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Portrait of Miss Malì
Picture: Davide Morino
Edit: Davide Morino
Outfit, makeup and hairstyle: Miss Malì
This McDonald's is located across from the Muscle Shoals Walmart Supercenter, and thankfully hasn't been given a modern makeover like yesterday's previously posted Jonesboro location. Since this drive-by photo turned out not so good, here's Google's 2016 Street View to glance over as well. Note how the left end of the building was extended for a large drive thru portico (making the front of the place seem rather massive!), as seen in that linked photo. Per Google Earth, this location was built (or extensively remodeled) sometime between 2001 and 2005, with the previous incarnation possibly being a wide, mansard-style building (hard to tell for sure from the very fuzzy 2001 aerial - could even be a car wash, dog park, or small movie theater was on the site previously, haha)!
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McDonald's, Woodward Ave. (Hwy 72) at Waverly Ave., Muscle Shoals AL
Black-and-white photo of a family sitting at a table outdoors in a Hungarian garden, taken in the 1940s. Magyary-Kossa Katalin
Typeface in use:
Ray Larabie’s (TYPODERMIC) narrow, grotesque, versatile and striking headline faces »Gnuolane« and »Gnuolane Jump«.
Gnuolane is a serious headline font in five weights. While it borrows from 19th Century grotesque models, it possesses a superelliptical sixties sneer. Gnuolane includes old-style numerals, ordinals, superiors, inferiors, f-ligatures and class-based kerning.
I created this lettering to be printed on my black T-shirts. Hopefully summer will come soon.
... created with Michael Doret’s | Alphabet Soup outstandingly beautiful script face »Dynascript«.
Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section.
What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character.
To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other.
Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported.
土耳其－爱琴海地区－Izmir省－以弗所－游客与猫咪
Cat sitting on ancient ruins, in Ephesus, an ancient Greek city and UNESCO World Heritage Site in Selçuk, Izmir province, Aegean region of Turkey.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Sepia-toned portrait of a young child wearing a white outfit with a bow, standing on an armchair. Taken in Szeged, Hungary, 1920s.
Model, MUAH: Miss Diversity
www.facebook.com/Mss.Diversity
Dress: Sterling Gold
Photographer: Heiko Kalweit
Typeface in use:
Jordan Jelev’s and Svetoslav Simov’s (Fontfabric) striking, ultra-condensed, blackletter typeface »Grant«.
Grant is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.
Photographer: Patrick NDK Photography
Hair/Location: Little Shop of Beauty
Outfits: Angel Design
Assistant: NM photographie
Typeface in use:
Maximiliano Sproviero’s and Sabrina Mariela Lopez’ (TYPESENSES) charming, stunningly beautiful script face »Aphrodite Slim Pro«.
Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.
More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books.
This was the key for the logic of Aphrodite Slim’s behavior.
The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li•n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look.
So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography.
Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited.
Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions.
Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us.
We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section).
We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- :
Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them:
Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative.
It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces.
This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces.
Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim.
Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too.
Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim.
We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has.
Features:
Aphrodite Slim Pro is the most complete variable.
It includes more than 1000 glyphs.
Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this.
The variables contained in Aphrodite Slim Pro are also offered separately.
Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others.
Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English.
Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use.
Aphrodite Slim Swash: This one has special beginnings and endings to decorate words.
Aphrodite Slim Endings: It makes words look as a signature.
Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function.
Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive.
in portixol, a seaside district of palma de mallorca, i captured this classic porsche 911, likely from the late 1960s to early 1970s. the iconic shape of the air-cooled, rear-engine design is instantly recognizable, a testament to german engineering and a beloved model among car enthusiasts. its presence speaks to the timeless allure of vintage sports cars.
Model on the right: Miss Diversity
www.facebook.com/Mss.Diversity/
Louise D'Ivoire
Paula Walks
Dress: Sterling Gold
Photographer: Heiko Kalweit
Toronto, Canada.
Vlog: www.youtube.com/watch?v=-wuWSC8hmGg&t=65s
Twitter: twitter.com/TheJennire
Instagram (Photographyl): www.instagram.com/jennirenarvaezphotography/
Instagram (Personal): instagram.com/thejennire
TikTok: www.tiktok.com/@thejennire
Typeface in use:
David (Squid) Cohen’s and Stewart Sandler’s (SIDESHOW) retro, sassy »Rat Fink« typeface family »Weird Bill«. (see also »Weird Bill Loose«, »Weird Bill High« and »Weird Bill Squat«)
Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!. Bill’s series of goofy monster model kits in the early 1960s was such a hit that it has been reissued twice! Weird Bill is fun, freaky, frantic and full of frenetic frappery!
A vintage sepia-toned portrait of four young men in military-style or uniformed clothing, captured in Hungary in 1938. The group poses formally in a studio setting, showcasing 1930s fashion and expressions of the era.
Nikon FM2n | Nikkor 50mm 1.4 AIS | Kodak Tmax P3200 @ 6400 | Push Processed in Rodinal by My Good Friend James V. Mignogna | Scanned on Epson V500 | Levels Adjustment, Dodging & Burning in Adobe Photoshop Elements 11 for Mac
B&W 35mm Photojournalism by Johnny Martyr
Thanks for checking out my work!
Top Left Photograph:
unknown, _Girl in Hallway_, photograph, 1977, Henderson High's Yearbook Collection, Suwanee, Georgia.
Top Right Photograph:
Thomas Kenney, _Mother's Prom_, photograph, 1775, Pam Stalvey's Collection, Suwanee, Georgia.
Middle Left Photograph:
unknown, _Boy in Desk_, photograph, 1977, Henderson High's Yearbook Collection, Suwanee, Georgia.
Middle Photograph:
unknown, _Hand with Mood Rings_, photograph, 1977, Henderson High's Yearbook Collection, Suwanee, Georgia.
Right Middle Photograph:
unknown, _Girl in Desk_, photograph, 1977, Henderson High's Yearbook Collection, Suwanee, Georgia.
Bottom Left Photograph:
unknown, _Group of People_, photograph, 1977, Henderson High's Yearbook Collection, Suwanee, Georgia.
Bottom Right Photograph:
unknown, _Man with Thick Glasses_, Photograph, 1970, Greta Kenney's Collection, Tucker, Georgia.
The 1970’s were characterized by confrontation within the governments of America and Europe. Such issues as the Vietnam War, Watergate Scandal, Apollo 16 mission, student riots in Paris, the Oz trial in England, and Yippes and Black Panthers created controversy throughout the era. This controversy and presentation of new ideals led to self-expression and experimentation in fashion. Numerous trends occurred such as platform shoes, mood rings, and thick glasses that took the world by storm and then disappeared just as quickly. Females seemed to wear soft romantic clothing or spawned a more masculine appearance as feminism spread throughout the United States. Mini-skirts became slightly longer, and feminism brought back the need to cover-up more skin than was shown in the 60’s. Books such as The Feminine Mystique by Betty Friedan and The Female Eunuch by Germaine Greer sparked the incentive for females to find their place in the world, as well as fashion. Fashion began to belong more to the individual’s personal style rather than just recreating a “look” in a magazine. Another trend of the 70’s was the “punk” genre. The punk ideal took a stance against conformity and thrived on creativity. Examples of punk clothing were thick black boots, colorful and often spiked hair, chains, leather jackets and pants, or even household items such as the safety pin. Jeans were more popular than ever in the 1970’s. T-shirts became tighter and came in a variety of shapes such as v-neck, capped sleeve, long sleeve, boat neck, etc. A new fad in t-shirt design was to place a message on the t-shirt, which could be a saying, joke, or protest (usually against the Vietnam War). Hair cuts were greatly influenced by movie and TV stars such as Farrah Fawcett and Jane Fonda’s long waves or short bob’s worn by Mia Farrow. Afros were another popular hairstyle. Highlights were first used in the 70’s, but did not look very natural. Due to the bright colors and sounds of the Disco craze, eye make-up was very bright and came in all kinds of colors. Make-up was very wild, and lips were usually painted with lip gloss or bright lipstick. Having tan, sun-kissed skin was greatly desired, which led to make-up companies creating self-tanning lotion. Like the 1960’s being thin was still a necessity in the fashion world. Because of the obsession with keeping weight off, anorexia was first brought into the public spotlight.
Brookes, Rosetta, and Teal Triggs. Chic Thrills. London: Harper Collins Publishers, 1992.
Clancy, Deirdre. Costume Since 1945- Couture, Street Style, and Anti-Fashion. New York: Drama Publishers, 1996.
Crane, Diana. Fashion and its Social Agendas. Chicago and London: The University of Chicago Press, 2000.
Mulvey, Kate. Decades of Beauty. New York: Reed Consumer Books Limited, 1998.
For more information on fashions of the 1970's, visit en.wikipedia.org/wiki/1970s_in_fashion
Models: (left) Britt Lynn, (right) Casie Shea Cortez.
Makeup/Hair: Cynthia Perazzo.
Instagram: @CryscoPhotography
FB: Crysco Photography at The Industry Studio