Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Greek Ltn covers Greek and Latin.

Poliphilus is a facsimile of the text of the 'Hypnerotomachia Poliphili', after which it is named, published by Aldus Manutius in Venice in 1499, using a type that had been cut by Francesco Griffo. As a design, Poliphilus is related to Bembo, but whereas Bembo was redrawn, with the intention of making a new face based on an old design, Poliphilus is an exact copy of fifteenth century printing on hand made paper. So exact in fact that even the original ink spread is reproduced. This may not seem like a very sound idea for a typeface, but the letterforms are good and the design is functionally successful. Blado, the italic for use with Poliphilus, was used by Antonio Blado in 1539, and designed by the calligrapher Ludovico degli Arrighi. The Poliphilus type is used mainly for book and text work."

Basuto is a sans serif typeface that is characterized by its unusual shapes in the counters. It was originally created in 1927 by Stephenson Blake. After International TypeFounders, Inc. acquired exclusive rights to the Stephenson Blake Collection, Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) created a digital revival in 1997. Basuto is an unusual yet highly legible typeface with upturned counters and crossbars. It brings a fresh, quirky feel to any project.

Smith-Premier Typewriter is a typewriter font design, great for mimicking the sloppy ink effect of older machines.

Hand-drawn lettering to add authentic calligraphy style to your work. Rough, jagged edges for realistic ink-bleed.

Pimba is an original font. All characters were designed from handmade rubber stamps and printed with much ink.

A font made with a children’s stamp set using too little ink. Not a complete set of characters. %

Bernandes is a new modern script font with an irregular base line. Trendy and feminine style. Bernandes looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolors. Includes initial and terminal letters, alternatives and support for many languages. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Program is a type designer’s typeface. It’s about the craft of typeface design and the particular details and effects that type designers fret over when they design type. It mixes different structures, stem endings, and weight distributions not usually employed in a single family of fonts. It features both rounded edges evoking the effects of reproduction, and ink traps, the technique used to counteract that effect. The idea was to create a series of fonts with strong individualistic features, challenging the constraints of a central theme that is usually imposed on a family of fonts, while still relating to each other in terms of overall look and feel.

Esttoria Handwritten Script is a modern irregular baseline handwritten script font. Stylish and feminine. Esttoria looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolor. Includes initial and terminal letters, alternative and multiple language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to alternate / swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac).

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes."

Wisterya Script is a new modern script font with an irregular base line. Trendy and feminine style. Wisterya Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolors. Includes initial and terminal letters, alternatives and support for many languages. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Belpast Font is a hand brush font made with brushes and ink. This typeface is ideal for use in thick watercolor designs or handwriting styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise etc. Contains full set: - Uppercase - Lowercase - alternative - fastener - Punctuation - number - multilingual support. And also Belpast Underlines, works in harmony with Belpast Font to create exceptional typographic creations. Get inspiration from the preview above. How to access all alternative characters, using Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: - https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

Sprimosk Font is a hand brush font made with brushes and ink. This typeface is ideal for use in thick watercolor designs or handwriting styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise etc. Contains full set: - Uppercase - Lowercase - alternative - fastener - Punctuation - number - multilingual support. And also Sprimosk Underlines, works in harmony with Sprimosk Underlines to create exceptional typographic creations. Get inspiration from the preview above. How to access all alternative characters, using Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: - https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

Balistone is an elegant handwritten font with a clean and modern touch. This font was inspired by a handwriting with a feminine style in distinctive ballpoint ink and a few additional modifications from me. This font come with many ligatures that gives a sleek, elegant look for your logos, business card, wedding invitations, quotes, advertisements, and more. Highly recommended to use it in OpenType capable software - there are plenty out there nowadays as technology catches up with design. The OpenType features can be accessed by using programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, Afinity and more. Let's create something beautiful today with Balistone. Enjoy!

Aztek emerged as a custom face for an ethno-music festival, and gradually developed a more robust, geometric base. The original ethno roots can still be seen in some of the alternative caps, and the ease with which Aztek forms decorative elements and borders. There is also an alternative “Tall Caps” set, that goes alongside normal uppercase characters as if they were Small Caps. The font features Latin (extended to support German and Polish) and Сyrillic character sets. Though Aztek is an accidental face designed primarily for display work, it holds well at smaller sizes and can endure high ink gain printing found in letterpress and silk-screen processes.

HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...)From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

Electrasonic is a neon linking script in fine, X fine and XX fine weights that whispers slyly of louche backstreet glamour and medicinally strong day-glo cocktails. Use with a cosmopolitan to hand and Suede on the ipod.

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.

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.

Weird Better fonts are typography designs that imitate or simulate the appearance of liquids. They are often fluid and dynamic in nature, providing an illusion of movement and flow in letters and characters. Weird Better fonts can be created using different design techniques, including hand-drawn illustrations, digital effects, or 3D modeling software. Some common features of liquid fonts include: Fluid and dynamic appearance: Weird Better fonts have a free-flowing and organic appearance, mimicking the look and movement of liquids such as water, ink, or paint. Variations in thickness: The thickness of the lines and curves in Weird Better fonts can vary, creating an uneven and organic appearance. Versatile use: Weird Better fonts are commonly used in creative designs such as logos, album covers, and advertising campaigns to create an eye-catching and memorable visual impact. Overall, Weird Better fonts are a unique and creative way to portray text, giving a sense of energy, motion, and fluidity to design projects.

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.

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.

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.

Drystick is a Sans Serif typographic family of Geo-Grotesque style with 8 pesos plus the italic versions all include small capital letters the symbol of Bitcoin (b #) and other cryptocurrency symbols. It is a geometric typography, minimalist, with neo-grotesque modulations. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The Italic versions have some of their own characters (&, @, Q, a, g, y), these versions have many optical corrections to balance the deformations created in many curves by the mere inclination of the letters, which in the case of This typography is 9 °. The drawn of the vectors is careful to obtain smooth curves and elegant appearance, the thicker versions have ink traps in the joints of the joints to use in small sizes. The Metric and the Kerning of all the versions I have reviewed individually to obtain maximum readability in any type of text and size.