Calligraphic Fusion
An overview of the design process of Yport; the grotesque typeface with calligraphic expression.
In recent years, I have worked on various projects to create grotesque and serif typefaces.
Each project focused on different aspects and design strategies.
My serif fonts often take inspiration from calligraphy.
My sans-serif typefaces tend to emphasise minimalism and geometric shapes.
The idea of blending a sans-serif typeface with strong calligraphic features fascinated me, so I created Yport.
I started this project without any specific ideas or cultural and historical references.
My primary tool of choice: a broad-nibbed pen
As you can see from the sketches below, I’m not a master calligrapher.
However, I discovered that a basic understanding of calligraphy and a few attempts at its principles were enough for my project.
I started this journey with a broad-nib pen, which let me explore many possibilities.
Over time, I found features that appealed to me.
Adding these unique traits to different shapes required careful attention to detail.
The pen served as a helpful reference, inspiring new ideas while also limiting me due to its physical limitations.
Early sketches were created using a broad-nibbed pen on paper.
After several weeks of experimenting exclusively with the nib pen, I made my first scan.
From that point, I entered a cycle of working between digital and analogue mediums.
At first, my digital versions had high contrast and sharp edges.
I focused on giving this sans-serif typeface a calligraphic feel.
I often start with bold elements when designing, then refine and adjust the shapes until they feel just right.
An early digital iteration of Yport emphasising contrast.
The final version of Yport: balanced and evocative of calligraphy.
Through this process, Yport gradually evolved into a grotesque typeface with a clear calligraphic undercurrent. It now balances restraint and expression, keeping the warmth of the pen while also being conventional enough for broader applications.