Armand Mevis: That gave us the idea that maybe the typeface itself could evolve from a very square-based font into a much more conventional font where the shapes are round, and more how we actually see them. So there are in the end six versions, which are actually step-by-step, going from a basic square kind of font, into a slowly more round-shaped font.

Linda van Deursen: So it's derived from a very small unit. And the first typeface, the first version, is built on two units of this kind of thing. And then every other typeface, the units are increased, which allows the typeface to become more traditional, or more conventional. So the first ones are quite rough and playful. And the second ones—let's say, the ones that follow are more articulated, and more similar to recognizable and traditional typefaces.

What makes this font really unique is that it's not derived from classical forms, but it's really derived from building blocks. So it's a completely different approach in how to develop typography. Normally you'd start with classical and very well-known things, and reshape them basically. But this is a completely different thing. It's really starting from playing around with one shape. And this one shape is the basis of every single letter. And that to us is a really interesting thing to approach typography from.