Jeremy Tankard Typography Ltd
4 Worts Causeway
Cambridge CB1 8RL
T +44 (0)1223 47 46 14
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Registered Office is
Harwood House · 43 Harwood Road · London SW6 4QP · UK
Registered in England · Number 04706912
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Collection and delivery
Following a successful transaction you will receive an email containing a link to the fonts you have licensed. If you do not receive this email please check your junk folder as it may have been filtered by your email application. The font software remains available for download for 24 hours following your payment transaction or until you have downloaded your fonts.
Refunds and returns
Please check that your order is correct as software cannot be replaced if wrongly ordered. You accept that following a successful purchase the font software ordered is non-returnable and non-refundable.
All font software is supplied with the JTT Products Licence Agreement. You agree to the terms and conditions of this agreement when you purchase the fonts. A copy of this is supplied with the font pack. You can review a copy at the Information section of this web site.
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Blue Island™ is part of the Adobe Originals™ collection and can be licensed through Adobe and Adobe Type retailers.
About Blue Island
Blue Island™ began on 10 March 1996 as a six month project which grew! The idea was to create a typeface that was wholly ligature based. Letters would appear dismembered, almost inside out, yet when grouped into words, would link and form comprehensible words. Legibility was not a major concern at the beginning-it became one as time went on.
The intent was to create mesmeric and fascinating shapes. The initial sketches for Blue Island concentrated on how characters build together and how far character shapes can be broken down and distorted but still be recognisable. How individuals perceive and interpret visual things is a constant fascination with me, as is the variability of language systems.
The characters began in a series of sketchbooks before moving onto trace and then computer. To obtain a working idea of the type, more than the normal test characters were developed; partly through enthusiasm and partly through a need to see that the characters would work in combinations. As the design progressed, the characters became more natural and elegant and problems with spacing, fit and flow were weeded out.