NaN’s calligraphic serif typeface NaN Tragedy captures the contrast between classic and digital

From the mind of French type designer J.B Morizot, NaN's striking serif NaN Tragedy mixes sci-fi spirit with fantastical expression; embodying the contrast between classic calligraphy and digital vector graphics. Following the length and visual weight of a classic serif, Morizot tells us how the typeface’s architecture systematically explores the concept on which it is based. “The connection between the head and the main body of the letterforms uses a subtle calligraphic modulation around a very unusual and contemporary shape,” he explains, “with the idea of balancing the two.” With so much variety across its extensive family – where exaggerated and expressive forms erupt from italic cuts, while delicate moments are found within its lighter weights - NaN Tragedy’s story is made all the more compelling through the permanent nature of its inspiration. “Stone carving was really important for NaN Tragedy,” Morizot tells us, introducing “visible traces of tools on the stone” within the minute architecture of its letterforms. “I wrap up vectors upon this skeleton I imagined in my head while looking at these letters,” he recalls, further noting the significance of Greek calligraphy within the typeface. “I wanted to reproduce this very specific texture in a Latin typeface,” Morizot explains. “It's not a copy/paste of Greek rhythm of course,” he adds, “but I let the typeface be influenced by it.” Pushing these intricate considerations to the max across the breadth of the family led to the creation of NaN Tragedy Display, alongside its standard text counterpart. “The Display version follows obvious optical modifications,” Morizot explains, noting the greater scale of the letters demanding a narrower frame. “The contrast can be increased because the issue of small sizes doesn't exist anymore,” he adds, “but the most important thing is you can allow yourself to be more bold and crazy,” distilling the true wild nature of the typeface. “All the adaptations you have to make on a text typeface in order to have a readable typeface,” he recalls, “are just pointless.”