that access, curiosity, and community matter more than what’s in your wallet. I became ME because of what I learned on those library floors. --- Music: Bubbles ( Lofi , Bright , Relaxed ) by HoliznaCC0  is licensed under a CC0 1.0 Universal License . Talk Paper Scissors Theme Music:  Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo:  Boat Origami Photo by   Alex  on   Unsplash