Signature ideas
Each one is a genuine drawing of the name — not a font — made by the same studio that draws the paid commission, with the design decisions stated under it.
Understated · flowing · fully readable
the full name · a swept capital · underlined in one return stroke
An angular and compact hand. The turns are cut rather than curved. It is also one of the few here that runs a long swept approach into the A.
Confident · flowing · signature-legible
the full name · finished on a long sail
An unbroken and restrained hand. Only 9 pen lifts in the whole thing.
Commanding · sharp · signature-legible
the full name · closed with a small loop
A grand and urgent hand. The capital stands 3.2 times the height of the letters after it. Almost nothing else here ties off with a small loop instead of flying away. The "s" in "Agustin" is the letter carrying it, because that is where your hand is already fastest.
Confident · sharp · fully readable
the full name · a swept capital · finished on a long sail
A dense and compact hand. The letters are packed close together. It is also one of the few here that runs a long swept approach into the A.
Understated · sharp · signature-legible
the full name · finished on a long sail
A rounded and level hand. Every turn is rounded off.
Commanding · flowing · fully readable
the full name · underlined in one return stroke
A deliberate and restrained hand. It is built in 13 separate strokes. Almost nothing else here lays a line back underneath the name.
Everything starts with the A. The studio holds 2 distinct constructions of that capital — drawn from how professionals actually open a name — and each direction below commits to one of them.
What follows the capital decides the middle of the mark: the t reaches into the ascender line, which gives the mark its upper silhouette, the g drops below the baseline — a tail a designer can turn into an underline or let hang and the dotted i leaves a mark above the line that a fast hand turns into a flick.
Agustin is 7 letters: room for a real rhythm without the fatigue of a long run.
These studies are drawn on the first name alone, because that is how the question is usually asked — but a working signature is built on your full name: the second capital, the balance between the two words, and the short everyday version are where the real design decisions live.
The studio draws twenty directions for your full name in about a minute, and the kit — the files, the report that explains the design, and the stroke-order lesson — is what the three you choose become.