View allAll Photos Tagged Script
Hammer Film Productions’ 1959 The Mummy (not so much a remake of the 1932 film as a composite of all five Universal mummy movies) is everything all those über-famous Universal Studios flicks from the 30’s and 40’s should have been, but mostly weren’t. This is perhaps an unfair comparison, as Hammer had an extra 15-30 years to overcome the staginess that plagued so many very old movies, but considering how far The Mummy towers over even its contemporaries, I really think there must be something more at work than time alone. If I had to guess, I’d say that something is a combination of pacing, an unusually astute script, and top-notch performances from Peter Cushing and Christopher Lee, who in this film acts the pants off just about everybody in Hollywood today, using his eyes alone.
After more than 40 years, the story of this film probably offers no surprises, but here goes. The year is 1895, and the famous archaeologist Stephen Banning (Felix Aylmer) is in Egypt with his brother Joseph (Raymond Huntley, from The Ghost Train and So Evil My Love) and his son John (a startlingly young Cushing), excavating what he hopes is the long-lost tomb of the 20th-dynasty princess Anankha. John is currently unable to take full part in the dig, because he broke his leg some five days earlier, but he is determined to stay in the field-- he has no intention of missing the excitement in the event that his father really has found Anankha’s tomb. Just after the Bannings’ laborers finally break through the layers of rubble blocking the entrance, a well-dressed Egyptian man (George Pastell, Hammer’s favorite ethnic actor-- we’ll later learn that the character’s name is Mehmed Akhim) arrives to warn the Bannings of a curse laid upon the tomb in ancient times. Stephen thinks this curse to be nothing but ridiculous superstition, and enters the tomb anyway, his brother at his side.
The tomb proves to be all that he had hoped. Not only is it really the tomb of Anankha, it has miraculously been spared the depredations of the 4000 years’ worth of grave robbers who ravaged so many of the ancient tombs. Anankha’s mummy is there, along with her vast fortune in grave-goods, including a hitherto-considered-legendary text called the Scroll of Life, the latter preserved in a cartouche-shaped box inlaid with lapis lazuli. Stephen sends Joseph to tell John of the discovery, and the younger Banning brother hurries away. Moments after Joseph has left the tomb, however, he hears his brother screaming within. When he reaches Stephen’s side, the latter man has collapsed across the princess’s sarcophagus, and looks to be in deep shock, muttering incoherently to himself and seemingly oblivious to his surroundings.
Three years later, John has come to see his father at the nursing home to which he has been confined since that day in Egypt. For the first time in all those years, the elder Banning has emerged from his catatonia, and asked to see his son. The reason for Stephen’s concern stems from what he saw back in the tomb. The way he tells it, he did not have a stroke (the doctors’ best guess as to his affliction). Rather, as he read aloud the text of the Scroll of Life, the ancient incantations brought to life a mummy (Anankha’s? Someone else’s?), which attacked him, bringing on his present debility. Stephen is unshakably convinced that this living mummy is now coming to England to kill him, along with Joseph and John, who were accomplices in his violation of the tomb. John takes the old man’s ramblings as well as could be asked (though, watching him, one gets a clear sense of “I came all the way out here for this?!”), and tries to persuade him that he is mistaken, and is simply suffering from an attack of nerves. Disgusted at his son’s disbelief, Stephen sends him away.
Not much time has passed, however, before we begin seeing evidence that Stephen knew what he was talking about. A pair of cartmen are sitting in a tavern, discussing over drinks their current assignment. Apparently a “foreigner” has commissioned them to transport a crateful of ancient Egyptian relics to his newly-acquired home in the countryside about half a mile away from the tavern. The trip to the house takes them past Stephen’s nursing home, which doubles as an insane asylum, just as the asylum’s alarm begins to sound. Afraid that the alarm heralds the escape of some dangerous lunatic, the cartmen whip their horses to a higher speed, despite the worsening condition of the road ahead. Predictably, the cart hits a massive bump in the road, causing their employer’s crate to fall overboard into a deep bog. The cartmen don’t much care; at this point, they just want to get away from the asylum.
The next day, the police are questioning one of the cartmen as they attempt to dredge up the crate. Just then, the “foreigner” who hired them shows up to see what all the fuss is about. You probably don’t need me to tell you that this man is none other than Mehmed Akhim. Mehmed is suspiciously unconcerned about the fate of his relics. I don’t know about you, but if I’d just lost thousands of pounds’ worth of irreplaceable Egyptian artifacts because of the clumsiness of the movers, I’d be pretty fucking pissed. But not Mehmed; he just nods his head and goes back home when the police inform him that his crate is in all probability irrecoverable.
He comes back that night, though, with a familiar-looking papyrus in his hands, and begins to read it over the bog. The incantation is full of worrisome phrases like, “Make supple these limbs, and strong these sinews, and give them not to corruption,” and it is rather less than surprising that the recitation results in Christopher Lee, wrapped in bandages and clotted with mud, rising from the bog. Mehmed Akhim instructs the mummy to seek out and destroy those who have desecrated Princess Anankha’s grave, and the next thing we know, the moldy old hulk is smashing his way into Stephen Banning’s hospital cell to strangle him.
Now, it should be fairly obvious that Christopher Lee is not Princess Ananakha, so some explanation is clearly in order. Back in 20th dynasty days, Anankha made a pilgrimage to the Temple of Karnack to perform some important religious observance or other. She never reached the temple alive. Her actual fate remains unknown, but her body was recovered by Kharis, priest of the Temple of Karnack (Lee), and was buried with all the grandeur due a princess and a priestess-- with one exception. Instead of following the customary practice of sending the body back to the royal capital for interment, Kharis had Anankha buried locally, in a location known only to him and to the builders of the tomb-- all of whom he immediately had killed. The reason for Kharis’s departure from orthodoxy was that the priest was in love with the princess, but was kept from her by her religious vows. The trick is that Anankha’s vows were only binding during her lifetime. With her death, she was released from them, and was free to do what she wished. The ever-resourceful Kharis was not troubled by the obstacle that the princess’s death would seem to present to a fulfilling relationship, because he possessed the Scroll of Life, whose incantations held the power to raise the dead. So he naturally wanted to keep the body of his love close by. Unfortunately for Kharis, he was discovered before he could complete the spell, and sentenced to be buried alive in Anankha’s tomb. Before he died, a spell was placed over him pressing him into service to stand guard over Anankha forever.
The collision course with Kharis on which that spell places the Bannings should be obvious, and the main outlines of the film’s principal conflict should be equally so. The complication that will get us to the all-important scene in which the mummy staggers off into the night carrying a beautiful, unconscious girl is similarly predictable. John Banning’s wife, Isabel (Yvonne Furneaux) bears a striking resemblance to Anankha. I’m sure you see where this is going.
The thing is, though, that The Mummy suffers not a bit from all this predictability. Sure, all but the most dim-witted viewers will be two or three steps ahead of the film the entire time, but in this case, that somehow adds to the film’s effectiveness. Watching The Mummy is like watching a complex but graceful and elegant machine at work. You already know what the end result will be, but the pleasure is in seeing the process itself. The Mummy’s predictability is the predictability of rightness rather than of intellectual laziness, and the only misstep in the entire film is the conspicuous lack of an explanation for Isabel’s unconsciousness when the mummy absconds with her-- one moment, we see her menaced by the mummy, the next, we see it carry her through the door. Sure, several obvious explanations present themselves, but something in the structure of the scene makes it seem like we were supposed to see her faint or be knocked out or whatever. But it’s a minor flaw, and is vastly outweighed by the film’s many strengths. Especially satisfying is the way screenwriter Jimmy Sangster weaves together all the best elements from The Mummy, The Mummy’s Hand, The Mummy’s Tomb, The Mummy’s Ghost, and The Mummy’s Curse into a narrative far more coherent and compelling than those upon which it was based. Though much longer than any of the Universal films, and more deliberately paced than any but the original The Mummy, this version holds the viewer’s attention in a way that none of its models do-- not even the ones that are only an hour long! Finally, even if this version of The Mummy had nothing else to recommend it, it could still succeed on the strength of the awesome screen presence of Christopher Lee. Even with scarcely any dialogue (and none at all as the mummy), Lee dominates the film, even upstaging Peter Cushing for once. His Kharis is the only living mummy ever filmed that doesn’t make you say, “why the fuck doesn’t anybody just go around him and toss a match at him from behind?”-- in a way that Boris Karloff, Tom Tyler, and Lon Chaney Jr. never could, Lee makes the mummy seem genuinely threatening. It’s going to take a lot more than zillion-dollar CGI visual effects to make a mummy film that can stand up to this one.
I was asked to shoot LOVESTRUCK (Annabel Oakes)- a script reading starring Mary-Elizabeth Ellis and June Raphael.
I was most captivated by the greenroom and capturing the actors while they prepared.
approx. 1550 by Mir 'Ali al-Katib al-Haravi (1476-1545) Afghanistan or Uzbekistan
Nasta'liq is called Hanging Script
Text reads:
Yesterday she anointed her hair. Her face was aglow with the scent of musk. With this veil ([her hair] she covered her beautiful face so that no one who is forbidden would be able to see her.
Asian Art Museum, San Francisco
Simple python script based on code from Tweet-A-Watt (thanks ladyada &
pt). Script can send text messages whenever it receives a Xbee packet.
A simple wallpaper to preview Poem Script font. And to announce and celebrate with a simple wallpaper that this font has been selected by the judges of the Type Directors Club to receive the "Certificate of Excellence in Type Design. Enjoy it!
Stay tuned at www.sudtipos.com
"STEVEN SPIELBERG’S ANIMANIACS" ORIGINAL T.V. SCRIPT
"Hooray For North Hollywood"
Part I
(#407-145)
Written by Randy Rogel
FINAL DRAFT
MARCH 24, 1997
USED IN PRODUCTION
NOT SIGNED – NOT A FACSIMILE
95"Hooray for North Hollywood (Part I)"Airdate: January 3, 1998
The Warners write a script for a movie, which is turned down by Mr. Plotz.
Yakko Warner
Dot Warner
Wakko Warner
Thaddeus Plotz
Jack Nicholson
Tori Spelling
Bill Clinton
Steven Spielberg
Steven Spielberg Presents Animaniacs was a 1990s animated television program that often parodied popular TV shows and movies. The Animaniacs animators made fun of everything and everyone, including their own fans, such as the episode "The Please Please Pleese Get a Life Foundation", which made fun of the show's fans that communicated over the internet.
Many spoofs were multi-layered, with the episode parodying one specific subject and referencing several other subjects along the way. For instance, the episode "Hooked on a Ceiling" did not only parody The Agony and the Ecstasy, but it also featured Quasimodo shouting "Sanctuary! Sanctuary!", a direct reference to The Hunchback of Notre Dame.
Because of Steven Spielberg's involvement in the series, several of his films and even Spielberg himself were parodied numerous times. In the episode "Hooked on a Ceiling", Spielberg was even made the "eminence" of the Sistine Chapel, and the Warners also painted an E.T. picture on its ceiling.
Animaniacs mocked an abundance of celebrities, including Mel Gibson, Barbara Walters, Diana Ross, David Hasselhoff, Whoopi Goldberg, Whitney Houston, Howard Stern and Robin Quivers, Sandra Bullock, Sharon Stone, Jerry Seinfeld, Jaleel White, Michael Jackson, Oprah Winfrey, Rush Limbaugh, Demi Moore and Bruce Willis, Janet Jackson, Frank Sinatra, Christopher Walken, Meryl Streep, Winona Ryder, Paula Abdul, Jim Carrey, Sylvester Stallone, Robert De Niro, Barbra Streisand, Mariah Carey, Regis Philbin and Kathie Lee Gifford, Shirley MacLaine, Siskel and Ebert, Lionel Richie, Tom Cruise, David Letterman, Tina Turner, Prince, Aretha Franklin, Madonna, Cher, Sigourney Weaver, and even President Bill Clinton on several occasions.
"Hooray For North Hollywood: Part I" features cameos by Bill Clinton, Tori Spelling, Jack Nicholsonr, George Lucas, Steven Spielberg and others.
"STEVEN SPIELBERG’S ANIMANIACS" ORIGINAL T.V. SCRIPT
"Hooray For North Hollywood"
Part I
(#407-145)
Written by Randy Rogel
FINAL DRAFT
MARCH 24, 1997
USED IN PRODUCTION
NOT SIGNED – NOT A FACSIMILE
"Hooray for North Hollywood (Part I)"Airdate: January 3, 1998
The Warners write a script for a movie, which is turned down by Mr. Plotz.
Yakko Warner
Dot Warner
Wakko Warner
Thaddeus Plotz
Jack Nicholson
Tori Spelling
Bill Clinton
Steven Spielberg
Steven Spielberg Presents Animaniacs was a 1990s animated television program that often parodied popular TV shows and movies. The Animaniacs animators made fun of everything and everyone, including their own fans, such as the episode "The Please Please Pleese Get a Life Foundation", which made fun of the show's fans that communicated over the internet.
Many spoofs were multi-layered, with the episode parodying one specific subject and referencing several other subjects along the way. For instance, the episode "Hooked on a Ceiling" did not only parody The Agony and the Ecstasy, but it also featured Quasimodo shouting "Sanctuary! Sanctuary!", a direct reference to The Hunchback of Notre Dame.
Because of Steven Spielberg's involvement in the series, several of his films and even Spielberg himself were parodied numerous times. In the episode "Hooked on a Ceiling", Spielberg was even made the "eminence" of the Sistine Chapel, and the Warners also painted an E.T. picture on its ceiling.
Animaniacs mocked an abundance of celebrities, including Mel Gibson, Barbara Walters, Diana Ross, David Hasselhoff, Whoopi Goldberg, Whitney Houston, Howard Stern and Robin Quivers, Sandra Bullock, Sharon Stone, Jerry Seinfeld, Jaleel White, Michael Jackson, Oprah Winfrey, Rush Limbaugh, Demi Moore and Bruce Willis, Janet Jackson, Frank Sinatra, Christopher Walken, Meryl Streep, Winona Ryder, Paula Abdul, Jim Carrey, Sylvester Stallone, Robert De Niro, Barbra Streisand, Mariah Carey, Regis Philbin and Kathie Lee Gifford, Shirley MacLaine, Siskel and Ebert, Lionel Richie, Tom Cruise, David Letterman, Tina Turner, Prince, Aretha Franklin, Madonna, Cher, Sigourney Weaver, and even President Bill Clinton on several occasions.
"Hooray For North Hollywood: Part I" features cameos by Bill Clinton, Tori Spelling, Jack Nicholsonr, George Lucas, Steven Spielberg and others.
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...
With the Alphonic Network Solutions, you have created the best tinder clone scripts. The popularity of tinder is increasing day by day. Also, while the app is doing great for itself, it has motivated many entrepreneurs across the world to come up with a different idea. Tinder set all the new benchmark for people all over the world where things are very easy.
Visit us:: www.alphonic.in/blog/tinder-clone-script/
RUGRATS-The-Movie_Script
"RUGRATS: The Movie" ORIGINAL SCRIPT - USED IN PRODUCTION - NOT SIGNED – NOT A FACSIMILE
Paramount Pictures 1998
Written by J. David Stem & David N. Weiss
KLASKY CSUPO DRAFT
MAY 10, 1997
USED IN PRODUCTION
NOT SIGNED – NOT A FACSIMILE
The film marks the first film made by Nickelodeon Movies to be based on a Nicktoon.
The film features the voices of Elizabeth Daily, Christine Cavanaugh, Kath Soucie, Cheryl Chase, Cree Summer, Tara Strong, and Charlie Adler, along with guest stars David Spade, Whoopi Goldberg, Margaret Cho, and Dave Mustaine.
• E.G. Daily as Tommy Pickles
• Tara Strong as Dil Pickles
• Christine Cavanaugh as Chuckie Finster
• Kath Soucie as Phil and Lil DeVille
• Cheryl Chase as Angelica Pickles
• Jack Riley as Stu Pickles
• Melanie Chartoff as Didi Pickles
• Busta Rhymes as Reptar Wagon
• Joe Alaskey as Grandpa Lou
• Michael Bell as Drew Pickles / Chas Finster
• Kath Soucie as Betty DeVille
• Tress MacNeille as Charlotte Pickles
Guest stars
• David Spade as Ranger Frank
• Whoopi Goldberg as Ranger Margaret
• Tim Curry as Rex Pester
• Roger Clinton, Jr. as Air Crewman
• Margaret Cho as Lt. Klavin
The Rugrats Movie is a 1998 American animated film, produced by Klasky Csupo and Nickelodeon Movies. The film was distributed by Paramount Pictures and first released in theaters in the United States on November 20, 1998.
Based on the popular 1990s animated Nickelodeon series, Rugrats, this film introduced Tommy's baby brother Dil Pickles, who was named after Didi Pickles' cousin, and appeared on the original series the next year. The film was released in theaters with a CatDog short titled "Fetch," in which Cat wins a radio contest and attempts to answer the phone as Dog chases down his tennis ball. (This short was later broadcast during a CatDog marathon and was also occasionally shown between programs on Nicktoons TV in the 2002-03 season.)
However, the video release contained a different CatDog short, "Winslow's Home Videos." The film marks the first film made by Nickelodeon Movies to be based on a Nicktoon. This was also the last Nickelodeon film to be released in the 1990s, and to be credited as Nickelodeon on the film's Nickelodeon Movies logo. Many longtime Rugrats fans believe this movie to be the point in which Rugrats jumped the shark.
Slap T. Pooch from Nickelodeon's animation showcase Oh Yeah! Cartoons appeared in the Nickelodeon Movies logo sequence to this film. Also, this counts as the only Nickelodeon product airing on CBS, next to the later-started Nick on CBS.
Get the font
www.myfonts.com/fonts/sudtipos/bowling-script/
—
About the typeface
—
There is plenty of lyric and literature about looking over one’s shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It’s a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It’s never easy to answer.
Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant.
Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele’s work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele’s work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it’s difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways.
Bowling Script is what people who like my work would expect from me. It’s yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists.
The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact.
The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes.
Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format.
More info
SUDTIPOS NEWS
--------------------------------------------
We are proud to announce the release of Courtesy Script, our latest ornamental tribute to late S. XiX penmanship.
Get Courtesy > www.myfonts.com/fonts/sudtipos/courtesy-script-pro/
ABOUT COURTESY
--------------------------------------------
As in Victorian times, the precious, hand-lettered look of custom stationery is back in vogue. Enter Courtesy Script, my newest ornamental script typeface.
Courtesy captures the elegance and propriety of finely practiced Spencerian penmanship, in particular the Zanerian school. Its lowercase is notably understated, a simple monoline with very wide connections that ease readability. In the capitals, Courtesy adds variety in both the weight of the strokes, and in degrees of flourish — from merely fancy to over-the-top engrossery.
Based on an alphabet found in a 19th-century penmanship journal, Ale created hundreds of additional, stylistically complementary letterforms. Alternate capitals and lowercase letters, swashed lowercase forms, and ending and ornamental swashes; numerals, punctuation, and non-English and accented characters.
With virtually endless ways to customize its use, Courtesy helps designers create fluid, signature looks on stationery and invitations, book covers, fashion layouts, and packaging.
More fonts
Visit www.sudtipos.com
SUDTIPOS NEWS
--------------------------------------------
We are proud to announce the release of Courtesy Script, our latest ornamental tribute to late S. XiX penmanship.
Get Courtesy > www.myfonts.com/fonts/sudtipos/courtesy-script-pro/
ABOUT COURTESY
--------------------------------------------
As in Victorian times, the precious, hand-lettered look of custom stationery is back in vogue. Enter Courtesy Script, my newest ornamental script typeface.
Courtesy captures the elegance and propriety of finely practiced Spencerian penmanship, in particular the Zanerian school. Its lowercase is notably understated, a simple monoline with very wide connections that ease readability. In the capitals, Courtesy adds variety in both the weight of the strokes, and in degrees of flourish — from merely fancy to over-the-top engrossery.
Based on an alphabet found in a 19th-century penmanship journal, Ale created hundreds of additional, stylistically complementary letterforms. Alternate capitals and lowercase letters, swashed lowercase forms, and ending and ornamental swashes; numerals, punctuation, and non-English and accented characters.
With virtually endless ways to customize its use, Courtesy helps designers create fluid, signature looks on stationery and invitations, book covers, fashion layouts, and packaging.
More fonts
Visit www.sudtipos.com
Kozmetica is new original elegance from the dynamic team of Koziupa and Paul. Soft, warm forms made of pensively fluid strokes make for comfortable and classy delivery with just enough ornamentation to evoke the rich days of art deco.
Kozmetica comes with plenty of alternates, focusing in particular on the degree of lowercase ornamentation. The setting can be simple and straightforward, or swashed with hairlines seamlessly emanating and swirling from beginning or ending forms.
As usual with Koziupa/Paul fonts, Kozmetica's ideal use is in packaging design.
Kozmetica covers all Latin-based languages.
More fonts > Visit Sudtipos
11 new free scripts has been released!
We are happy to announce release of 11 additional free imacros scripts for download.
locatefamily scraper script.
xvideos friends adder script.
Google maps screenshot saver script.
heart4me messanger script.
flirtomatic registration script. watch
ezpostalcodes scraper.
Compete save sites data script.
Badoo account creator. watch
Backpage poster. watch
Alexa category scraper.
Addmefast twitter follower and facebook liker. watch
So now we have 60 free imacros script for you!
Get them here.
new script font called Herchey. High quality script font with swashes inspired by modern vintage design and baseball logo. Plus OpenType features with Stylistic Alternates, Swashes, Ligatures, Stylistic set, Terminal Form and Ornament that allows you to mix and match pairs of letters to fit your design. This font good for vintage design, t-shirt, logo, labels,badges, posters and etc.
download : crmrkt.com/8NO5k
Modern Love
Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps.
Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density.
Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features.
Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough.
The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion.
Modern Love Regular, Grunge and Rough contain 800 glyphs
Modern Love Caps contains 309 glyphs
This font is available at Myfonts bit.ly/1NnpXDc
6"9" butter cake with fondant over the butter cream, hand painted scroll work which was the bride and grooms names Renee & Glen
ribbon edging and gumpaste tiger lilies, these were requested to be 5 petals instead of 6 so that they could do 'he loves me he loves me not' with themand have the right result ;-) apparently its a thing t he bride does
Screenshot of the script editor pane in the jDem846 user interface running in Linux. Scripting is done in Groovy and provides several call-backs to inject logic into several points during the rendering process. This is what was used when generating the Ice Melt scenario images. The scripting API is very minimal at the moment.
Photos made for blog post about shell script that dynamically splits output into files while processing.
Blog post: blog.christiaan008.com/2015/11/08/dynamic-splitting-outpu...