View allAll Photos Tagged script
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...
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
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
SUDTIPOS. NEW RELEASE. AUGUST 09.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Cold winter in South America is a perfect time to produce a fresh new font.
We are happy to announce the release of Diplomatic .
Diplomatic is another script from the Koziupa and Paul duo. It relies on calligraphic simplicity to achieve artistic sophistication. Prominent ascenders and descenders work alongside calculated but casual strokes to produce an unmistakably elegant typesetting.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
We also want to share with you that our font Adios Script was nominated for the »Design Award of the Federal Republic of Germany«. The Design Award of the Federal Republic of Germany is the country‘s highest distinction in the field of design. Yes... a nomination is enough to be more happy!
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Wherever you are, at the hot north hemisphere or at the chilly south, have a nice month!
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
Designed by Jason Ku
Fold by me(PAN.Hang)
Actually this was not an new fold, I folded this model in my school time, but that was a test fold in orange wax paper, although I didn't like the result, I still keep it.
Now I reshaped it again, since Jason said the design was from movie LOTR," In the movie, the Balrog does not have regular wings, but skeleton wings." So I searched some photos for help, that was really works ,especially for the head.
AND the most important part to save the model is the dying part, I used Chinese ink to paint it, the result with black and little orange spots was really suitable for the Balrog.
Next time if I fold this model again, I think I will focus on the wing and head, this one looks not too evil, and maybe make an scene:)
DIY Scription Chronodex from @Patrick Ng 。Mode can be downloaded from scription.typepad.com/blog/2011/11/scription-chronodex-we...
www.youtube.com/watch?v=VSusc0RZegk&feature=share&... Trailer
The Brides were played by: Andree’ Melly as “Gina”and Marie Devereux as the “Village Girl”.
“Baroness Meinster" was played by Martita Hunt and “Marianne Danielle” was Yvonne Monlaur.
“Greta” was played by Freda Jackson :
Best Scene: When the innkeeper’s (“Greta” was played by Freda Jackson) daughter (Marie Devereux) falls prey to the Baron and is buried, she is interred in the churchyard. Van Helsing goes one night to investigate her grave, and finds “Greta” Freda Jackson laying with her ear to the mound, muttering into the freshly turned earth.
“Yes my dear, I know it’s dark. No, I can’t help. You’ve got to push….”
The scene has a really macabre intensity, and the unmistakable allusions to childbirth play out perfectly, with Freda, already established as having nursed the young Baron from infancy, playing the part of an encouraging midwife as the innkeeper’s daughter’s pale hand slowly breaks through the ground and she is ‘born’ as a vampire, emerging at last from her coffin, pale and fanged.
Best Dialogue/Line: Baroness: Who is it that is not afraid?
Van Helsing: Only God has no fear.
Baroness: Why have you come here?
Van Helsing: To find your son.
Baroness Meinster: Then you know who I am?
Van Helsing: I know who you were…
Director Terence Fisher's follow-up to the hit Horror of Dracula was one of only a few Hammer vampire films to not feature Christopher Lee in the lead role. David Peel was instead cast as Baron Meinster, with Peter Cushing returning as Dr. Van Helsing to combat the bloodsucking fiend.
The Brides of Dracula is the first sequel to 'The Horror of Dracula'. This film does not have Christopher Lee, or Dracula for that matter, but is among the most lush of the Hammer films.
Release Date: 1960
Directed By: Terence Fisher
Written By: Jimmy Sangster, Peter Bryan, and Edward Percy
Peter Cushing as Doctor Van Helsing
Martina Hunt as Baroness Meinster
Yvonne Mauler as Marianne Danielle
Freda Jackson as Greta:
David Peel as Baron Meinster
The young and beautiful French schoolteacher Marianne (Yvonne Mauler) is abandoned by her coach driver in an isolated village. When she arrives at an inn seeking shelter, she ignores the warnings of others and goes with Baroness Meinster (Martina Hunt) to stay with her at her castle. There she meets the Baroness’ handsome son, Baron Meinster (David Peel), who has his leg chained to a wall. He tells her that his mother has taken his right to the lands and imprisoned him. She steals the keys and sets him free, and his mother and their servant Greta (Freda Jackon) become terribly upset. The Baroness is bitten and killed by her evil son, who we learn is a vampire. When Greta shows the body to Marianne she runs away and is found by Van Helsing (Peter Cushing). The Baron, now free, turns his mother into a vampire, as well as, a little later, a pretty girl from the village. Meanwhile, Greta has become his human servant. He sets his eyes on making Marianne his as well, and only Van Helsing can stop his reign of evil.
This is the first of Hammer’s sequels to their classic, influential, and hugely successful The Horror of Dracula. Christopher Lee does not return and there is no Dracula, nor is there any mention of him in the movie, aside from the narration at the beginning which
tells that he has many followers. Van Helsing, though, does return making him the most direct link to the aforementioned film.
Fisher finely directs The Brides of Dracula, and it ranks as one of the most lush and sumptuous of all of the Hammer films from the period. The sets are beautiful, as are the costumes worn by the cast. The film is always stunning to look at, a truly lavish production in every sense of the word, despite the surely low budget.
There are some very exciting and memorable moments in The Brides of Dracula, and even before Cushing ever sets into a single frame, there is already a wonderful set-up. One such moment is when the Baroness talks about her son introducing him for the very first time. It’s a great bit of dialogue, and of acting from Hunt, and it really sets up the tone, as well as the characters and story. Another potent, and ultimately creepy, scene comes when the pretty vamp is resurrected while Greta cheers her on. Both the first confrontation between the Baron and Van Helsing and the climax are very thrilling. In fact, the later is one of the finest of any and all of Hammer’s movies. And, the ending is simply awesome and features one of the coolest ways to dispose of a vampire, ever!
Hunt isn’t the only one who gives a great performance, as the whole cast is just excellent. Cushing is his always amazing self, proving yet again that he is the definitive Van Helsing. He remains heroic and classy throughout the movie. Peel makes for a great villain - So good, that any disappointment over Lee not appearing in The Brides of Dracula fade quickly. There are few greater complements that can be paid to a horror star than that. Peel’s Baron is sly, seductive, classy, and outright evil. Mauler makes for a likeable and beautiful heroine in the movie, and in keeping with the Hammer tradition both of the vampire “brides” to the Baron are very sexy and attractive as well.
The wonderful acting in this film is strengthened by great dialogue, and the script is perhaps the best in all of vampire movie history. This is an amazing film that has rightfully taken its place as one of Hammer’s very best films, and well lives up to its legacy. No list of the best of Hammer’s work is complete without including The Brides of Dracula, and no true fan of bloodsucker cinema should miss it.
Nikon D810 HDR Photos Scripts Pier Sunset San Diego / La Jolla Dr. Elliot McGucken Fine Art Photography!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Nikon D810Wide Angle Zoom Lens Photos of Scripts Pier Sunset! Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show !
Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!
And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!
The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)
Some (almost) final edits for my Los Angeles Gallery Show! Printing them on metallic paper at 13" x 19" and mounting and framing them on a 4mm 18x24 white mat and 2" dark wood frame. Also printing some 40" x 70" which is over three feet by five feet! Wish you all could come (and hang out with the goddesses)!
Let me know your favs.!
New Instagram!
Videos!
I booked a major photography show at a major LA gallery in December! Will also be giving some lectures on the story--the Hero's Odyssey Mythology--behind the photography!
Follow me on facebook!
www.facebook.com/elliot.mcgucken
Preparing for some gallery shows this fall to celebrate 300,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D8010 with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Odyssey Mythology Photography!
Epic Scenic HDR Landscapes Shot with Nikon D810: Hero's Odyssey Mythology Photography!
Three-Seven exposures @ 1EV finished in photomatix.
Enjoy the Hero's Odyssey Mythology Photography, and all the best on a hero's odyssey of your own making!
High Dynamic Range (HDR) photos rock in capturing the full dynamic range of the scene!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Nikon D810 Sunrise Photos of Toroweap (Tuweep) Overlook Grand Canyon Arizona! Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show !
Brahmi script, previously written on leaves when paper wasn't available.
This is the ancient Khmer script practiced by monks today and can be heard every morning when the monks do arms.
I believe it stems form the Hindu language, which falls in line with Cambodia's history, previously being a Hindu state. It also forms the foundation for the Thai script.
I've been told there are no letters only sounds, the khmer alphabet is used to represent these sounds. Thats what the monk told me, I cant trad the Khmer alphabet with its 20 odd vowels, let alone script..
More on Cambodia here-
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
Albeit an upside down Script Ohio.
AWESOME!!!!!!
Does anyone know who was the first Marching Band to perform Script Ohio?
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
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.
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...
I was fooling around with iPhone SDK at the very beginning to create an app to give readers short excerpts of blog post, photos, downloads, tweets. Guess what, before I acquired enough skills to actually create one, there is this MotherApp service to do almost everything for you.
Honestly, I don't think people, even myself will read blog posts in an iPhone app but it is fun by itself to create an app that's gonna be on Apple's app store. The Scription app is supposed to be out in January, let's see how it turns out.
More on Scription blog: moleskine.vox.com/library/post/scription-iphone-app.html
These are the most frequent scripts made by members of the Scratch Online Community. You can think of them as the collective nuggets of programming wisdom created by a quarter of a million kids from around the world.
This is the result of an analysis of the ~2 million projects on the Scratch website.
The gray ones are the ones without any behavior associated to them, most likely the result of experimentation.
Thanks to members of the Scratch community (MyRedNeptune, Jonathanpb, Scimonster and BWOG) for helping with the creation of this image.