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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
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.
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.
One of the worst record sleeves of all time but I love this record more than I can say. A companion for three and a half decades
on Explore
.
Www.bighugelabs.com/scout.php?mode=history&id=5498380224
.
5 days ago:302
4 days ago:236
61 hours ago:259
49 hours ago:264
37 hours ago:212
25 hours ago:186
12 hours ago:265
17 minutes ago:282
Highest position: 186 on Wednesday, March 9, 2011
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tool
Photos from you and your contacts in Explore
on March 10th, 2011:
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...
With this script you can pack your products quickly and easily, so that the buyer can unpack them in his inventory after delivery by attach or by rez and touch.
- "mx unpacker" script:
The script can be used without a configuration or with a configuration file.
3 additional script versions are supplied for configuration-free use:
- «mx unpacker - silent» (silent mode without dialogues)
- «mx unpacker - byrez» (unpack immediately by rez)
- "mx unpacker - silent & byrez" (silent mode and unpacking by rez)
Without a configuration file, the script is only available in English. In order for the script to be available to the user in other languages, the corresponding translations must be available in the configuration file.
A configuration file with the following translated languages is available on delivery:
English, Danish, German, Spanish, French, Italian, Hungarian, Dutch, Polish, Portuguese, Russian, Turkish, Ukrainian, Chinese, Japanese and Korean
Features:
- Easy and quick to use.
- Without configuration or customize with a configuration.
- Unpacking by attach, rez on ground or touch.
- Delete or detach after unpacking.
- Sound effects by attach, touch, unpack and delete or detach
- Animations/poses by attach, touch and unpack
- Selectable use of experience (MX Experience)
- Group invitation
- Custom particle effect
- Dialogue based or in "silent mode"
- Customizable dialog texts.
- Translations of the dialogues in all SL languages.
- Exclude files from unpack.
- Customizable unpack folder Name
- Automatic cut the prefix like '(Wear me)' from foldername
- Avoid attach mode
- Deliver non-copy objects
- Linked messages for scripters
While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread as those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather's library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century.
Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling's exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase.
Bellissima has an effusive energy that appeals much beyond its sourcing. It's intended for these modern times of appreciation for old crafty things like stationary and letterpress, where its origins help it shine brightly.
Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.
3D art in that Specimen generously provided by Corey Holms.
To celebrate this new font release there is a 30% off discount at @myfonts and you can get the Pro version for just 55$ or a Redux (a random selection of 256 glyphs) for only 34$
More fonts at:
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
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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
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.
I remember, some of my Flickr friends getting surprised, when they realized in Armenia we use a different script, than English or Russian :) Even though, in Armenia almost everyone speaks Russian, because of our Soviet past. So I thought, to introduce you to Armenian letters with this photo. This is a part of a door-frame of a 10-th century Armenian monastery called Tsakhats Kar. Grapes and other native fruits are typical ornaments for Armenian architecture, so you'll see a lot of them on ancient and modern churches. The writing on this piece is in old Armenian, so it would take me lot of effort to understand the words, but I assume, since it was curved all around the entrance door, it tells about the person(s) who built this monastery.
The Armenian language is an Indo-European language spoken by the Armenian people. Armenian has a long literary history, with a fifth-century Bible translation as its oldest surviving text.
Consisting of 38 letters, the Armenian alphabet is an alphabet that has been used to write the Armenian language since the year 405 or 406. It was reintroduced by Saint Mesrop Mashtots (361 or 362 – February 17, 440), an Armenian monk, theologian and linguist, and originally contained 36 letters.Two more letters, օ (o) and ֆ (f), were added in the Middle Ages. Armenian literature with pre-Mashtotsian letters was burned during the introduction of Christianity. Until the 19th century, Classical Armenian was the literary language; since then, the Armenian alphabet has been used to write the two official literary dialects of Eastern Armenian and Western Armenian.
Now you know what language I speak :)
Thanks for your visit and have a great day!
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