My initial motivation in learning lettering was to be able to create perfect, elaborate, admiration-inducing letters. In 2011 I completed a type design masters at EINA school in Barcelona, which also opened up the world of calligraphy and lettering in all sorts of styles for me. I ended up loving the brush. I wasn’t too good at first but after additional workshops, reference books —Brush Lettering: An Instructional Manual of Western Brush Lettering by Marilyn Reaves was particularly helpful— and hours of after-work practice, I finally tamed it. I even gave a brush lettering class. I felt pretty good about it. Then… I felt stuck. Most of what I was achieving was by the book but somehow felt bland and impersonal.
When man resolved to imitate walking,
he invented the wheel, which does not look like a leg.
A couple of years ago, I had the honor of presenting a lecture at Columbia University regarding my research on Venezuelan editorial design and a draft of research on its book history. It is no coincidence that I live in New York now since Venezuela’s editorial design began here, where Francisco de Miranda, one of Venezuela’s founding figures, managed to get a press assembled and took it to Venezuela in the early 1800s.