View allAll Photos Tagged Script
The classic Canadian Pacific script logo on any equipment makes for a must have photo. That includes the lowly ore car? ballast car? seen here at Thunder Bay, Ontario. September 29, 2002.
3 tier wedding cake with bride and grooms names scripted at various angles all over the cake, then wrapped in a chocolate brown ribbon
While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread as those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather's library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century.
Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling's exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase.
Bellissima has an effusive energy that appeals much beyond its sourcing. It's intended for these modern times of appreciation for old crafty things like stationary and letterpress, where its origins help it shine brightly.
Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.
3D art in that Specimen generously provided by Corey Holms.
To celebrate this new font release there is a 30% off discount at @myfonts and you can get the Pro version for just 55$ or a Redux (a random selection of 256 glyphs) for only 34$
More fonts at:
《A GAMBLING WORLD 大世界娛樂場》script book / step out 足跡 / book design / May 2013
—
MOP$68／NTD240
—
DATA：24 ~ 26/5 (8pm), 26/5 (3pm)
LOCATION：Court Building
Producer: Winter Chiang
Production Manager: Lou Chong Neng
Playwright and Director: Koh Choon Eiow (Malaysia)
Co-Playwright: Mok Sio Chong
Lighting Designer: Lau Ming Hang (Hong Kong)
Set Designer: Wu Hsiu Ho (Taiwan)
Music Designer: Kandala Records (Taiwan)
Costume Designers and Stylists: Lou Chong Neng and Mok Kuan Chong
Performers: Cheng Yin Chen (Taiwan), Lam Wai Tong, Ip Ka Man, Mok Sio Chong, Wang Chao Yang (Taiwan), Lao Nga Man, Mok Kuan Chong and Cheong Peng Hou
—
Established in 2001, Step Out cannot be narrowly defined as either a theatrical or a dance company. Their multidisciplinary works are characterised by the skilful use of poetic and aesthetic dramatic language to compose contemporary fables about the urban city.
The talented Malaysian playwright and director Koh Choon Eiow and a group of experienced Macao scriptwriters, directors and actors are joined by strong teams from Taiwan and Hong Kong to create A Gambling World, a new experience in Chinese theatre, presenting audiences with a provocative show about money, desire and dreams in the “Las Vegas of the East”.
「問題不在輸錢，而在贏錢。我們在贏錢中一點一滴地輸掉。」 一場有關下注與被下注的遊戲， 一場有關慾望驅使的不等價交換， 一場有關城市擴張的蔓延與移居生活的變動， 一場有關夢想競逐的跨世紀大寓言。 此一時，彼一時， 從大大小小的博彩娛樂場， 我們逐步窺視及逼近 「大世界娛樂場」這一座巨大的當代城市隱喻。 「就讓我們盡地一鋪，娛樂眾生。」
--
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
Lesson in monastery school. One of the most important subjects is learning to read tibetan script - as all religious texts are written in this language, which is unfamiliar to Monpas of Tawang.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
SUDTIPOS. NEW RELEASE. AUGUST 09.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Cold winter in South America is a perfect time to produce a fresh new font.
We are happy to announce the release of Diplomatic .
Diplomatic is another script from the Koziupa and Paul duo. It relies on calligraphic simplicity to achieve artistic sophistication. Prominent ascenders and descenders work alongside calculated but casual strokes to produce an unmistakably elegant typesetting.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
We also want to share with you that our font Adios Script was nominated for the »Design Award of the Federal Republic of Germany«. The Design Award of the Federal Republic of Germany is the country‘s highest distinction in the field of design. Yes... a nomination is enough to be more happy!
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Wherever you are, at the hot north hemisphere or at the chilly south, have a nice month!
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
Brahmi script, previously written on leaves when paper wasn't available.
This is the ancient Khmer script practiced by monks today and can be heard every morning when the monks do arms.
I believe it stems form the Hindu language, which falls in line with Cambodia's history, previously being a Hindu state. It also forms the foundation for the Thai script.
I've been told there are no letters only sounds, the khmer alphabet is used to represent these sounds. Thats what the monk told me, I cant trad the Khmer alphabet with its 20 odd vowels, let alone script..
More on Cambodia here-
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
One-line samples for casual script typefaces as shown on page 1467 of the 1970 Lettergraphics catalog.
The typefaces are:
• Designers Bold
• 26-2 LA (= Filmotype Lace)
• 67-3 HA (= Filmotype Hawk)
• Gillies Gothic Bold
• 22-3 MS Minstral (= Mistral with some modifications, see esp. bgtA)
• Hudson (= Filmotype Hudson)
• Kellog Script (= Filmotype Kellog)
• 30-3 JU (= Filmotype Jupiter)
• 51-2 KE (= Filmotype Keynote)
• 31-3 HR (= Filmotype Harvard)
• 31-2 HA (Filmotype Havana)
Some new plans taking shape - I like the script style and it was so much quicker to do - as it turned out well, I expect to see more of it in future!
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...