Andreas M. Antonopoulos is a California-based information security expert, tech-entrepreneur and author. He is a host on the Let's Talk Bitcoin podcast and a teaching fellow for the master in science Digital Currencies at the University of Nicosia.
Antonopoulos obtained his degree in Computer Science and Data Communications and Distributed Systems from the University College London. He consulted business on open source and open networks as early as 1990. He has authored more than two hundred articles published in print and syndicated worldwide. As a partner at Nemertes Research, Antonopoulos researched computer security, stating that the greatest threat to computer security was not experienced hackers, but overly complex systems that resulted from rapid change in business.
Antonopoulos is a consultant on several bitcoin-related startups and permanent host of the Let’s Talk Bitcoin podcast. He served as head of the Bitcoin Foundation's anti-poverty committee until 2014, resigning due to disagreements with its management. In a statement explaining the reasons for his resignation, he said "I can no longer have even the smallest association with the Bitcoin Foundation, because of the complete lack of transparency."
Andreas is a humanist seriftypeface designed by Michael Harvey, and licensed from the Adobe Type library. Harvey drew the lettering in 1988 as part of the book-jacket design for James F. Peck's book In the Studios of Paris: William Bouguereau and His American Students, a Yale University Press publication. That lettering became the foundation for the 1986 typeface Andreas.
In keeping with the book's subject, Harvey wanted letterforms that reflected the Art Nouveau period. The letterforms also bear comparison with the condensed, calligraphic thirteenth-century Italian monumental capitals. Due to space constraints, the type had to be narrow enough to allow the title to fit on a single line across the top, so as to not intrude on the Van Gogh painting that filled the rest of the jacket. To accomplish this he drew the letterforms freehand, giving them highly animated organic strokes and narrow character set. He also added distinctive junctions of letter strokes to the D,P, and R. The typeface was drawn in outline, intending to reverse to white, so as to not be overly assertive on the cover.
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