The Retros typeface was designed to unite two distinct lettering styles: the fluid, contrasting strokes of broad-nib brush calligraphy and the sharp, precise lines of chiseled stone carving. This font merges the softness of a brush gliding over paper with the strength and precision of a chisel carving into stone, blending these two elements into its elegant curves.
The bold contrast was gently reduced to achieve a more natural look, similar to that of a broad-nib pen. The character proportions were inspired by the calligraphy of East German, Hungarian, and Bulgarian artists of the 1960s, as well as modern English calligraphy. In addition, inscriptions carved on tombstones near Karl Marx’s grave in Highgate Cemetery, London, influenced the design. This diverse mix led the author to experiment with various forms of dynamic and expressive strokes.
As a result, a closer look at the typeface evokes two simultaneous feelings: its letters appear both stone-carved and delicately written. The well-tempered proportions and rhythm of the typeface provide clear readability and a certain brightness to its monumental letterforms. Additionally, the font includes dozens of ligatures and stylistic alternates, adding even more versatility to its design.
After practicing with broad-nib brushes and pens, I decided to experiment with rapid, unconscious writing, limiting myself to just half a minute for each composition. To my surprise, I wanted to keep every single sheet, but I saved only one: ARS EST CELARE ARTEM. For a long time, this sheet of paper hung unframed, masking wallpaper defects in a rented apartment. The playful contrast between the letters reminded me of Ottepel-era book calligraphy and, at times, of things seemingly unrelated to the art of writing: cool jazz, Luis Buñuel’s montage techniques, and the stems of wine glasses. In other words, it evoked a sense of spectacular rhythm.
