From creating meaningful impact to exploring new ways to bring type to life, Tasos Varipatis is gaining attention in the field of type design. With skills across integrated typographic systems, Greek and Cyrillic scripts, and a passion for exploring emerging variable font technologies, we delve into the mind behind the lines of Tasos Varipatis—a senior type designer at The Northern Block.

Introducing Tasos

Tasos Varipatis is a boundary-pushing, creative type designer with an enviable reputation for producing meaningful and impactful typefaces. His specialism lies in creating integrated typographic systems, Greek and Cyrillic scripts, and he loves to explore emerging variable font technologies to bring type design to life.

How did you get into typography?

I am a creative with a passion for art and design and have always been drawn to the world of graphic design and architecture. Given my love of language and the written word, it’s no surprise that I have developed a deep passion for letterforms and shapes, and find the challenge of creating typefaces that impact on conveying meaning and emotion fascinating.

Following graduation from Middlesex University of London, I had the opportunity to work with Greek calligraphy from the 1950s–70s, which sparked my deep appreciation for the art of typography. From here on, I knew that I wanted to push boundaries through technology to create beautiful, functional typefaces that are a pleasure to use and add voice and personality to written text.

Where does your passion for typography lie?

In addition to the practical aspects of type design, I have a strong appreciation for the history and evolution of typography. I find it fascinating to learn about different type designers and movements that have shaped the field over the years, and I’m always looking for ways to bring these influences into my work, with the desire to make a meaningful contribution to the field.

My focus as a type designer lies in the design of Greek and Cyrillic scripts, and it’s in this area where I have developed a specialised skill set in creating integrated typographic systems. I am also attracted to using emerging variable font technologies to explore new and creative ways of bringing my designs to life. I find great enjoyment in using Python to code and refine my typefaces to the highest level of excellence.

One area of work I particularly enjoyed was on a brief to revive the art of Greek calligraphy, where my contribution lay with the design and digitisation of “CF Splendid”, a beautiful handwritten script font. This font has become one of my most distinctive and memorable creations.

Another highlight was the development of “PF Grand Gothik”, the world’s first commercial variable font. The brief was to develop a postmodern, multi-script, multifaceted type system that paid homage to the evolution of grotesque typefaces. It was an honour to be a part of such a ground-breaking project, where I could push the boundaries of typography to create a meaningful and impactful design.

Tell us about your background: Where did you grow up and train?

I was born in 1988 in Zakynthos, a Greek island with a rich cultural history, so from a young age, I was drawn to art and design. I enrolled at AKTO Art and Design College in Athens, where I learned from some of the best professionals in the industry.

During my time at AKTO, I was exposed to a wide range of design techniques and theories that developed my strong interest in typography and type design. I was particularly inspired by the work of designers Jan Tschichold, Neville Brody, and the writings of Sarah Hyndman. Her books on the psychological effects of typefaces and the power of the written word have had a profound impact on my understanding of typography and its role in design. In addition, the work of Müller-Brockmann and his contributions to the Swiss Style of graphic design has also influenced my approach to design.

Let’s talk about your style: How would you describe your work? What kind of work sets you apart?

I would describe my work as elaborate and unique. I take great care in the design process, focusing on intricate details and nuances of each typeface that I create. I am also very precise with my work and ensure that each typeface I create is fully functional yet aesthetically pleasing. I enjoy creating elegant, beautiful and timeless type that has soul, and I take great care in the design process to bring my unique and truly special style to my work. As a result, my typefaces can effectively be used to enhance a wide range of design projects.

Are there any recurring themes, or do you have a particular style that shines through your work?

I often focus on creating typefaces with a strong sense of character and personality, so I aim to imbue each of my typefaces with its own unique style and voice, which I believe helps to make them stand out and have a lasting impact on the viewer. I also prioritise the creation of typefaces that are highly functional and can be used effectively in a wide range of design projects, such as my latest creation—Angusta for The Northern Block. I believe in the combination of character and functionality. It’s key to creating typefaces that are practical for use in real-world design projects.

What makes a project exciting to you?

A project becomes exciting to me when it allows me to push the boundaries of my design skills and where I can explore new techniques and technologies. I also find projects that have a clear purpose or message, with the opportunity to create meaningful impact on the viewer, to be particularly exciting. I enjoy working on projects that challenge me to think creatively and produce innovative solutions to the brief.

Where do you find your inspiration?

I find inspiration for my type design projects through art, literature and everyday life. I don’t just research for inspiration; much of it comes to me through observation and the impulse to experiment.

I am particularly interested in exploring historical and cultural influences in my work, and I enjoy researching the design styles and techniques of the past and finding ways to incorporate these elements into my contemporary designs of the future. I am also inspired by the work of other type designers, both past and present, and enjoy learning from and being influenced by their approaches and styles.

Overall, inspiration can come from anywhere, and I keep an open mind to new ideas and approaches that can help me to create distinctive and meaningful designs.

Who are some of your favourite designers or artists?

There are so many designers and artists who inspire me in my work. Some of my favourites include Paula Scher, Jessica Walsh and David Carson. As a Greek designer, I am particularly inspired by the work of classic Greek artists and designers like Yiannis Moralis, Takis Katsoulidis, Freddie Carabott, Stergios Delialis and George Vakirtzis. They have made significant contributions and have had a major impact on the Greek design field.

I also admire the work of typographers Jan Tschichold and Matthew Carter—both have unique characteristics and distinctive approaches to design, and I find their work incredibly inspiring. I am also a fan of contemporary type designers like Alessio D’ Ellena and Valerio Monopoly, who are pushing the boundaries and experimenting with new ideas in the field.

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