Sixteen years ago this week, I was designing my wedding invitations. The invitations were set in my typefaces, and printed by a friend who runs a letterpress shop in Berkeley, and the enclosing envelopes were hand-addressed by a calligrapher. Each kind of letterform served a different purpose: the type was dignified, and the calligraphy was personal. But I never really figured out what to do with the map.
Out-of-town guests would need a sophisticated map of the venue, explaining how to get there by road, rail, and air, where they might park, and some sort of assurance that it really was safe to take the subway. Set in type, this looked too institutional: it didn’t feel like it came from the bride and groom, but rather from someone’s marketing communications department. But rendered in calligraphy, it looked ridiculous. I felt like I was directing my friends and relatives to a wedding in Middle Earth.
My dream was to letter this myself. Not in fussy, mannered calligraphy, but in simple block printing, something that was an extension of my own handwriting. I’d have done this, had I the time, skill, and patience. Instead, I filed away an idea for later, that somewhere there might be a useful intersection of type, calligraphy, and handwriting, that might one day become a typeface. Something with the versatility of type, not only because it could be summoned from the keyboard, but because it would have methodical drawings and spacing, a proper character set, and the kinds of relationships that designers depend on — italics, small caps, and so on. But it would also have the expressive dimension of handwriting, with writing’s ability to fluidly change styles to suit the message. (When something is important, I find myself dropping my longhand script in favor of letterspaced capitals, but still punctuating these with the occasional cursive “of” or “for.”) I imagined that a sufficiently large family of types could do the same thing, so I set to work on a prototype as a proof-of-concept for the idea. After simmering for more than a decade, we picked up the project last year, with H&Co typeface designer Jordan Bell leading the charge, and our Andy Clymer graciously lending an indispensable assist. Today we’re very pleased to introduce the result: Inkwell®, a collection of typefaces for expressive writing.
Not quite a typeface, or even a family of typefaces, Inkwell is more like a family of families, featuring a Serif, a Sans, a Script, a Blackletter, a Tuscan, and a set of Open capitals. While it’s designed for serious content — it can effortlessly dispatch detailed maps, complex reference books, or anything displayed in a digital app — Inkwell wears its attitude lightly. It’s “serious” in the sense of thorough, rather than earnest, speaking in a decidedly personal, authorial voice.
Inkwell explores six different genres of type with which readers already have strong associations. It begins with Inkwell Serif, a book face for text, designed to avoid any obvious typographic style and simply look like “plainly lettered text.” It’s provided in romans and italics, with small caps in both postures, with a few unexpectedly sophisticated touches like tabular figures, fractions, and symbols. These styles feature both swash caps and swash small caps, making it possible to dial up the typography’s whimsy in subtle increments.
Inkwell Sans is the companion sans serif, provided in the same twelve parallel styles, again with small caps and numerics throughout. Its capitals are reminiscent of inscriptional lettering, taking nicely to letterspacing, and its lowercase is again designed to be unmannered in style. Where the sans roman was based on my handwriting (or rather, an idealized version of what I might be able to print with great care), the sans italic is the product of Jordan’s hand, and brings a touch of signpainting to the Inkwell family, especially in its heaviest weights.
Designers have been asking us for a script since we first opened for business in 1989, and we’re very pleased to answer with Inkwell Script. Like the rest of the family, Inkwell Script strives to be informal, avoiding the fussiness of the studied calligrapher, and speaking instead with the confidence and joy of an enthusiastic writer. We’ve included small caps in all of its weights, so that acronyms and abbreviations can be set more easily, something you might appreciate if your name ends with “iii.”
I’ve always had a deep fondness for gothic forms, and couldn’t resist making Inkwell Blackletter a part of the family. It’s tempting to write off the blackletter as an archaic style, but it’s very much alive today, and remains the easiest way to signal gravity in anything you do. It’s ceremonial for weddings and graduations, and adds a dash of tradition to the rustic and highbrow alike. Law journals and heavy metal bands both rely on blackletter typefaces for their gravitas, in admittedly different directions. Inkwell Blackletter is happy to serve both masters.
Because written letters can often take a turn for the fancy, we’ve designed Inkwell Tuscan as the decorative member of the family. Tuscan faces are nineteenth century inventions that feature fishtailed serifs, an idea that we’ve implemented in an unusual way to ensure that even serif-free letters like O can be fully embellished. As it progresses from light to dark, Inkwell Tuscan takes on very different flavors, from sweet and bucolic to boisterously burlesque.
The final style is Inkwell Open, a set of capitals inspired by the sorts of letters used by engineers. My father was a theatrical set designer, and I remember his titling his shop drawings in a style like this. I’ve since seen letters like these on blueprints, patent applications, and technical drawings, and even reduced to geometry on a lettering stencil. Open capitals are a useful way to identify something as a heading, or to indicate that something is otherwise elevated above the text.
The entire Inkwell family is designed to be used interchangeably, which opens up some interesting opportunities for designers. At the scale of the paragraph, it means that designers who are accustomed to shifting roman type to italic or bold will have new options, and can move from serif to sans, or script, or swash small caps, or blackletter, to achieve different distances from the center. At the scale of the word, it means that letterforms from different styles can be juxtaposed in unexpected ways — sometimes invisibly, other times with great flourish — making Inkwell a powerful tool for creating logotypes. Included in the Inkwell gallery you’ll find artwork that mixes blackletter capitals with the roman lowercase (and vice versa), script capitals with sans serif roman small caps, blackletter caps with tuscan caps, roman swash caps with the blackletter lowercase, and more. Each of Inkwell’s styles is provided in the same six weights, from Thin to Ultra, yielding a total of 48 font styles, which today we’re introducing at a special price, for those designers looking add something new to their stables. On behalf of everyone at H&Co, I hope you’ll find a place for Inkwell in your collection, and I look forward to seeing how it serves you! —JH