Q: How did designing multiple scripts at the same within one project influence your workflow and/or design thinking?

A: At the initial stage it was a challenge as I had started designing all scripts simultaneously. At some point I did notice that they had influenced each other e.g., my Greek had a big influence on my Latin especially in the treatment of the stems. The Cyrillic followed the principles of the Latin to the point that, when I could test both scripts in the paragraph and see the actual texture of text, I decided to continue developing the Cyrillic in its own way so as to follow its own characteristics of spacing, rhythm and pace. Arabic was the tricky one. I could match the proportions however, shaping the characters had to follow the philosophy behind the type family rather than borrowing elements from other scripts.

Q: What is something you did (or you wish you had done/known) in preparation for the course that ended up being helpful during the development of the typeface?

A: If I could prepare myself better for the program I would definitely try to design some Arabic by myself before, in order to familiarise myself with the script, understand some basic logic behind it and gain some confidence in the next projects.

Q: Aside from producing new typefaces, what are some other ways in which you hope to contribute to type design and the wider design community?

A: Actually I believe in design as a tool for identity, not in the branding sense, rather in the cultural and geographical sense, a tool that could bring communities together and celebrate local culture and unique voices, similarly to local food, craft or music. Maybe it is a big statement but I would like to be able to contribute something to the variety of these voices.

Q: Were you inspired by any particular writing tool or typographic style?

A: Not really. In my case, rather than following a specific writing tool or a historical model, my typeface takes inspiration from different places in order to fulfil its purpose.