BLIAN is a display type system that explores the calligraphic principles that are deeply rooted in all type principles.
After exploring different ideas I decided to focus on taming some of the wild brush expressions I was exploring before and developed an experimental variable display type system.
BLIAN started as a pattern script typeface that follows a cursive, flowing and organic but broken construction, enclosed in itself. The system works as variable fonts that grow in weight.
Throughout the ideation process, I exhausted different contemporary and conventional ideas, a few of them shown below, tried some approaches for finding a good balance between legibility and illegibility and I am still curious about expanding the design space further.
BLIAN started as a pattern script typeface that follows a cursive, flowing and organic but broken construction, enclosed in itself. The system works as variable fonts that grow in weight.
Throughout the ideation process, I exhausted different contemporary and conventional ideas, a few of them shown below, tried some approaches for finding a good balance between legibility and illegibility and I am still curious about expanding the design space further.
The start of the process originated with formality. At first, I was interested in exploring the limits of the cursive calligraphic principle and all its intricacy.
How complex or simple could we go, with the cursive construction
I. formal, looping cursive direction. broad-nib pen
The initial vectoring experience lead to some expected, less exciting results.
I was intrigued to find an organic and contemporary approach to my concept, so I kept experimenting with the brush rotation and the applied pressure while preserving the single movement cursive construction principle.
At the first stages of the process, a good amount of inspiration was taken from the cursive construction of the Fraktur and the German typography.
Looking at the visual output of my brush experimentations, I found myself curious to explore the idea of a pattern-like typeface. For a short while I was also exploring and matching a few different design principles, using the typecooking principles.
Creating a monospaced pattern-like script typeface that connects vertically and horizontally provided a huge fascination for me but the complexity and the time restriction made me defer from this idea.
Improving the legibility by simplifying the skeleton
Varying contrast and vertical connections
Fast sketching of design space concepts. Variable vertical proportions, high to low contrast, roman to italic axis
Sketching the capitals
Fast sketching of the capitals, in Procreate. For testing
Fast sketching the lowercase letters, in Procreate. For testing
Testing times
Testing the initial construction lead to new considerations, on the construction, and some details, such as the serifs.
Digital sketching and further refinements
SKETCHING AND TESTING THE LIMITS OF THE WEIGHT AXIS. CAPITALS. A-Z
SKETCHING AND TESTING THE LIMITS OF THE WEIGHT AXIS. LOWERCASE A-Z
SKETCHING IN GLYPHS. TESTING INTERPOLATION
