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in the homies garage.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...
3 tier wedding cake with bride and grooms names scripted at various angles all over the cake, then wrapped in a chocolate brown ribbon
"Film Noir" Just need someone to write the script! ;-)
Black and White challenge No. 3 My husband checking his exit before he left for work this morning! ;)
I've been challenged by Izzy Standbridge to post five black and white pictures on five consecutive days (that's one on each of the five days), and on each of those days to challenge another person to do the same.
This is my third challenge.
The third person I'm going to ask to take up this challenge of five black and white images in five days is Grandpops Woodlice . (Hope you don’t mind me asking, Grandpops, you don't have to do it but if you do decide to take up the challenge, you don't have to do it straight away.)
On a grey, damp and chilly Monday morning in February 1960, fresh from school, I began my journalistic career on the Banstead Herald in Surrey. Among the reporters I met on that impressionable first day was one Terry Collcutt, a couple of years older than I – ‘a down to earth reporter’ I recorded a little later, ‘who smoked Old Holborn roll-ups in liquorice paper’. I’m proud to say that we never lost touch, and we remained the best of friends quite literally to his dying day, 58 years later.
Terry died last Thursday, and with his passing, one of the early building blocks of my life has been taken away. He was a fine and instinctive local journalist, with a newshound’s nose for a good story and a terrier's instinct to dig for the facts. Away from the typewriter, exchanging one sort of keyboard for another, he was also a jazz pianist of no mean accomplishment. And did I mention his double allotment in his home village of Bletchingley? He was a dab hand with the leeks and legumes, as well.
But back to reporting: his ‘old school’ Pitman’s shorthand was impeccable. He learned this strange but effective script in his early days as a cub reporter, and used it for the rest of his life, even when jotting down notes to himself. Well, journalism was his trade, after all – and even as recently as a few months ago, he was writing letters to The Daily Telegraph (and getting them published) on subjects as diverse as the state of the NHS and the inability of some schoolteachers to use punctuation properly.
Terry had an insatiable interest in politics, and throughout his life he was an unreconstructed socialist to the core. Not that you would ever have picked that up from his journalism: he was scrupulously even-handed when it came to reporting the political ebbs and flows he so keenly observed. He had a lovely sense of humour, too, and whenever we met – usually with other friends from the now distant inky-fingered world of newspapers – our easy, drifting lunches were always stimulating and jolly.
Terry Collcutt was simply one of the best. He’s gone now, and I for one am missing him already. But believe me when I say that he’ll be celebrated for years to come.
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
About Heráldica Script
We are proud to add a very complex and new font to our collection.
Ornamented scripts are a Koziupa/Paul specialty, and Heraldica is one of their most expressive. It attains the very definition of deluxe by conjoining the classic thin-and-thick script treatment with thin-only counterpart strokes, then it goes the extra mile with a varied complement of overlaid flourishes. The usual assortment of multiple alternates and ending forms pushes it even further in class and versatility.
Monograms, logos, jewelry packaging and book covers are only a few of the possibilities with such a high-end script.
Typeface design: Angel Koziupa & Ale Paul for Sudtipos.
License the typeface with a Lted. Time 30% exclusive discount here.
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.
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
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SUDTIPOS. NEW RELEASE. AUGUST 09.
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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.
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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!
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Wherever you are, at the hot north hemisphere or at the chilly south, have a nice month!
The more smooth barked beech giants of Epping Forest are frequently marked with Initials and script carved by sweethearts, but they are often a bit of an eyesore. This one however really grabbed my attention - its a work of art. If the last marking is a year (82), then it is 36 years old. So, can anyone please translate? I doubt that it says Darren loves Tracy.
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
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!
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
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...
Albeit an upside down Script Ohio.
AWESOME!!!!!!
Does anyone know who was the first Marching Band to perform Script Ohio?
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)
Get a license at 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.