Describe your design process to us—how did the typeface start to take shape?
The first part of the process was determined by the assignment itself, so the different steps to follow were quite precise: the first step was to sketch, by doing calligraphy. The idea at this stage was to design some letters, and then quite quickly some words, in order to find an interesting texture to develop. I lost most of my sketches during my several moves between Paris, The Hague and Amsterdam, but thankfully my work for the second step—hand drawing letters and digital sketches—wasn’t lost, so I could keep referring back to it throughout the whole process. The light aspect of the typeface was determined by this first step of calligraphy, and especially by the tools I chose to work with: I mostly used the thinnest calligraphy pen I had, and an english calligraphy nib.
After this short period of research, I started an internship at Atelier Roosje Klap which lasted for almost six months. After that, I had the opportunity (thanks to Roosje, co-head of the department together with Niels Schrader) to do an exchange at KABK, the Royal Academy of Art in The Hague, in the Graphic Design department. During this time—about a year—I kept on working here and there on Tacite, but because of the situation, the project developed further away from its original purpose and became something more and more personal. Surprisingly, even though I didn’t really think anymore about the original assignment, I was still obsessed with the idea of duality that the Cruijff portrait inspired. Retrospectively, I think the early version of Tacite was way too aggressive, and only reflected a minor part of my intention. With the time, I wanted to make it a bit more easy to use, and also more nuanced.