Notice: Provisional page to be updated soon
This module provides a deep understanding of the historical context and theoretical frameworks that shape contemporary type design, providing a deep understanding of the historical context and theoretical frameworks that shape contemporary type design.
We explore the foundational theories and approaches for the development of type design Using Cristobál Henestrosa, Laura Meseguer and José Scaglione approach. We touch on Gerrit Noordzij’s Theory of the Stroke and Gerard Unger’s research and development innovative methods and we briefly explore some of the most influential designs of the past 500 years, guided by Paul McNeil’s influential design selection.
We provide hands-on writing and calligraphy training focusing on perceiving the necessary elements of the Latin alphabet. Namely the letter’s proportions, structure(s), groups, individual ductus and spacing. Mainly a practice-based module, informed by Claude Mediavilla and Hans Edouard Maier history on writing. Students develop essential calligraphic skills using a broad nib pen, informed by the methods of Sheila Waters, Christopher Haanes and Tom Perkins. It provides a solid foundation for creating well-balanced lettering and design solutions. It is not a fully developed calligraphy module, nor it intends to train calligraphers. Although it is expected for students to perceive the value of mastering this craft and to further develop their manual skill set as it not only trains the eye, but also helps them become better typographers and type designers.
Module 01: Induction — Structure, Contrast & Rhythm
The Induction module trains visual acuity—the “third eye”—for the underlying skeleton, stroke modulation, and negative space of Roman capitals. Rather than treating letters as static typographic outlines, this module approaches letterforms as physical memories of motion.
Students progress systematically through four distinct phases:
- Skeleton & Negative Space: Isolating monoline proportions, formal groups, and inter-letter rhythm (or purely abstract stroke sequences).
- Duoline & Broad-Nib Capitals: Introducing stroke contrast, expansion, pen angle, and historical ductus with broad-edged instruments.
- Serif & Terminal Dynamics: Transitioning from monoline/fleshed-out stems to brackets, serifs, and anatomical variations.
- Lettering Composition: Applying acquired principles of rhythm, spacing, and personal stylistic variation to a finished lettering display piece.
Context: Origin & Revivals of the Roman Capital
A historical overview exploring the 2,000-year evolution of classical capitals—from archaic Greek/Etruscan roots and Imperial monuments (Trajan) through Carolingian, Renaissance, 20th-century revivals, and contemporary digital type.
Exercise 01: Skeleton Roman Capitals
An exploration of classical inscriptional proportions. Working with monoline pencil drawing across geometric formal groups (5 cm) and spacing strings with control characters (2.5 cm) to calibrate rhythm and optical counterspace.
Exercise 01b (extra optional exercise): Inge Lines & Stroke Characteristics
A purely abstract perceptual exercise based on Inge Druckrey and André Gürtler. Bypasses typographic semantics through “press & release” line modulations and pseudo-character compositions to train pure optical spacing and rhythm.
Exercise 02: Broad-Nib Fleshed Capitals (Coming soon)
Translating monoline ductus into calligraphic contrast and weight distributions using broad-edged pens (Parallel Pen).
Exercise 03: Lettering Exploration & Composition (Coming soon)
Expanding skeletal and duoline structures into personal lettering interpretations, progressing through serifs, weight shifts, and cohesive typographic compositions.
This page was compiled and edited with research and editorial assistance from Google Gemini Pro, 3.8 Flash (September 2026).