B.A., Amherst College
M.A., Ph.D., Rutgers University
Specialization: Modern art, design, and aesthetics
Craig Eliason’s current research focuses on the history of typography and type design. He is developing a history of the labels used to classify printing types in the modern period. His earlier research investigated the theoretical and practical relationships between the Dada and Constructivist movements in the 1920's, particularly in the career of Dutch artist Theo van Doesburg.
“Roger Excoffon et la Fonderie Olive by Sandra Chamaret, Julien Gineste, and Sébastien Morlighem” [book review] Design and Culture 4 no. 2 (July 2012): 254-256.
“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 (2010): 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.
“De conferenties van 1922: Tristan Tzara als Van Doesburgs saboteur” [The Conferences of 1922: Tristan Tzara as Van Doesburg's Saboteur], Jong Holland (The Hague) 16 no. 2 (Spring 2000), 31–37, 66–67.
Published typeface designs
Ambicase Modern, produced by Teeline Fonts, distributed by FontShop and MyFonts, 2010.
Ambicase Fatface, produced by Teeline Fonts, distributed by FontShop and MyFonts, 2011.
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
“Renovation: UST Chapels After Sacrosanctum Concilium.”
OEC Lobby Gallery, University of St. Thomas, October 11-31, 2003
Recent fellowships and grants
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
Recent conference presentations
Association Typographique Internationale (ATypI)
“The History of ‘Humanist’ Types"
College Art Association
New York, 2013
“Typeface Classification and the Chinese Encyclopedia of Borges"
"Putting Design in Boxes: The Problem of Taxonomy" panel chair
American Printing History Association
“Inventing ‘Ambicase’ Letters"
“Students as Rasterizers"
Los Angeles, CA, 2010
“Type History in Transition: The Emergence of the 'Transitional' Label for Type Designs”
Atlanta, GA, 2009
“Why ‘Humanist’ Type?”
Modernist Studies Association
Long Beach, CA, 2007
“Eric Gill and the Humanist Sans-Serif: For and Against Modernism”
College Art Association Annual Meeting
New York, NY, 2007
“Building an Understanding of Architectural History”
University of St. Thomas, St. Paul, MN, 2011
“Painting in the United States”
Minnesota Center for Book Arts, Minneapolis, MN, 2011
“Classifying Printing Types: Maximilien Vox and the Power of Suggestion"
Design Lecture Series
University of Texas, Austin, TX, 2010
“Classifying Printing Types: Maximilien Vox and the Power of Suggestion”
Book Arts Roundtable
Minnesota Center for Book Arts, Minneapolis, MN, 2008
“The Place of Letters”
ACTC Art History Symposium
Associated Colleges of the Twin Cities, St. Paul, MN, 2008
“Equivocally Modern Letters: Gill Sans and the Origin of the Humanist Sans Serif”