Some early sketch of Valpo…

Bold Strokes

The Valpo Typeface at the junction of Calligraphy and Typography

The difference between calligraphy and typography is subtle. While creating the Valpo typeface, I explored this distinction, mainly using a permanent marker. Calligraphy is flexible and can express itself in unique ways depending on the situation. In contrast, typography requires consistency and a clear set of letterforms to accommodate a wide range of letter combinations.

The tool used was the Edding 3300.

My design process started with basic sketches using the Edding 3300. Choosing the right paper was crucial, significantly affecting the calligraphic style and clarity. I moved from open porous paper to a finer, closed surface. This change resulted in sharply defined sketches.

After weeks of experimentation, my alphabet began to take form. The challenge was to turn these lively shapes into clear vectors without losing their dynamic feel. I learned to avoid straight lines; as a result, the typeface has only a few straight lines in its design.

Only a handful of straight lines are used in Valpo’s design.

While converting the drawn shapes to vectors, I improved the monolinear quality to give it a more Grotesk vibe. This led to more uniform shapes, making it a viable typeface. Initially, I saw the first weight, SemiBold, as a standalone design. However, I soon realised the design’s strength allowed for a range from Thin to Black, all connected by its monolinear base.

A scanned drawing serves as the foundation for digitalisation.

The first draft of Valpo refines and streamlines the drawn shapes.

The final version of Valpo retains the marker’s bold character while achieving the uniformity required for it to function as a typeface.

Valpo occupies its own position – it is neither entirely a Grotesk nor solely calligraphic. Its inviting unique forms add personality to both body copy and titles without becoming overwhelming. Crafting Valpo was really about finding a balance between the structured world of typography and the more expressive quality of calligraphy. In its curves you can see those two ways of thinking coming together.

The final typeface is a well-rounded mix, suggesting that the boundaries between calligraphy and typography can be crossed to create something new in the ongoing conversation of type design.

A variable font animation showcases the final version of Valpo