2018 Typography photos that I posted on Instagram with the hashtags #parsonstypes#vernaculartypographyafari #typesafari #typography #typographicsnyc #nyctypography #anselmdastner #vernacularphotography


Design Better

looks like a very legit podcast, haven’t started it yet, but came recommended 

Rob Words

I love linguistic podcasts, or philology (study of language in historical and literary texts), or paleography, which I smore interpreting old texts. 


not sure how the other sessions are, but I just started listening to the episode with Oliver Schöndorfer. 

Design Futures

Chris St.Cyr interviews designers about what they do after college. My friend Whitney Dobladillo just was on his podcast. 

Users Know

Laura Klein, Author of Build Better Products & UX for Lean Startups, and Kate Rutter 

OHno‬ Radio

If you are a type nerd this is for you. Calli-based James Edmondson of Ohno Type Co. interviews a bunch of Type@Cooper typographers, i love this stuff, fun. 

Design Matters with Debbie Millman

Famous artist guests in a personal atmosphere. Some of my biggest heroes: Neville Brody, Matthew Carter, Jessica Hische, Paula Scher, Chris Ware, David Byrne, Seth Godin… 

Design Review, UX/UI

hosts are Chris Liu and Jonathan Shariat talk about their UX/UI, graphic design business experiences 

Design Thinking 101, UX/UI

it was recommended on CareerFoundry slack channel, but I haven’t had time to listen to it yet. 

UI Narrative with Tolu Ajayi

about UX and portfolio and job search and more 

Honest Designer


Smashing Podcast

Smashing magazine is actually based in my hometown Freiburg in Germany. It’s about websites and design and UX and a very reputable magazine with great content. 

Lexicon Valley — Linguistic Podcast


fourth seasson with design stories 

99 percent invisible

a podcast about everything, much of it design-related 

Future of UX

Let’s Make Mistakes

about design with your hosts, Mike Monteiro and Jessie Char 

Honest Designer

User Defenders UX podcast

CSS podcast

from the makers of 99 invisible 

Mex design talk


Welcome to Qanta Ahmed’s new website which is home to her journalism. Here you can find her latest publications, television segments, and radio interviews. You can also search for specific areas of interest using the subject tags. And, if you want to connect, you will find lots of ways to engage in social media.


Dr. Qanta Ahmed


web design, TV appearances/radio interviews/publications archive, mailchimp newsletter sign-up, social media post preperation and archives of all media appearances 

2018 Typography photos that I posted on Instagram with the hashtags #parsonstypes#vernaculartypographyafari #typesafari #typography #typographicsnyc #nyctypography #anselmdastner #vernacularphotography


The “Hub” in Long Island City is an old warehouse that is being converted into a large cool office building. The 4 floors and the main floor’s skylight are really amazing. There are several similarly converted warehouses in the neighborhood, like Falci and The Factory. The Hub is envisioning having a retail floor with food markets, a roof deck, and coffee shops in a brand-new concierge lobby, that will lead to elevators to the upper 2 floors. Eventually, they plan to go even higher and add floors on top.
Marketing Thru Graphics was hired to plan and build the Marketing Center that the brokers from Cushman & Wakefield use for their tours of potential companies.
I designed the large Plexiglas wedges around the columns to let the light from the spectacular skylight pass and reflect through them.
The building is located just one block away from the 7 train that connects to Manhattan within 10 mins. This area has become a center for new office developments of companies like Uber, Macy’s, Ralph Lauren ie.

The Marketing Center:

photos by psolka-photo.com

some more pictures from MKDA

The Website:

Shortly after installing the Marketing Center MTG built the website. I designed the pages for Desktop, as well as responsive states for horizontal and vertical Phones. Becca went out to Long Island City to take a few photos of the neighborhood, and Ian programmed it. Looks nice, doesn’t it?

Here is a link to the MTG portfolio, of which I designed large parts
brochures, logo:

The Factory is the old Macy’s warehouse which is converted into cool office spaces for medium-sized companies. It also holds a food court and gym, some gallery spaces, and a cool lobby with cafes. This project was a coloration with MTG. I re-designed The Factory’s website and brochure.

Extra-Credit-Question: Where am I hiding like Waldo in the background? As the poster boy for the Factory —apparently— I counted seven times on the website. I didn’t even start counting the instances in the brochure, yes, even on the cover. 🙂

It’s a pretty cool office building in Long Island City, the former Macy’s warehouse. I am excited to be doing a big chunk on the graphics with the team Megan, Amanda, Becca, and Digno at MarketingThruGraphics, and Anthony Wallace for some extra finicky programming.

MTG re-designed The Factory’s website and brochure.


The Factory via MTG


website design, brochure, 

I was responsible for designing five windows at 60 Hudson, the former Western Union Headquarters, with the Marketing Thru Graphics team. The windows can’t be used commercially because there are sizeable backup power generators to safeguard the US internet in the building. The building is trying to engage people with its astonishingly beautiful architecture and rich history. I.e., Thomas Edison invented the stock ticker here, and the first telegraph lines across the US and the world were all linked to this building.
It has since lost a little of its former glory, but we are trying to bring it back with the window installations.



MTG for 60 Hudson


window displays, slideshows

Western Union History Window

TriBeCa neighborhood Window

with local updates and a weather forecast:

Gallery Window

Gallery Window for local artists (like me :)):


Curated by TypeThursday
Memorial Gallery,
A special thank you to David Jonathan Ross, Erin McLaughlin, James Edmondson, Roxane Gataud, and Miguel Reyes for their inspiration and generosity in showcasing their work; The TypeThursday team of Anselm Dästner, Shaofen Deng, Whitney Dobladillo, Kara Gordon, Thomas Jockin, and Karolina Lach, who put the exhibition and this catalog together; Jack Curry, for his illuminating words; Beth Giacummo, for her patience and guidance; Sonal Gadre for her Hindi copyediting; and to all TypeThursday participants, who make it all worthwhile. 

Waht You See is Not What You Get


Typethursday for Farmingdale State College


a set of posters for the exhibiution, catalog design 

PDF of the catalog
The texts are written and edited by all the above TT members,
my contributions are designed banners using the typefaces:

David Jonathan Ross

From the designer:
One of the things I learned at Font Bureau is that the way a font is licensed can have a huge effect on how a font is used (perhaps even more than its design). For my typeface Input, I thought it had potential both as a coding font for programmers to use in their text editors and also by designers in techy environments. I developed the license and pricing with these specific uses in mind, allowing programmers to use the typeface for free on their own computers, but charging for publicly facing uses. This model allowed the design to be successful. Years later I still love getting emails from Input users and am thinking about ways to improve it. Getting direct contact with Input users was one of the reasons I was excited to start my own foundry.


Fit is a hyper-stylized series of caps designed with one thing in mind: filling up space with maximum impact. With an expansive range of widths, Fit will take just about any text and fit it into just about any space. From the impossibly narrow Skyline to the gargantuan Ultra Extended, you will find a family rich in panache and expressive potential

For my project Font of the Month Club, anyone can sign up, and it’s as little as $6/month if you sign up for a year. When you sign up, you get the current month’s offering right off the bat. Then, at the beginning of each month that follows, I’ll send you a new font. I make no promises as to the design of the font or the extent of its character set, but I try to make it generally usable for major European languages. Each font comes with my standard “Mini” license: a perpetual license for up to 3 desktop computers, 15,000 web visitors, and an e‑book. I wanted a way to connect regularly with users, to try out ideas in a controlled environment and get feedback, and to share more of my process. I see the Font of the Month Club as the best way to distribute small display faces and side projects that I like to work on. I also see the project to help push me to work on more fun and interesting typefaces without having to commit to years of development or a full retail release.


Gimlet is a funky quirkhorse workhorse inspired by Georg Trump’s 1938 typeface Schadow. At the behest of Nick Sherman, David Jonathan Ross reimagined the oddball serif as an energetic contemporary workhorse, complete with three optical sizes and a flexible set of widths tailored for responsive layouts. A multifaceted series that speaks with a singular voice, Gimlet is a rare find: a typeface that is as funky as it is functional.

Erin McLaughlin

From the Designer:
I ended up taking a Hindi language course while I was working at my first graphic design job. Learning to write Devanagari was the first thing we did in the class, and I caught on very quickly. But I noticed that my teacher had a hard time typing out our Hindi worksheets. The vowel signs and marks would show up in the wrong places, and he’d have to fix it manually or draw on them. I would try to practice reading Hindi stories and news articles on the internet and found out that quite a lot of websites just weren’t functioning correctly. The text was completely unreadable. I hadn’t realized that for so many people in the world, their languages weren’t supported by web browsers or system fonts didn’t exist. You couldn’t get any access to information online unless it was in English, this was back in about 2007 or so. It’s gotten a lot better, but that was a big issue back then.
That’s how I got interested in learning the Indic scripts themselves and learning about typography in other languages, other writing systems. I had never thought about that before, not really. I always liked typography classes in school, but I never thought of it from that standpoint: all the people in the world need to use typography. There still are tons of people in the world who can’t read a book or a website in their native language or script, and that’s insane. If I can take six months out of my life to make a product for people to read with, I think that’s the best thing a typeface designer could do. This is a very concrete, direct way we’re helping people. This seems a lot more crucial.


A style-matched informal, rounded Latin and Kannada typeface. A libre (open source) free-use typeface project commissioned by Google fonts.


A Devanagari multi-weight typeface family designed to be a style-matched companion to the popular Roboto typeface by Christian Robertson. Both are libre (open source), free-use typeface projects initiated by Google.


A Devanagari multi-weight typeface family designed to be a style-matched companion to the popular Roboto typeface by Christian Robertson. Both are libre (open source), free-use typeface projects initiated by Google.

James Edmonson

From the designer:
The “ideal” versus “reality” battle is something that’s always in my mind. The idea is that I’ll execute on the things that are most interesting to me and then people will buy them because I did a good job. The reality is most of the typefaces that people buy are things they’re used to viewing. That kind of project isn’t always the most fun for me. Finding a balance between what I’m creating and having it be something that people will find consistently useful is what I’m trying to figure out now.


The original Hobo was an art-nouveau influence design released in 1910. Over the years, this one-of-a-kind and often maligned typeface slowly degraded with each transition in type technology. In the 1980s, Hobo was one of the first typefaces digitized due mostly to its unique aesthetic and malleable voice. Unfortunately, the care taken in tracing the design left much to be desired, if only because type designers hadn›t yet figured out how to best draw curves. Hobo was in desperate need of some attention, but unfortunately got installed on millions of desktop computers as it was. Hobeaux is a modern revival—an attempt to fix the mistakes and maintain all the glory that made Hobo the powerhouse it was. Each character was redrawn and spaced from scratch. Additionally, descending letters have been providing as stylistic alternates for those seeking a more traditional construction. With five weights and several features for the designer seeking a high-performance type family, Hobeaux is a ready and willing addition to any typographic palette.

Vulf Mono

Vulf Mono is the official typeface of Vulfpeck, a funky four-piece rhythm section from Ann Arbor, Michigan. The typeface draws main inspiration from 12 point Light Italic, a font for the IBM Selectric typewriter.

Miguel Reye

From the designer:
What makes Caslon great is the awkwardness of its texture as text. Caslon, in comparison to other typefaces, does not follow the same principles as a system. You’ll see the weight in unexpected places. It’s all over the place. It works. The same goes for Caslon’s proportions; they stand out compared to other typefaces. Related to Caslon’s texture is its crispiness. I’ve only seen in Matthew Carter’s interpretation in Big Caslon based on the largest sizes presumably cut by Williams Caslon I, but I haven’t seen many other typefaces capture Caslon’s crispiness. The lowercase is where we can see this precisely in shapes like e, c, b, d, p, q where the weight distribution is asymmetrical is not systematic as other typefaces. The contrast between thick and thin is something special here, and Canela plays with that too. Once talking with Paul [Barnes] about the project he suggested what will happen if Caslon was sans serif. I started playing around with that idea, but I could not find anything interesting. I’ve practiced stone carving as part of my training in Type Media at KABK. During my exploration of terminals and serifs, I came across the idea of trying something inspired by that stone carving experience, and we thought we found something new combining Caslon with this. Canela Italics differed completely from Caslon. The goal for the italics was to find something more appropriate for the Romans. The italic direction was to emphasize the monumental feeling from stone-carved letters.


Graceful display typeface that defies many traditional classifications. Its forms are in an ambiguous space between sans and serif, both soft and sharp, modern yet with roots in.

Roxane Gatau

From the designer:
I had to do a lot of work on it: take some final design decisions, refine the drawings, add weights, extend the character set, and of course do the kerning, etc. I worked on the development with José Scaglione and Veronika Burian of TypeTogether; they were supportive, open, and patient with me. Being a total beginner influenced my decisions on the design. I consider this typeface as a reflection of my learning in the type design field. First, the structure of this family came from my graphic design practice. I wanted to create a typeface I would use in my projects, that’s why I chose to design only four text weights and colorful displays. About the drawings, being a beginner made me draw very spontaneously, and I did a lot of experiments. Every time I was learning something or documenting myself on a particular matter (proportions, italics, etc.), it had an enormous impact on my project and helped it to grow.
I learned with them how to extend a character set, like finding the right proportions for small caps, superiors, inferiors, etc. (those things appear evident to me today, but two years ago I had never done it). Once Regular and Italic were ok, I started to rework the Bold and started the Bold Italic from scratch. After completing the text weights, I could have a bit more fun b reworking the Display weight During the year and half of the development, I would work and then we had Skype meetings where they reviewed what I have done and gave me feedback. It felt like still being at school, which was great because I learned so much. It wasn’t easy every day though, as it was my first typeface, I put a lot of pressure on myself. I wanted it to be perfect like it was the only typeface I would ever draw.


A classy throwback text face with a fearless and venturesome display.

Link to the info on TypeThursday’s website 

Type Thursday is a meet-up for people who like letterforms. We discuss and critique our work in progress and make friends and connections with other people that like graphic design. This is a book about the first year of Type Thursday and it is available at Typethursday.org

When I first met Thomas at a dark, noisy bar in Brooklyn, he just initiated the first type of meeting with some friends of type Cooper that felt the need to keep meeting once a month. Since then, the event has been held at less noisy, brighter bars and studios. And for the last few years, we have been lucky to host it at The NY Type Directors Club, and I have become part of the NY chapter on several projects and, of course, the events.

The idea has also expanded to several cities around the world and each chapter has had monthly events, and we have visited each other.

Julie is an excellent photographer and has made us all look so good in this first-year book:

PDF of my pages

NYC, JANUARY 2017: Anselm Dästner is a New York-based designer and one of the first attendees at TypeThursday. He is from Freiburg, Germany and has lived and worked as a designer in NYC since 1996. He showed me his customized silkscreen process, how he makes the type and lettering work he shows at TypeThursday, at his at-home studio in Manhattan’s Lower East Side; the space he has lived and worked for over 20 years. Anselm’s most prevalent sources of inspiration and perspective come from literature and fine art. He maintains a strong connection to his early design work for local music clubs and enjoys DJ-ing and exploring new genres (in fact, both of his parents were musicians). At home, his daughter Ida, herself a gifted spirit in her own right, is his biggest at-home helper as well as his most bona fide critic. #typethursdaynyc #typethursday #typedesigners #designdocumentary #nycdesigner #nyc #lowereastside @ New York, New York


Sun, April 2 & Sun, April 30
12–3 pm, have coffee
with me and 9 new drawings of NYC
Ninth Street Espresso
(on 10th st btw B & C)
Thanks Mark from Adjacent To Life

It’s with great pleasure that I get to show you my paintings at Ninth Street Espresso. Since they are mostly from around the Lower East Side they fit perfectly into our favorite neighborhood coffee shop and many of my neighbors will pass by them.
I have always been drawing while traveling, and while my daughter was as a baby I found myself walking around the Lower East Side with a baby sling. In it, she was taking afternoon naps and I continued drawing the street corners that we passed.
At night I would continue to color the drawings with watercolor and acrylics. They are often combining 2 parts from different spots. I.e The corner deli is on 2nd ave and the house above it is in Houston. In front of the facades of Broadway is a construction that was for a long time on Houston Street.
The drawings will be up until April 30, 2017.