Toshi Omagari is an Advanced Typeface Designer at Monotype, based in London, UK. He studied typography and typeface design at Musashino Art University in Tokyo where he graduated in 2008, and went on to join MA in typeface design at University of Reading in 2011. Since he joined Monotype, he has released typefaces such as Metro Nova and Neue Haas Unica, while also working on custom typefaces for clients such as H&M and Sir Quentin Blake. He has also been involved in many aspects of multilingual typography and font development, including typefaces on various scripts including Greek, Cyrillic, Mongolian, and Tibetan.
His typefaces were awarded the Type Directors Club in New York in 2013 (with Metro Nova), Modern Cyrillic in 2014 (with Marco Cyrillic), and European Design Award in 2016 (bronze, with Cowhand).
Abstract: Limitation is a fantastic ingredient for creativity. In the early days of video games, you did not have a luxury to use retail fonts on screen and developers had to make their own in a pixel grid of multiples of 4, the most common being 8*8 pixels in monospace letter width. While it may sound very restricting for a professional type designer, you will be proven absolutely wrong by the incredible range of creativity in the arcade games from the ’80s and ’90s. This talk is going to be a slideshow of the very best fonts I gathered from more than 8000 arcade games.