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SUDTIPOS NEWS
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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
'Sewing Script' Limited edition pincushion rings.
These are VERY limited! made from fabric featuring a design of collaged written word that appears to be taken from an old sewing book! Therefore all the rings from this fabric feature different lettering - this one has the word 'Stitches' and some unreadable gothic script.
The 'Mesdames de Mayhem' are a club of female mystery writers -- short stories, novels, and television scripts -- and are a lot of fun to know. John Thompson has become sort of a go-to resource for many of them for questions about firearms and weaponry; particularly as many of them have never fired a firearm and know little about them. This has led to a one-time 'Mystery Writers Shoot' to be hosted by the RCMI-PC on May 9th on Borden -- the day before our own scheduled shoot of May 10th.
The mystery writers will provide lunch (guaranteed not to have any us turn green and start frothing) and about 10 of them are expected.
John Thompson will be the RSO, but we need volunteers and their firearms for one-on-one coaching on the firing line at Borden. Some ammunition will be from club stocks and the Ladies will be paying to defray the price of ammunition.
The day begins at 0930 on Bay 5. Safety brief, get 'eyes and ears' matched to guests. We'll set up with the normal Figure 11s.
0945: Short talk and display of:
a) a muzzle-loading black powder firearm (assuming some member brings one)
b) a double-barrelled shotgun
b) a bolt-action rifle,
c) a lever-action rifle.
d) a pump-action shotgun.
e) a semi-automatic rifle.
f) a single-action revolver
g) a double-action revolver
h) a semi-automatic pistol.
-- Each demonstration will be short, and will allow the ladies to see how the firearm functions and is loaded. This will be under control of the RSO; once dry with the weapon pointed at the berm, then turn, and once live into a target.
10:30ish One on one shooting (editor's note:I think John means shooting on a one-on-one supervised basis... I hope that's what he means). Members will lay one or two of the weapons they bring with their ammunition on the firing line and let the ladies shoot under close supervision. We'll do our usual relays and keep each relay short (two mags) and then clear and patch targets and let the next relay come up.
We need a variety of historic and significant firearms for this -- especially if they are well known to the general public.
Bay 5 is licensed for the usual pistols plus rifles up to 5.56mm/0.223, so no big bad rifles but carbines, shotguns, and pistols are needed. If you want to bring something heavier to show, please do. We can show it, but we can't shoot it on Bay 5. The ladies tend to be 'mature' and very few have ever shot anything before, so be guided accordingly.
After lunch we'll do a novelty shoot for prizes for the ladies. Quite possibly we'll let them keep their illusions about our own eagle-eyed marksmanship, or maybe reserve one prize for RCMI-PC members.
Fraisthorpe Camp, 2004.
I am posting these camp photos in anticipation of going again in three weeks time. It's a summer camp run by Elim. Last year I went last minute, and played bass in the main worship meetings. This year, if I go, I will be going last minute, and playing keyboard in the main worship meetings. It's always last minute.
I hate camping with a passion.
Mobile Website Script - Works on any hosting account! download here: www.pensaweb.com/design/mobile-website-templates
Upper West Side, Manhattan
Prominently situated at the comer of West 103rd Street and Broadway, the Hotel Marseilles is a distinctive Beaux-Arts style apartment hotel constructed in 1902-05, at a time when this section of Broadway on the Upper West Side experienced rapid development aided by the opening of the Broadway (IRT) subway line, which included a stop at Broadway and West 103rd Street. A distinguished example of the wave of large-scale hotel construction that followed the passage of the Tenement House Law of 1901, the Hotel Marseilles was one of several grand hotels and apartment hotels, such as the Astor Hotel and the Ansonia, built along Broadway north of Times Square during the first decade of the twentieth century.
The Hotel Marseilles, clad in brick with limestone, wrought-iron, and terra-cotta trim and crowned with a sloping mansard roof, illustrates the rise of the "modem French" style in commercial and hotel architecture. The appearance of this style in the United States was the result of a sharp increase in the number of American architects attending the Ecole des Beaux-Arts in Paris and the concomitant ascent of France as the dominant influence in American architecture in the late nineteenth century. Erected for the Netherlands Construction Company and leased after completion to the Marseille [sic] Hotel Company, this apartment hotel was designed by noted architect Harry Allan Jacobs, a specialist in hotels and residential buildings. Largely intact, the Hotel Marseilles serves as a significant reminder of the development of Broadway and the Upper West Side in the first decade of the twentieth century.
The Hotel Marseilles was built by the Netherlands Construction Company (J. Arthur Pinchbeck, president) and leased after completion to the Marseille [sic] Hotel Company. it was one of several Beaux-Arts style hotels and apartment hotels located on Broadway. Its design, characterized by overscaled decorative classical elements and a mansard roof, illustrates the development of the "modem French" style in commercial and hotel design that began in New York in the 1890s.7
The use of the "modem French" style in New York City coincided with the rise of France as the dominant influence in American architecture in the last quarter of the nineteenth century. This corresponded to a sharp rise in the number of American architects that studied at the prestigious Ecole des Beaux-Arts in Paris; over 350 of them were enrolled between 1890 and 1910.3 After returning to America, these architects sought to advance the use of Beaux-Arts principles in American architecture, forming groups such as the Society of Beaux-Arts Architects to further this goal. One of the Society's founders, Ernest Flagg (1857-1947), designed a building in 1896 that embodied many of the ideas that he had learned as a student at the Ecole. The original Singer Building (1896-98, demolished) at 149 Broadway (later reconstructed as part of the Singer Tower) 9 was a ten-story mansarded office building textured with polychromatic red brick and limestone trim and articulated visually by a tripartite scheme of base, midsection, and top. Labeled "modem French," it reflected the "revival of interest in eighteenth-century domestic architecture, especially the French hotel particulier, now adapted to the prestige office building. "10
The "modem French" style, already so prevalent in commercial architecture, became widely used in new hotel construction in the first decade of the twentieth century. One of the most notable was the Astor Hotel on the west side of Broadway between West 44th and 45th Streets (1904-09, Clinton & Russell, demolished). Slightly later than the Hotel Marseilles, it was a fully developed example of the "modem French" style with a brick and limestone facade terminating in an elaborate mansard roof. Further north on Broadway, the Ansonia was perhaps New York City's most sumptuous apartment hotel. The "modem French" style reached a grand expression in this eighteen-story building, clad in stone and crowned with a richly decorated mansard roof. At the same time on the Upper West Side the Manhasset, faced in brick and crowned with a mansard roof, was stylistically similar to the Hotel Marseilles.
Harry Allan Jacobs, architect of the Hotel Marseilles, also promoted the "modem French" aesthetic in his designs. Similar to other contemporary commercial and hotel designs, the Hotel Marseilles is faced in brick trimmed with limestone and decorative ironwork and crowned with a mansard roof with overscaled terra-cotta dormers. It is an elegant example of the "modem French" style in hotel design illustrating the profound impact of the aesthetic principles taught at the Ecole des Beaux-Arts on American architecture.
This eleven-story Beaux-Arts style apartment hotel is located at the southwest comer of Broadway and West 103rd Street, extending approximately 101 feet along Broadway and 120 feet along West 103rd Street. The building is U-shaped in plan, with a courtyard opening to the south. Faced in stone and brick with wrought-iron and terra-cotta details, the facade is a rich Beaux-Arts composition retaining much of its original appearance.
Faced in coursed and rusticated stone, stories one through three on the Broadway facade are articulated by seven bays each. Stories four through seven are faced in brick laid in Flemish bond with glazed headers. The first story retains its original openings for storefronts flanked by stone piers ami crowned by rectangular spaces designed to hold signage. A projecting dentiled and bracketed cornice caps the first story. The arched bays of the second story are topped by voussoirs and large keystones. The third story has smaller, square-headed window openings; the center bay and the third bay from the southern end are flanked by slit windows. The second bay from each end is flanked by oversized scrolled console brackets supporting a stone cornice above the third story. At the fourth story, these broad bays are framed by stone quoins which rise to the seventh story where they are crowned with scrolled consoles supporting a projecting cornice. The windows in these bays are fronted by wrought-iron balconies. The spandrel panels contain stone panels with foliate ornament and keystones. The remaining window openings have brick lintels and stone sills. The transitional eighth story is faced in stone. The ninth story, faced in brick, continues the pattern of the midsection, and is topped by a terra-cotta cornice interrupted at the second opening from each end to form double-height bays. The tenth story, set into a sloping mansard roof, has dormer windows topped with large and lavish triangular and broken segmentally-arched pediments executed in terra cotta.
The West 103rd Street facade, nine bays wide, continues the same overall design and articulation of detail as the Broadway facade. The stone base of the building decreases in height at the western end to conform to the sloping site. An entrance, located five bays from the eastern end, is topped by a transom faced with original ironwork and is flanked by pairs of large banded and fluted Tuscan columns on pedestals with pilasters behind. These support an entablature featuring garlands, mutules, modillions, and a stone balustrade. Above the entrance is a large cartouche embellished with swags and a mask. The entrance is flanked by an areaway enclosed by wrought-iron railings and stone posts. The large window openings flanking the entrance are arched and contain stone balustrades at the base supporting square-headed windows topped by oculi. The bay above the entrance has a paired window flanked by two slit windows separated by thick mullions; this pattern continues up to the ninth story.
The western elevation, visible above the neighboring building on West 103rd Street, is faced in brown brick with three window openings per story; the smaller center opening has been sealed with red brick. Light-colored brick bandcourses, marking returns of significant features of the West 103rd Street facade, have been obscured by gray paint. A painted sign reading "Marseille," executed in script, is located on the wall.
The Hotel Marseilles survives largely intact. In recent years the two southern bays of the first story of the Broadway facade have been altered for a restaurant; the entrances are surrounded in concrete, painted gray. The windows, tripartite single-pane with transoms and one-over-one double-hung, are aluminum sash. Aluminum spandrel panels have been installed in the double-height bays at the ninth story. A projecting aluminum and glass vestibule has been installed at the main entrance on West 103rd Street. A new metal door (painted gray) has been installed in the areaway of the West 103rd Street facade; other basement openings to the west of the entrance have been sealed with concrete panels. The wrought iron of the areaway fence has been replaced; the stone balustrade in the window opening to the east of the entrance has been removed.
The mansard roof that crowns the building has been resurfaced with asphalt shingles, and in recent years it has been pierced by a row of double-hung windows at the eleventh story. In 1979-80 the Hotel Marseilles was redeveloped as subsidized housing for the elderly, a function which it continues to serve. In 1990 the terra-cotta cornice and wrought-iron railing at the eighth story were removed due to unsafe conditions. At the time of designation a replacement cornice, cast from templates of the old cornice in an alternate material, was planned.
- From the 1990 NYCLPC Landmark Designation Report
The Script
SSE Hydro
Glasgow, Scotland
20th February 2015
All photos by Stacey Auld @ Music Box Unwinds
DO NOT REMOVE WATERMARK OR EDIT.
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Original script for "The Goddess Speaks.", a multi-dimensional modern/ classic club performance that opened at Shelter, 564 West Fulton, on July 13, 1990
Original script for "The Goddess Speaks.", a multi-dimensional modern/ classic club performance that opened at Shelter, 564 West Fulton, on July 13, 1990
Script decorating part of Topaki palace. This is carved and embedded in the wall in the Harem I think. In turkey, writing is an artform and it takes upto a year to learn to write each letter in all the variations or so my guide told me. But then he thought everything was the best in Turkey or originated in Turkey too. Istanbul, Turkey.
The past three days have been a hard long slog of 14 hour days marking my way through 160 exam scripts.
But today I marked the last of the first year batch of exam papers and now I've only 50 courseworks to mark.
I find this time of year a real struggle tbh... it's not the length of the working day, it's more about ensuring consistency in marking and not letting the concentration down for a second.
As repetitive as marking is, it's not a brain dead activity, you need to keep your wits about you.
A pioneer Movie script from years of research/study/work and something ..strange [ some..signs..] ABOUT a boy who fight the British Empire of 56 in Cyprus with..Roses..- == WANTED support/partners to find the right produce/tv channel = LIKE/share/participate = www.facebook.com/dimitrisTheMovie/ = PUSH the shop Now TO support = OR go NOW = i ll give BIG gifts [ seats for the BIGGEST concert, SEATS for the.PREMIERE days..OR...play IN the Movie [ background actor in a BIG historical fight scene ] = LIKE /SHARE/PARTICIPATE = GO to = www.magikdo.info/advertising----support- == AFTER your LIKE in the f page ASK for the FULL presentation Page in the website .
Original script for "The Goddess Speaks.", a multi-dimensional modern/ classic club performance that opened at Shelter, 564 West Fulton, on July 13, 1990
Explosive - Scripts and Animations, High Quality Bento Animations, available in Full Perm and Standard versoion. Visit the store and watch live Animations: Walking, Combat, Emotive. Sitting, Lying, Dancing, Couple, Sport and Other. Some animations have built-in avatar physics. Scripts and Pose Stand are also available in the store, to inspire your photos. Reach for joy with Explosive Animations
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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
New font by Ale Paul for www.sudtipos.com
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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