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Pamplemousse

von The Ampersand Forest
Einzelschnitte ab $19.00 USD
25% Off
Komplette Familie mit 2 Fonts: $45.00 USD
Die Schriftfamilie Pamplemousse wurde von DC Scarpelli entworfen und von The Ampersand Forest veröffentlicht. Pamplemousse enthält 4 Stile und Familienpaketoptionen.

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Light & Bold

2 Fonts

Bestes Angebot!

pro Font:

$22.50 USD $16.88 USD

Paket mit 2 Fonts:

$45.00 USD $33.75 USD

Über die Familie


Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated, and he likes being just as he is. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born! Oh — why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple of those g & t's. You'll see how fun he can be...

Designer: DC Scarpelli

Herausgeber: The Ampersand Forest

Foundry: The Ampersand Forest

Eigentümer des Designs: The Ampersand Forest

MyFonts Debüt: Jun 15, 2019

Pamplemousse

Über The Ampersand Forest

The Ampersand Forest is DC Scarpelli. And probably vice versa. I am a wholly inveterate Type Nerd. I’ve been in love with letterforms my whole life, and, for 16 years, I taught type history, type design, and typography as a college professor. Type is voice, and I love giving people a voice. A variety of voices, actually, so that they can choose whichever one is best for them for a particular context. And I don’t just mean designers, either! Type’s for everyone, and every typeface has a purpose and context.For me, deliciousness—flavor—is key. Not all type has to be “good type,” whatever that means. It should be designed with thought and care and craft. It should be supremely usable. But it should aim beyond usability toward (trust me: this is the right word) yumminess.

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