View allAll Photos Tagged script
This is a tweak of the Curved Spaces script by Michale bourne, the hyperbolic-scry version. I tried a lot of things to add to or somehow vary the parameters and was nearly ready to give up with I hit on my combo here. I did tweak the settings a lot, and eventually found that I really liked the addition of rhodonea to the final linear3D variation. It took a lot of tweaking the numbers but I am pretty happy with the outcome. Enhanced for color using Photoshop.
It was a very hot day, instead of walking, driving or taking the transit, some people decide to ride on their bikes to get to their destinations. They enjoy biking very much.
Who: Cyclists
Where: Biking Trails
What: Riding their bikes
When: In the afternoon
#1 antique mongolian tibetan manuscript
more shots below (let me know if you would like to see the details on any of them, only #8 is set public, thanks)
Julia Evangelical Ascension Lutheran Church where Colin Thiele and his family attended: he was baptised and confirmed in this church. His parents and other family members are buried in the cemetery at the rear of the church.
The church is now private property.
A laneway running beside the church leads to the Julia Lutheran Cemetery. At the entrance is an image of “Gustav”, a character of Colin Thiele’s, and his kelpie. The symbol of Gustav and his kelpie is to be found at sites, around Julia and Eudunda, associated with Colin Thiele.
Dr Colin Milton Thiele AC
Background:
Born at Mrs Knabe’s Nursing Home, Eudunda, 16 November 1920.
Father, Carl Wilhelm (1873–1954) and Mother Amalia Anna, nee Wittwer (1887–1983), Brother Armin Louis (1916–1992), Sisters Stella Louise (1911–1995), Dora Meta 1914–2002) and Avis Anna 1929-).
Two childhood homes in Hundred of Julia Creek, first farm on Block 308, Register No 71420, second farm (from 1925), Section 318, in a cropping and grazing area ten kilometres northwest of Eudunda.
Baptised (19 December 1920) and confirmed (6 October 1936) in Julia Lutheran Church.
Educated Julia School (1926–32), Eudunda Higher Primary School (1933–34), Kapunda High School (1935–36), University of Adelaide and Adelaide Teachers College (1937–42).
Served with RAAF as a radar mechanic in the Second World War (1942–45).
Married Rhonda Gladys Gill, 17 March 1945 in Adelaide. Two daughters, Janne Louise (born 1948) and Sandra Gwenyth (born 1954).
Educator:
Taught at Unley High School (1945), Port Lincoln High School 1946–55), Brighton High School (1966).
Lectured at Wattle Park Teachers College (1957–65)
Vice-Principal (1964–65) and Principal of Wattle Park Teachers College (1965–72); Principal of Wattle Park Teachers College 1973–80).
Author:
Colin Thiele’s career as a writer started in the 1940s with poetry and ABC radio scripts. Burke and Wills (1949) was a successful radio verse play.
He has written or edited a total of 101 books. The first was Progress to Denial, a book of poetry, in 1946. His complete list of works incudes poetry, radio scripts, short stories, biography, history, environmental and educational titles and children’s books. He is represented in numerous anthologies and collections of stories and articles.
Storm Boy (1963), his most famous book, was adapted as a film in 1976.
The Sun on the Stubble (1961), The Shadow on the Hills (1977) and the Valley Between (1981) form a loose trilogy about his childhood in the Eudunda district and, with Uncle Gustav’s Ghosts (1974), provided the scenes and characters for an ABC series, Sun on the Stubble, in 1996.
Blue Fin (1969) and The Fire in the Stone (1973) have been adapted as films. “The Water Trolley”, a short story (1996), was adapted for a television version in 1990.
His long list of national and international awards include two Commonwealth of Australia Jubilee Federal Arts Prizes (1961), the Grace Levan Poetry Prize (1960, the Children’s Book of the Year Prize (1982), and the Dromkeen Medal (1998). His books have been translated in many other languages.
The Statue:
Colin Thiele, who moved to Dayboro, Queensland in 1993, unveiled the fireglass statues of himself on Saturday 5 November 1995, here in the town gardens.
Very proud to announce a new collaborative font project with Koziupa for @Sudtipos.
www.myfonts.com/fonts/sudtipos/festival-script-pro/
Check the promo video made by the creative people of Dissolve
Also check the Festival gallery at Behance
www.behance.net/gallery/Festival-Script/11815137
-
Enjoy the 30% off!!
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...
Whenever Darcy walks past the poison cabinet, ancient scripts race through her mind... she believes they're long forgotten spells, but she has no idea where they've come from. Maybe they're from a past life... whatever... but she knows she could mix up these poisons to perfection.
~
Custom Blythe with makeup by NaNuKa, wearing Pumpkinbelle
The script eyechips are from Photos4Sue
~
She looks a bit freaky with these eyes... we love them! ♥
Two photos for Darcy this weekend because she missed her turn. I wanted to get more done this weekend but time has run away with me as usual.
A beautiful sunrise at the Cleveland script sign located at Edgewater Park in Cleveland Ohio. The Edgewater script sign was the first of six that has been installed throughout the Cleveland, Ohio area. Prints available at DaleKincaid.com.
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
Vintage metal trim piece from a COLDSPOT refrigerator or freezer found at an estate sale. the script is gold plated plastic. Measures 11 x 4.
Coldspot 1928-1976
When the Coldspot electric refrigerator debuted in 1928, it was somewhat of a novelty. Most early refrigerators were expensive and suffered from design and maintenance problems. The Coldspot, however, met with immediate public acceptance, and the 1929 model was a main point of interest for visitors to the Paris International Exposition that year.
Sears knew that there was a large market for electric refrigerators, but that costs prevented most people from buying them. So, Sears decided to design its own refrigerator. At the time, most refrigerator manufacturers were building 4-cubic-foot models. Sears wanted to build a 6-cubic-foot model and sell it at the price of a 4-cubic-foot model.
Sears hired Herman Price, a well-known refrigerator engineer, to help with the project. Then, in 1934, Sears hired industrial designer Raymond Loewy to completely redesign the Coldspot refrigerator. Price and Loewy incorporated a contemporary streamlined design, plus new ideas that improved both the reliability and serviceability of the refrigerator. These men also pioneered the use of aluminum for refrigerator shelving. In one year, sales of the Coldspot soared more than 300 percent.
Over the years, Sears' Coldspot line of refrigerators, freezers and air conditioners featured several other product innovations. In 1953, Coldspot upright freezers included dense fiberglass insulation that saved on electricity, plus a cabinet guaranteed not to "sweat." The Coldspot "Cold Guard" debuted in 1960 as the first frostless refrigerator, and 1971's model included a built-in cold-water dispenser and an improved "humidrawer" food crisper.
By 1977, however, the brand recognition of Kenmore was so great that most people surveyed by Sears believed that Kenmore already had a line of refrigerators, even though it did not. Sears then decided to replace Coldspot with Kenmore on all Sears refrigerators, freezers, and air-conditioning units.
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...
This is an example image of my new Gimp Script "Startrails"
It can be used to create startrails videos.
Here is an example video:
And here you can find the script: registry.gimp.org/node/25638
Update V2: www.flickr.com/photos/pascalk89/6284336886/in/photostream/
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...
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
--
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