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Calligraphy gave me an appreciation for letter form and typography. My art teacher at the American School in London, Suzanne Guest, was an amazing talent who would combine calligraphy and watercolor painting into stunning visual stories. She taught me the beauty and meaning of gesture through line weight and form. Emotion and communication through visual language.


At the Rhode Island School of Design I studied letter form and remember drawing rows and rows of perfectly weighted lines and circles. Studying typography “Swiss style” a graphic design style developed in Switzerland in the 1950’s. We even had to set type on a letterpress, physically setting space between letter forms – hand/eye kerning.


I was privileged to study with Malcolm Greer http://www.mgrear.com/ famous for his visual identity and logo designs – and argue the validity of Optima – explore the interaction of positive and negative form and the strategy behind designing powerful logos and icons.


As a student I worked at Pamela Kuehl’s Design Studio where I learned to spec complex type for annual reports. No computers here! We would get copy and have to figure out word count and line-breaks based on a font family and point size. Then it went to a typesetting house and would come back in galleys to be pasted onto mechanical boards. Corrections were done with precision X-Acto splicing. It was an art.


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