During the late eighteenth, and the early nineteenth century, many posters, and newspapers, were using display faces for major impact. Either ornamental, or decorative, to evoke a specific environment.

I stumbled across many newspapers. But there was one in particular that caught my eye. This letterhead was different from what I seen before. I asked myself what it was?

I could see that the letters from the first print were printed from wood type. Probably tailored for the local paper. The stress was horizontal. It was shaped in a triangle. The second was concave. Upon research, I discovered that during Instrial Revolution these kind of experiments were made. Among many authors, I came across William Caslon, Débereny et Peignot, and Rob Roy Kelly.

I could see that the letters were cutted mechanically. I missed some charm. More fluid. My question was: what if I could calligraph these letters? How could I systematize the structure, and the styles? Can I draw romans, and italics?

The process started with the structure. I needed to see how the skeleton could behave, or with the romans, or with the italics. Also, I had to prevent collisions between horizontal strokes.

Only after this, I began designing the serif variations: the egyptian, the wedge, among others.

Also, I tried to explore multiple weights. But I wasn't felling happy with it. The serifs needed to be worked. And the contrast too.