When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three week trip in North America. When I got back to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four ‘how do I use it’ e-mails, one interesting note asked me to consider an italic counterpart. I had experimented with a few different angles during the initial brainstorming of the concept, but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially it seemed that a few changes to the Candy Script forms would work well at angles ranging from eighteen to 24 degrees, but as the typeface evolved, I realized that all the forms had to be modified considerably in order for a typeface of this style to work as both a digital font and a true emulation of real hand lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste, quite similar to Candy Script, mostly because of its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s. While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straight forward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s, but in a subtler and less pronounced fashion. The alternates and ligatures features of Sugar Pie contain quite a few nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design.
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