I am a typographer, typeface designer,
and consultant who loves to work with creative projects and teams.
You can find me in my Seattle-based studio, Ana Sofia Type | Design, where I’m designing typefaces, helping clients fine-tune their typographic communication, partnering with entrepreneurs worldwide, and sharing my passions and experiences.
This is my story
Born in Saint Petersburg, Russia, I was raised in Rio de Janeiro, Brazil. Now I live in Seattle, WA, where I specialize in typography, typeface design, and letterpress printing.
My design experience has brought me around the world and down several rabbit holes of specialization, all so that I could discover my true calling: working with the visual form of the language.
After graduating from ESDI (1997), the first design school in Brazil (founded in 1963), I was hired to work at Record
I AM A MULTICULTURAL GLOBETROTTER...
Publishing Group. During a period of six years, I was raised from my initial position as a Trainee Designer to the Design Department Lead. I designed over a hundred book covers and numerous collateral materials, and as my passion and interest to dive deeper into the typographic world grew, I prepared for my next big move.
I started teaching typography in the undergraduate design course of Faculdade Unicarioca in Rio de Janeiro. The experience of teaching university students in design became a challenging and rewarding practice over the next ten years.
After leaving Record, I was accepted into the Master's Program in Arts and Design at PUC University, while also working as an independent designer. During the following years, my business practice expanded into a partnership that created my first design studio, Versalete. I specialized in designing whole book projects, cover and interior, deepening my knowledge and experience on the intricacy of the typography work.
View Boboli project
NEW COUNTRY, NEW JOURNEYS AND DISCOVERIES...
When I moved to my new Seattle home, while looking for my next professional move, I opened an amazing creative door by attending Letterpress courses at the School of Visual Concepts. Printmaking took my relationship with typography to the next level, leading to amazing new partnerships and projects—many of which I have highlighted on this site.
Letterpress practice inspired me to further push my deep passion for typography and start seeking education to specialize in designing fonts.
Since then, I have continuously attended type design conferences, worked with mentors (Ferran Millan 2016/17 and Sumner Stone 2018/19), took workshops and courses like the TDi Type Design Summer Course at the University of Reading (2017), and Type@Cooper course on Type Revivals (2020). This prompted me to design my first typeface, Vine, and initiate other font projects.
AND SUDDENLY, A NEW ERA WAS UPON US...
When the pandemic hit, I had just returned from my first presentation at an international conference since moving to the US. While there, I shared my latest on my Vine typeface.
During Covid's uncertain times, I turned my energy and attention towards my family and my own self-care, as well as towards nurturing meaningful connections and projects at every level of my life.
My type design practice and letterpress projects, like Words of Courage and Celebrating all Types, the ones led by Partners in Print, kept my mind focused and warmed my heart with a sense of purpose.
Commercial projects like CES branding and a redesign for Laura Worthington's Fonts User's Guides (coming soon) kept me engaged, sharp, and confident in investing further in my business.
Partners like Estudio Versalete and Studio Saudade moved me to always give my best and value collaboration in everything I build.
My type design practice and letterpress projects kept my mind focused and warmed my heart with a sense of purpose.
The Historic Stimson–Green Mansion
1204 Minor Ave, Seattle, WA 98101
Sharing my office space with other compassionate women led businesses on the top floor at the historic building of The Stimson-Green Mansion has been another treat and also a privilege. This is a space where several of the projects featured in this site were conceived, and a place I'm thrilled to work from while continuing to connect with partners and friends.
View Equity Project
Presentation at DiaTipo X, 2021
of the presentation
A Digital Typeface for the Reimagined Field of Post Digital Letterpress Printing, 2020
of the presentation
II Seminário Brasileiro sobre o Livro & História Editorial, 2009.
XXIV Simpósio Nacional de História, 2007;
I Seminário Brasileiro sobre o Livro & História Editorial, 2004;
II Congresso da História do Livro e da Leitura no Brasil, 2003;
I Congresso Internacional de Design de Informação – SBDI, 2003;
Post-Digital Letterpress Printing Book of Abstracts / i2ADS – Research Institute in Art, Design and Society University of Porto, Faculty of Fine Arts, 2020 PDLP 2020 Publication.pdf
A Pedra na Praça, de Liev Tolstói, Ana Sofia Mariz & Tatiana Mariz, Gonzalo Cárcamo (ilutr), Rovelle, 2012.
Mariz, Ana Sofia, MD & Cunha Lima, Guilherme, PhD. Editora Civilização Brasileira: novos parâmetros na produção editorial brasileira. In Abreu, Márcia, PhD & Bragança, Aníbal, PhD (Org.) Impresso no Brasil: 200 anos de livros brasileiros", São Paulo. Edusp, 2010 p.253-270
Fábulas, de Liev Tolstói, Ana Sofia Mariz & Tatiana Mariz, Gonzalo Cárcamo (ilutr), Editora Companhia das Letrinhas, 2009.
Mariz, Ana Sofia, MD & Cunha Lima, Guilherme, PhD. Experimentação e técnica: O novo design da brochura nacional no exemplo da editora Civilização Brasileira (1959-1970). In Desígnio Revista de História da Arquitetura e do Urbanismo, published by Faculdade de Arquitetura e Urbanismo/Universidade de São Paulo, 2008. p95-100
Masters Dissertation: MARIZ, Ana Sofia. Civilização Brasileira publishing house: The design of an editorial plan (1959-1970). Rio de Janeiro, 2005. MSc. Dissertation de Mestrado – Departamento de Artes e Design, Pontifícia Universidade Católica do Rio de Janeiro.
Mariz, Ana Sofia, MD & Cunha Lima, Guilherme, PhD A new approach to Brazilian Book Design: the experience of Civilização Brasileira publishing house, 1950-1960. In **Spinillo, Carla, PhD & Coutinho, Solange, PhD Selected Readings of First Information Design International Conference. Recife: The Brazilian Society of Information Design, 2004. p36-44.
Adjunct instructor and lecturer, Cornish College of the Arts, Fall and Spring 2015, Seattle.
Areas of teaching: Instuctor of Typography Practicum course; Lecturer of Typography 2 course.
Professor, Centro Universitário Carioca, 2002–2012, Rio de Janeiro.
Areas of teaching: Typography, Graphic Design, Print Production, and oversaw capstone projects.
Instructor, Faculdades Pestalozzi, Fall 2010, Niterói.
Areas of teaching: book design for post-graduation course in illustration and design.
Contract professor, Universidade Federal do Rio de Janeiro, 2007–2008, Rio de Janeiro.
Taught Typography, Book Design, History of Book Publishing in Brazil
Instructor, workshop courses:
Design of Technical-scientific Books, Departamento Editorial, INCA, Rio de Janeiro, 2009.
A Glimpse at Graphic and Aesthetic Aspects of the Printed Book, II Seminário Brasileiro sobre o Livro & História Editorial, Universidade Federal Fluminense, 2009. Manual of Typographic Styles, Escola Superior de Desenho Industrial, Rio de Janeiro, 200
Mention in the article, "Nothing Impresses Like Letterpress", by John D. Berry, photography by John Lok, Alta Journal. 2021
Businesses part of the Life Span Collective (Stimson-Green Mansion):
Clients, collaborators and orgs: