Developing his own tools, Hoang Dao applied his craftsmanship to the whole range of western letters. His arrangements offer clarity, precision, and a recognition that the hidden life of letters is in the spaces around them.
I started doing calligraphy at 18 while studying economics in college. I wanted to learn graphic design, then realized working on a computer was not for me. I love working by hand, touching and feeling materials.
My grandfather was a master of Chinese calligraphy, and my earliest lessons of calligraphy were from his handwritten notebooks. He started teaching me about craftsmanship when I was very little. I learned
Copperplate, bookbinding, and drawing; I learned to create my own tools and respect the materials around me. Without the tool, the craftsman is non-existent.
Calligraphy is the art of patience. I only feel my skill and ability after a period of time practicing nonstop. It is not just “write,” but also “see.” Calligraphy changed the way I see different art territories, and the way I connect them to my work,
I was fortunate to learn calligraphy from some of the best teachers in the world. My first official calligraphy class was a ten-day workshop of Roman letters, conducted by Margaret Shepherd in 2012. She changed the way I saw and wrote a letter. John Stevens is a master to me. His level of skill is my goal of life. His vision in calligraphy is absorbed perfectly in every single letter; from broad layout to little detail.
For information on individual works, see Hoang’s profile on lettering.com.