“Auriol as a Text Typeface: An Early Twentieth-Century Challenge to the Conventionality of Book Typography.” Printing History new series no. 35 (Summer 2024): 27–47.
“Type Design in the Museum: Acquiring the Immaterial.” Typographica. https://typographica.org/on-typography/type-design-in-the-museum-acquiring-the-immaterial/ (posted April 15, 2021).
“‘Transitional’ Typefaces: The History of a Typefounding Classification,” Design Issues 31 no. 4 (Autumn 2015): 30–43.
“A History of the ‘Humanist’ Type Classification,” Printing History new series no. 18 (July 2015): 3–26.
“Roger Excoffon et la Fonderie Olive by Sandra Chamaret, Julien Gineste, and Sébastien Morlighem” [book review] Design and Culture 4 no. 2 (July 2012): 254–56.
“Uppercase, Lowercase, Unicase: The Making of Ambicase Modern,” Codex: The Journal of Typography no. 1 (Spring 2011): 94–105.
“Adrian Frutiger Typefaces: The Complete Works by Heidrun Osterer and Philipp Stamm; José Mendoza y Almeida by Martin Majoor and Sébastien Morlighem” [book review] Design and Culture 3 no. 1 (March 2011): 130–33.
“‘All the Serious Men are Sick’: Van Doesburg, Mondrian, and Dada,” Simiolus 34 no. 1 (2009–2010): 50–55.
“Theo van Doesburg: Italian Futurist?” In The Low Countries: Crossroads of Cultures, ed. Ton Broos, Margriet Bruyn Lacy, and Thomas F. Shannon (Münster: Nodus, 2006), 47–56.
“Manifestoes by Mail: Postcards from the Theo van Doesburg Correspondence,” Visual Resources, 17 no. 4 (Dec. 2001): 449–458.
The Craft, Texture, and Aesthetics of Letter Forms from Antiquity to the Present
Cambridge, UK, 2025
“Embroidered Samplers Then, Graffiti Throwups Now: The Forces Shaping Lettering Beyond Pen and Type”
American Printing History Association
Austin, TX, 2023
“A Forgotten Purpose: Auriol as a Text Typeface”
International Conference on Typography & Visual Communication
Thessaloniki, Greece, 2022
“Auriol Before and After the Great War”
College Art Association
Chicago, 2020
“Giambattista Bodoni’s Abstract Types: The Role of ‘Exotic’ Writing Systems”
TypeCon2019
Minneapolis, 2019
“Teaching Type Design to Non-Designers: Lessons Learned”
Association Typographique Internationale (ATypI)
Antwerp, Belgium 2018
“Didot and Fashion: Idealization in Historical Contexts”
College Art Association
New York, 2017
“MoMA and the Accession of Digital Type Designs”
Association Typographique Internationale (ATypI)
Amsterdam, 2013
“The History of ‘Humanist’ Types”
American Printing History Association
Chicago, 2012
“Inventing ‘Ambicase’ Letters”
TypeCon2012
Milwaukee, 2012
“Students as Rasterizers”
TypeCon2010
Los Angeles, 2010
“Type History in Transition: The Emergence of the ‘Transitional’ Label for Type Designs”
Modernist Studies Association
Long Beach, CA, 2007
“Eric Gill and the Humanist Sans-Serif: For and Against Modernism”
“Founding Zero.” Harry Ransom Center for the Humanities, University of Texas, Austin, October-November, 2010
“Face the Nation: How National Identity Shaped Modern Typeface Design.” Minnesota Center for Book Arts, Minneapolis, July 12–September 21, 2008
Fillmore typeface design chosen as Font of the Year, 2025
American Printing History Association
Mark Samuels Lasner Fellowship, 2025
Morisawa Type Design Competition, Tokyo
Honorable Mention, Kyoot typeface design, 2024
Society of Typographic Arts, Chicago
STA 100, Feneon typeface design, 2021
National Endowment for the Humanities
Summer Institute Fellowship, 2020
Morisawa.Type Design Competition, Tokyo
Honorable Mention, Backflip typeface design, 2014
Gutenberg Museum, Mainz
Ambicase Fatface typeface chosen for "Call for Type: NeueSchriften/New Typefaces" exhibition, 2013
Harry Ransom Center, University of Texas
Limited Editions Club Endowment Fellowship, 2009–10
Houghton Library, Harvard University
Katherine F. Pantzer Jr. Fellowship in Descriptive Bibliography, 2009–10