Introduce the Kembol font, this font is perfect for you to use in a variety of visual projects, use a unique combination of type designs to create a beautiful and captivating visual impression. This is a quirky and cute font that includes lots of fun and creative touches. The result will be a great reminder that can be used in any design project you want. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

AMARETTO, inspired by classic structure of italics, as an original variation of vertical style. Ludovico Arrighi has given us the legacy of classical calligraphic structures that times later lays the foundations of Cancelleresca style and then, the italics as extension of a classic roman serif used in the Renaissance, as main typographic way of expression in Italian printed books. The name Amaretto reminds one of the most representative and delicious liqueur as strong distinctive Italian taste. AMARETTO can be used mainly in titles, long and display texts. Supports East Europe languages. Includes standard and discretionary ligatures, complete small caps, old style numbers, fractions, numerators and denominators and several OpenType features included.

Caturrita is a versatile family for use in both long texts, and can be used in titles. The characters have fluidity, contemplating the principle of continuity. It has structural strength of the glyphs to be drawn by considering aspects calligraphy. The name comes from the similarity between the characteristics of the bird well known in southern Brazil: drawing the loose, fluid that resembles a flying bird. Moreover, a clear reminder that some of the glyphs are the serifs beak of the animal. Prize Winner Bornancini - Porto Alegre RS - Academic Category Selected Project Muestra de Estudiantes for the Ibero-American Biennial of Design - Madrid - Spain

Railhead is a revival of an 1870s type style that was originally available from both the Bruce foundry in New York and James Conner's Sons type foundry. The Redux version is the original design but only the uppercase and punctuation were ever created the rest of this font design including numbers, accented characters and lowercase are of my own design. Looking at the original font the inside rails reminded me of a railroad so I created a new version by adding horizontal lines in the lower portion of each letter which resemble railroad ties and Railhead seemed to be the most logical name for this old revival.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Mina Chic is fresh, elegant and sexy. She was raised by the french riviera sun, loves watching Nouvelle Vague films and adores french pop divas from the 60´s. She wants to be a star! Mina Chicis a new version of one of our most popular scripts,Mina. We added some expansion on the strokes reminding of a pointed nib pen writing and kept the long connections and smooth swashes to preserve the elegance and simplicity of that classic style. This typeface contains 515 glyphs, swashes, ligatures, alternates, final forms and initial forms and offers a wide range of flexibility with its many Opentype features! Mina Chic Extra has an extra thicker strokes who gives more weight to Mina.

Presenting Thorletto! Created with the influence of the background story of the great franchise Fast and Furious, this font are meant to remind you to not give up, be brave, do your best, fight the good fight and fight for the best thing(s) in your life. This unique font characterized by its stroke of brush on every glyph, it made intentionally with a real brush resulting in a unique, bold, and rough looking font. Thorletto includes a complete set of uppercase and lowercase letters in regular and italic style, also support multi-language, numbers, punctuation, and ligature. It is suitable for various kind of design like clothing, poster, quote, branding, logo, packaging, greeting card, invitation, and many more.

SlipperyFishes alternates two letter sets to create an undulating line of text that reminds me of a slippery fish. It resembles Undulate, another typeface that uses the OpenType feature of contextual alternatives (calt) to alternate letters, but while the tops and bottoms of letters in Undulate trace parallel paths, the tops and bottoms of letters in SlipperyFishes trace reflecting paths. SlipperyFishes is monospaced with tight letter spacing to accentuate the ripple pattern. The family has four members: regular, outlined, condensed, and condensed outlined. The outline styles that can be used in a layer with their base styles to add color.Slippery fishes is bizarre and weird and can be used in places where those attributes will create attention-grabbing lettering.

Sultania is a harmonic synthesis of the old characters’ suppleness and the resolute, clean design of modern typography. The rich in contrast calligraphic approach with thick and thin strokes is still visible and you can almost feel traces of ink on paper while it’s shapes in general, without serifs and any embellishments, proclaim its up-to-dateness swinging between roundness and rigor. Elegant, noble, yet still affected by traces of the handwritten script, Sultania is reminiscent of power, wealth, mind and culture. Sultania’s historical roots and it’s originality remind of oriental colors. A close Orient, at the gates of Europe, in which Latin characters are mixed with distant sounds. The Byzantium of the Sultans.

Senko Hanabi (線香花火 - Japanese: incense-stick fireworks) is a type of Japanese sparkler. These traditional sparklers are said to evoke “mono no aware” - “an empathy toward things”; the flash of sadness when reminded of the fleeting nature of life. I am always a bit melancholic this time of the year, so when I created this font, I wanted to give it a suitable name. Senko Hanabi was made using a brush and Chinese ink. It is a beautiful font, which comes with stylistic alternates, discretionary ligatures and a sparkling amount of diacritics. Remains for me to wish you all a very happy new year. Let’s do our best to make it one worth remembering!

We, GalaStudio (Lilia & Galina) represent the SlimOne BESTIARY font from our MELTING FONTS collection. It is a decorative style version of the SlimOne font family, which we designed by playing with glyphs: we converted them into funny animals and thus created a "zoo". One can use the BESTIARY font for children's books and notebooks as well as for all kinds of funky advertising, social media, greeting cards and comics. INCLUDED: GS_SlimOne_Bestiary.otf GS_SlimOne_Bestiary.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

Sparko is a display sans serif typeface with a distinctive geometric shape. Lowercase have a small x-height and tall ascenders make the font look great in titles and short paragraphs. While capital letters has a unique character that reminds us of the old typographic style but has been modernized. But don't worry, alternative caps are already prepared in case you want a different look in your creations. This font is available in 7 weights, from Thin to Black. In addition to standard characters that support multi-language, it also provides stylistic sets for more exploration in your design projects. Sparko is suitable for big headlines, promotional posters, movie titles, games, logotypes, packaging designs, aesthetic typography, personal quotes and more.

It’s a brand new year, but I have been going back in time. To the seventies to be precise. A ‘bubblegum’ font was on the top of my to-do list, so when it was finally finished, it reminded me of seventies posters. As if by magic, a catchy bassline started playing in my head and before I knew it, Boney M appeared - all dressed up in Purple and singing Daddy Cool. Cool Daddy is a fat, rounded bubblegum font, which will take you back to the decade of moustaches, afros and glitter. This ultra groovy font will funk up your designs 4-sho. So boogie on, take it back to your crib and get down with it. You diggin’?

A reminder of the days of flower power, Satron is quite a bit different, slightly hippy and slightly grungy. Although it is not in any way an attempt to emulate the fonts used in that era, it evokes the mood of the time. There's two different shapes making up each character, with a grungy black one in front of a hippy white one. The combined effect however is quite novel and modern. There's also a jumbled version with the letters rotated and whacked around, in case you want it funky-flavored. There's all the main characters plus lots of extra accented letters as well. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions on the same machine.

I'm happy to present my Stormy Youth font. It has been drawn with a marker pen and a swift hand. Stormy Youth has intentionally overlapping letters to remind street style and give an underground look. Initially, I planned to make it as only uppercase, so feel free to use it this way. Stormy Youth is great for aggressive/rebel design style for teenagers. Stormy Youth Features: Can be used as uppercase font Set of alternates and ligatures for most common double letters Carefully tuned kerning (preview above doesn't always show it correctly for some reason) Swashes Wide Latin language support If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Stormy Youth! You may also like my new font fracaso

Capital Love just contains capital letters decorated with hearts. By pressing a lowercase button a alternative to the uppercase letter will appear. All shapes are drawn individually and do not oblige a geometrical system. The lighthearted vivid ductus remind me of a quality that can be found in the dynamics of Keith Haring drawings. Capital Love is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

These are the letters I doodled in the margins of my high school notebooks. As it turns out, a man named Milt Glaser doodled them first. He doodled a lot of other amazing things too. Mr. Glaser called his blocky alphabet Baby Teeth. I think the type looks better when it says Surfside, so that's what I called my incarnation. This version has been digitized and expanded, and is available for Mac and PC. These letters remind me of the 80s and the 90s, of Gotcha shorts, Ocean Pacific shirts and fluorescent windbreakers. Surfside matched my Airwalks. They're big and bold. Clunky and funky. Spices up words. Makes 'em look great! Surfside is cool and available for a low low price... scoop it up today!

Das Riese, a type specimen by the most productive Brazilian type foundry, Intellecta Design, is a mix of victorian and art deco influences. A beautiful display type for tiling with uppercases only. It's shadows and volumes refer to pre-modern age whereas its surface to last century 20's. This heavy sans serif strokes characters have a particular appearance, a parallel line texture that reminds Bifur, typeface created in 1929 by A. M. Cassandre. The sideways absence of volume at some leaning letters right side in addition to the patchy darkness of shadows support its handmade design. A type full of historical references designed to small titles printed in big sizes. It's impossible not to think about posters when you look at Das Riese strong face. - (source Slanted Magazine #8)

Polyspring is a handcrafted serif display font, with a cool flowery flair. It was hand-drawn based on Italia Condensed typeface from Keystone Foundry from circa 1906. Loaded with stylish ornaments and flourishing alternates for all its letters and numbers, this font is a terrific toolbox for display purposes. Yet, it has the superpower of changing the first and last letters in words to its germinated alternates at the click of a button, thanks to the smart OpenType programming. Please note that this feature will only work in OpenType savvy applications. Check it performing live on the sample text below: just click on the Advanced Typography option, located next to the sample colors options (look for an icon showing “ff”), and check the option “swash”. Very cool, isn't it? Happy blooming!

Devin is designed mainly for the benefit of the advertising industry, and it surely is a nice typeface for headings, isn't it? And you should see what a nice body type it makes! I had no other typeface in mind when working with it, but I can now find several typefaces it is related to. It reminds of the egyptienne group, but I did't really plan that. The name Devin is taken from my birth region. There is a castle with that name on the northern Adriatic coast (known even from Rilke's Duino elegies - Duino is another name of the same castle). A castle ruin called Devin, too, can be found on a height above the Danube in Slovakia, not far away from its capital Bratislava. Devin was released in 1994.

Proudly present "Dancing In The Rain" Dancing in the rain is a simply nostalgic font that will always remind us of the 80s and 90s. This font has a smooth curve in both the regular and italic versions. This font can be used for both headlines and body text. you can also apply it for various other needs such as fashion, skincare, and much more. This font is has full of uppercase and lowercase letter, number, punctuation. This font also has multilingual support and of course it is PUA Encoded. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you

Peckham, designed by Daniel Hernández, is a contemporary and versatile slab serif of 8 weights (and matching italics)—ranging from an elegant Thin to a heavy Black—with strong serifs that give it a playful look while preserving the overall geometric structure of the font. Peckham comes with the standard Latinotype set of 395 glyphs resulting in a language support for 94% of the languages using the Latin alphabet. The font also includes stylistic alternates (A, R, Y, a) which provides extra versatility. The name of the font reminds us of the city that witnessed the birth of Vincent Figgins (1766). Figgins became known as the type designer who first included slab serif fonts in a commercial catalog. Peckham pays homage to classic typefaces yet looks very contemporary. Digital editing and corrections by Alfonso García.

Porkshop is a font of retro vintage flavor with a hefty dose of immigrant-influenced naive typography. It's fundamentally inspired by an old-but-still-prominent "Pork Shop" sign in Manhattan. I like to think that this font was made by a signmaker's apprentice who didn't yet have a grasp on the subtleties of elegant letterforms, but put his gusto into perfectly sharp serifs. While pointy little serifs are cool, the real shine of this font comes from the imaginative combination of uppercase and lowercase shapes. This unique mixture in the lowercase reminds me of an indeterminate European accent in the big city. Big and strong and easy to understand. Best rendered in 3-foot tall metal type, Porkshop works well in print and on screens, too. The Bolds and Italics are brand new in 2011.

Patzcuaro is a summer resort by a lake of the same name. It is situated 370 km west of Ciudad de Mexico and a visitor from Europe, on seeing it, will be reminded of the Austrian Rust or the South Bohemian Trebon. The town's colonial architecture is protected as a historical monument, the reddish-brown tint of the footings of the buildings, their white facades and even the type of lettering with red initials is prescribed - and these regulations are also complied with as far as cars are concerned. This colour scheme is splendid in combination with the rich gamut of greys of the stone window jambs, vaults, lintels and pillars. Joking apart, even the local petrol station is 16th-century in appearance. Patzcuaro Regular is a cosy, welcoming type face which is good for use on labels.

Cormac is a humanist typeface characterized with it's large x-height and slightly flared stems. The word that best describes our ideas in the beginning of the project is "simple" - the idea behind it was to strip the letter forms of everything unnecessary, and yet keep the typeface interesting. The typeface is friendly without being too cheezy thanks to its humanistic character, flared ascenders and stems reminding of its calligraphic origin. The proportions are closer to the traditional old style typefaces. Cormac is open and readable typeface coming in 7 weights plus their matching 'true' italics - from Extra Thin to Bold. The family comes with Cyrillic support, great range of numerals, fractions, ligatures, alternates and a lot of special characters making Cormac a great solution for greate range of design work - branding, editorial, web, wayfinding, etc.

The Contribute font is one that takes you back to the days of the fountain pen. To those who are old enough to remember, fountain pens were tiresome to fill and use – but also a pleasure to own, something to cherish that became so much a part of your daily life, a symbol of etiquette and sometimes even a style statement! Our Contribute fonts will definitely remind you of that, and everything else to do with a touch of vintage class. This 30s-like font is sure to become one of your favorite cursive fonts, be it for use on a poster or a web page. This font is ideal for those situations where you need your viewer to connect on a more personal level than formal. Think ‘writing a letter rather than typing it out’, and you will know what we mean!

"It is hard to believe, but they won't be able to give up on us" The story of this font has started with a little suitcase actually. These characters were trying to do something for minimela kitchen which it named.After that, they looked that they was wanting to be that font beautiful writings written with it, belonging to it, special to it and reminding it to everybody. These cute monsters that have shaped themselves were a piece of a whole, of a little whole. They were totally believing to beautiful and long ways that have being waited them. They have given a sincere promise they will continue with little steps on that ways. "It is hard to believe, but they won't be able to give up on us" while telling this, we were totally talking about that

Larks' Tongues in Aspic is the fifth studio album (released in 1973) by the English progressive rock group King Crimson. I have always liked this name, as it reminded me of old stories in which witches threw all kinds of weird ingredients (larks’ tongues, bat wings and petrified dragon dung) into a big cauldron. When I created this font, it looked like the writing in an old book of spells, so I just had to call it Larks’ Tongues. Larks’ Tongues is a very lively headline font which would look good on (children’s) book covers, posters and product packaging. So, if you are about to write a book about witches, want to throw a halloween party or want to market your Larks’ Tongues in Aspic, then by all means, use this font! Comes with a magical amount of diacritics.

Grrr is a headstrong modular display typeface with a large amount of alternative glyphs. It consists of eight weights ranging from Thin to Black. A variable font is also available. The typeface is designed on a modular grid and it proudly ignores the rules of optical compensations: the horizontal and vertical strokes have identical thickness, and round and triangular letters have no overshoots at all! All these peculiarities are making the typeface usable at sizes from 21pt and larger in print and approximately from 24px on non-retina screens. Grrr is especially good at extremely large sizes. The typeface includes three stylistic sets with even more bizarre letterforms. These sets activate a cyclic pseudorandom substitution of letters from a range of alternates — the letterforms keep changing as you type! The typeface was designed by Dmitry Goloub and Alexandra Korolkova and released by Paratype in 2019.

A set of original ornamental symbols was designed by Viktor Kharyk and licensed to ParaType in 2007. The name was inspired by the famous book “Champ Fleury” by Geoffroy Tory (1529) but the theme of blooming meadow was embodied much more literally. Each ornamental motive has a real prototype in flora. Mainly there are plants raising on Ukrainian wooded steppe. Plants were chosen for their Ukrainian and Latin names begin of proper letters from Ukrainian and Latin alphabets. The font is consisted of two styles: Day for normal and Night for reversed that reminds night lighting by its unexpected distribution of black and white areas. Fleurons may be used for creation of ornamental surfaces, composed borders and corners, decoration of any materials, and even as botanical illustrations. Blooming Meadow Day have been adjudged Award of Excellence in Type Design at TypeArt’05 international type design contest

Eirinn was designed by Norbert Reiners for Linotype in 1994. Its forms are based on those of Irish scripts of the 7th and 8th centuries, an example of which can be found in the Book of Kells in Dublin. Characteristic of this style are for example the lower case f with its short cross stroke on the base line and long cross stroke above, the unusual form of the g, and the t, whose form is almost like that of a c. This style consisted of a mixture of lower case and capital letters at the time of its conception, but Eirinn has a full set of both lower case and capital alphabets. At first glance the viewer is reminded of ancient and indecipherable writings of the Celts before the forms of our contemporary letters and words become evident. Eirinn will lend a touch of mysticism and secrecy to any text.

The best way to radicalize your typographic expression is to use Blackletter! Gothic calligraphy had been used throughout all historical periods without much of the principal development the Latin typefaces underwent. However, since the invention of movable type, even now its slight variations over time can be seen. Blackletters are always used where emotions are required, be it spiritual literature, romantic novels, decadent poetry or extreme music. Dracula is a typeface dedicated to classical horror. I started to draw its letters along with my illustrations for Argo publishers in spring 2017. I needed a specific typeface for book cover and chapter titles to emphasize the mysterious atmosphere of the text. Sharp teeth and claws on a thin blackletter skeleton shall remind of the early vampirism in literature. Its slightly narrowed face enhances a thrilling feel of anguish and despair, whereas the darkest cut may work well on funeral announcements.

Groovy started out as a prospective variant in the ‘Flashback’ series but very quickly established its own distinct appearance, especially with the lower case letters blending into the format so well. There wasn't any preconceived idea to design a retro looking font in principle, it simply evolved that way, but I do think it has several characteristics reminiscent of style genres from the '70s. It’s probably quite subliminal and like me, you may find yourself thinking, what does that remind me of? The double-entendre'd title is quite apt too, not merely for reasons of its outwardly retro appearance but also because of the considered, rounded elements forming the negative spaces throughout. The font also has something of a chameleon-like personality, being both adaptable and capable of having a trendy / fun appearance, or alternatively something solid and stylish, depending on the use, as demonstrated in the banner examples here.

So you just designed a night club brochure, and now need to change gears to help you make a design that oozes with love and togetherness? Let our Marmellata fonts help you get into the mood! A part of our Marmellata package and also available individually, the Jar 02 is something to be tried to be believed. This font takes you to that special place in your heart, reserved for your most cherished memories... It is great because of its simplicity, very much like all things from childhood! Don’t get us wrong though, this is not just a ‘childish’ font. While it would work great for children’s designs, we believe it would also be very fitting in designs that call for a touch of nostalgia, love, comfort, well-being and happiness. And yes, we agree that all children remind us of all of the above!

Fondue: an eclectic-flavoured contemporary typeface. Designed by Jorge Alberto Martínez and Latinotype Team. Fondue is a type family of eclectic shapes, inspired by Art Deco designs, in particular, the lettering used by the Mexican cartoonist Ernesto “El Chango” Cabral on almost the entire publication Revista de Revistas ("Magazine of Magazines"). Far from being a copy, Fondue expects to be an adaptation of the thinking of that time to be used in contemporary context. Fondue has a cursive ductus, wide horizontal proportion and large x-height. Its friendly consistent rhythm makes it ideal for medium-sized text, headlines, branding, and so on. The family comes in 6 weights, from Thin, which reminds of the cartoonist’s loose strokes, to Ultra Bold, the version with powerful and unique voice. Fondue has a set of 496 characters that support 207 different languages.. OpenType features include standard and discretionary ligatures as well as stylistic alternates.

Blackletter fonts are timelessly beautiful and still very popular. At some point, it seems that every type designer discovers the beauty of these forms and the great pleasure in creating blackletter characters. Like also Dutch designer Coen Hofmann who, after designing Caxtonian Gothic, has designed yet another Blackletter font: Holland Gothic. Holland Gothic reminds of the 18th century »Duytsch« typefaces of Joan Michael Fleischmann and Christoffel Van Dyck. But Hofmann was mainly inspired by the Dutch calligraphers from the 17th and 18th century. Holland Gothic develops its full charm and beauty at larger sizes because of the hairlines in the upper case characters. To enable users composing texts in the style of our ancestors, Coen Hofmann added a series of pre-composed ligatures, also in combination with the long s, plus an alternate form for the lower case r which was used in combination with letters b, d, g, o, p, v, and w.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.