What inspires and influences your work and your professional decisions?
Many things. I’m generally inspired by those designers who look for alternative paths, and create outstanding work from it. Also the lettering in cities, and the vernacular design.
Tell us a bit about your creative process when designing a new typeface.
If it is a commissioned work, I first analyse the briefing and make a proposal for the planning: extension of the character set, special features… etc. Secondly, I sketch my ideas with some key characters, then I present them to the client, and after feedback I start the production of the main character set. I test, test, test, in text, in different layouts, also with the client, and then it is about refinement and production.
Your studio works for clients as well as setting up its own projects. Creatively speaking, how do you manage working within those two different mindsets?
It’s important for me to combine both, as designing type or letterforms for myself is an answer to my own curiosity. When working with clients you respond to another kind of demand, but both boost your creativity.
As an editorial consultant, what is your criteria when recommending type designs for a client’s project?
I always try to recommend the best options according to the briefing. For example, when the budget is decisive, I will choose some and not others.
Are there any projects over the years that have been particularly significant for you? Why, and what did you learn from them?
Yes, Rumba, the typeface family that I developed in Type & Media, was the result of a learning process that was essential for my career. And more recently Qandus Latin, the typeface family I started developing as part of the "Typographic Matchmaking in the Maghrib". That was a project initiated by the Khatt Foundation, consisting of a multi-script typographic system that explores the conceptual relationship between three writing systems: the Arabic, designed by Kristyan Sarkis; the Latin, designed by me; and the Tifinagh, designed by Juan Luis Blanco. The objective is to provide tools to the designers of the region, where the three writing systems coexist, which is the Maghreb.