Tell us a little bit about your practice as a maker.

I’ve been a graphic designer for over 25 years. Early in my career, I realized that relying solely on work to fulfill all my creative needs would eventually lead to frustration. So, I began seeking creative outlets on the side—taking workshops in lettering, typography, letterpress printing, creative coding, watercolor painting, pottery, sign painting, calligraphy, even cooking and baking. These practices have given me space to explore without the constraints of a client brief and have strengthened the coordination between my hand, eye, and mind. Most importantly, I pursue them because they make me happy.

With calligraphy, it wasn’t until 2020—during the pandemic lockdowns—that I began practicing it in earnest. The surge of online classes from teachers around the world made it easy to learn from home. What drew me to it was the tactile nature of the process: holding the writing tools in my hands and making letters appear instantly on paper—so different from graphic design, where I mostly work through a computer to create compositions that end up living in a digital universe.

I see a dual nature in calligraphy that is compelling: the discipline of tradition—studying historical scripts and mastering centuries-old forms—and the freedom of expression, using letterforms as a vehicle for fine art and personal exploration.

Freedom Art Book| © Gaston Yagmourian