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Caligo is a typeface based on calligraphy done with a parallel pen. It's classic and elegant with a modern twist,
featur… read more
Caligo is a typeface based on calligraphy done with a parallel pen. It's classic and elegant with a modern twist, featuring flared serifs, lots of ligatures and swashes. It's great for book cover and signage design where beauty and tradition are important. The font can be used for fashion, jewelries, novels, magazines, and many more.
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About the Designer Aron Jancso
Gestalten scouted out the amazingly fresh Hungarian talent Aron Jancso and released his first commercial fonts Ogaki and… read more
Gestalten scouted out the amazingly fresh Hungarian talent Aron Jancso and released his first commercial fonts Ogaki and Sensaway, which became quickly two of the top selling fonts of our foundry.
Jancso who always liked to build, carve wood, and draw since childhood, has grown up to be a real type addict and devotes his time to meticulously drawing and designing letters.
"I'm a freelance designer dealing with graphic and type design. I like to play and experiment, a bit like an explorer or scientist in the visual world. Letters are close to my heart, so most of my time is spent on calligraphy, lettering and various type related projects. I'm fascinated by visual languages of the cultures of the world and their writing systems and how these can be mixed with modern and clean styles."
www.behance.net/milen
More fonts by Aron Jancso
Jancso who always liked to build, carve wood, and draw since childhood, has grown up to be a real type addict and devotes his time to meticulously drawing and designing letters.
"I'm a freelance designer dealing with graphic and type design. I like to play and experiment, a bit like an explorer or scientist in the visual world. Letters are close to my heart, so most of my time is spent on calligraphy, lettering and various type related projects. I'm fascinated by visual languages of the cultures of the world and their writing systems and how these can be mixed with modern and clean styles."
www.behance.net/milen
More fonts by Aron Jancso
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Interview with Aron Jancso
Can you tell us the main approach of Caligo's origin?
I bought my first parallel pen one and a half ye… read more
I bought my first parallel pen one and a half ye… read more
Can you tell us the main approach of Caligo's origin?
I bought my first parallel pen one and a half year ago and made various experiments with it. I started to develop a style that was a classic and simple roman. I also wanted to achieve flared serifs, so I twisted the pen at the start and end of the stems. As the lowercase 'g' is my favorite letter, I made a precise digital version of my sketch. It turned out good and received nice feedbacks. I felt that it has the potential to become a typeface, so as a result, I made the basic roman set.
As we learned, you started with a classic and simple roman shape for the straight letters. How did you then get the spin to design a very unique version of your own Italics, which, in our perspective, has more relation to a script than to a classic Italic?
I never designed a proper italic before, and this was a good opportunity to try my hand at it. I liked how the basic set turned out, but I wasn't completely satisfied. Its ligatures were the extra touch to really set it apart from the crowd. The letters are filled with standard and discretionary ligatures combined with swashes. Some of them also come with 4-letter combinations that make it look like a script in some cases.
Can you tell us a bit more about the usage of the Poster weight versus the Text weights?
I first made the Poster weights as I love huge contrast in stroke width, but I have to admit that it's not functional under 36 point size. The Text weight comes with some contrast but works just fine in 8 points. So you can set a title with the Poster weight and use the Text for body text.
Was it difficult to work on a classical background shape typeface, while your background is actually graffiti handwriting?
Yes, especially for the italics. I never designed true italics before, so I had to do my research on the topic. I enjoyed it and learned a lot–Thanks to this project. I'm sure it will be beneficial for my future projects.
The construction grid follows simply your personal handwriting skills or also has a theoretical basis?
I like the metrics and proportions of modern sans serifs way more than those from the classic calligraphy-based faces. Thus, I decided to go for the more relaxed and even proportions. Most letters have very similar metrics, unlike the narrow lowercase of 'a' or 's' compared to the wide 'o' in old style faces.
What else you do these days?
As a freelancer, I'm doing some client jobs for living, mostly with logos and tees. I designed two NIKE tees this year, an unreadable logo for an audio postproduction studio, and some other stuff I can't talk about yet. I'm doing a lot of experimental calligraphy for fun that serves as a good foundation for my personal development and also attracts some new clients. Besides design work, I've just finished a vintage lightweight racing bicycle restoration project. I Love riding it to explore the city and go on some longer trips. Recently, I had a really nice family exhibition with my two little brothers and two cousins; everyone of us is doing some kind of art. I'm lucky that I have such a supportive and inspiring family.
I bought my first parallel pen one and a half year ago and made various experiments with it. I started to develop a style that was a classic and simple roman. I also wanted to achieve flared serifs, so I twisted the pen at the start and end of the stems. As the lowercase 'g' is my favorite letter, I made a precise digital version of my sketch. It turned out good and received nice feedbacks. I felt that it has the potential to become a typeface, so as a result, I made the basic roman set.
As we learned, you started with a classic and simple roman shape for the straight letters. How did you then get the spin to design a very unique version of your own Italics, which, in our perspective, has more relation to a script than to a classic Italic?
I never designed a proper italic before, and this was a good opportunity to try my hand at it. I liked how the basic set turned out, but I wasn't completely satisfied. Its ligatures were the extra touch to really set it apart from the crowd. The letters are filled with standard and discretionary ligatures combined with swashes. Some of them also come with 4-letter combinations that make it look like a script in some cases.
Can you tell us a bit more about the usage of the Poster weight versus the Text weights?
I first made the Poster weights as I love huge contrast in stroke width, but I have to admit that it's not functional under 36 point size. The Text weight comes with some contrast but works just fine in 8 points. So you can set a title with the Poster weight and use the Text for body text.
Was it difficult to work on a classical background shape typeface, while your background is actually graffiti handwriting?
Yes, especially for the italics. I never designed true italics before, so I had to do my research on the topic. I enjoyed it and learned a lot–Thanks to this project. I'm sure it will be beneficial for my future projects.
The construction grid follows simply your personal handwriting skills or also has a theoretical basis?
I like the metrics and proportions of modern sans serifs way more than those from the classic calligraphy-based faces. Thus, I decided to go for the more relaxed and even proportions. Most letters have very similar metrics, unlike the narrow lowercase of 'a' or 's' compared to the wide 'o' in old style faces.
What else you do these days?
As a freelancer, I'm doing some client jobs for living, mostly with logos and tees. I designed two NIKE tees this year, an unreadable logo for an audio postproduction studio, and some other stuff I can't talk about yet. I'm doing a lot of experimental calligraphy for fun that serves as a good foundation for my personal development and also attracts some new clients. Besides design work, I've just finished a vintage lightweight racing bicycle restoration project. I Love riding it to explore the city and go on some longer trips. Recently, I had a really nice family exhibition with my two little brothers and two cousins; everyone of us is doing some kind of art. I'm lucky that I have such a supportive and inspiring family.
