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My connection to Eras® comes from a specific time and place. In Guadalajara, in the late ’80s and early ’90s, it became part of the sign painting world largely through Mecanorma® Graphic Book catalogs.

Padova is one of those projects that begin with a clear premise but gradually lose direction. You start with a solid idea, but then get distracted by things that don’t really matter. You sense something’s not quite right, you ignore it, the process gets stuck, and eventually, you abandon it.

This project has been a bumpy road, full of ups and downs. The idea first emerged in 2015 with the goal of designing a personal typeface that paid homage to the casual brush letters and reflected my fascination with sign painting.

Back in 2016, I attended a workshop with Carl Rohrs that really stuck with me. We explored the close relationship between typography and calligraphy—how they’ve influenced each other over time and evolved together. That experience sparked a deep dive into brush calligraphy, where I started breaking down how speed, slant, and modulation shape letterforms. As I worked through different exercises, certain strokes stood out—they had something special, something worth exploring further.

The idea for Luska originated in 2021 during a Typecooker session from the Letrastica Comunidad, using a recipe created by Javier Alcaraz. The recipe suggested letters with low contrast, very expanded shapes, and tuscan serifs.