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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/
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.
set of four images utilising flyers for Gay Pride cinema season at London's ICA, which I picked some time in June.
“If you didn’t see me flip the script, you’re on the wrong page” – Capital Lights; Newport Party.
Gramatik - Flip the script ♫ youtu.be/DiP4797atvI
Flip The Script – A Photographer’s music diary by Kingsley Davis. The Flip the Script book is an unparalleled collection of photographs taken by UK photographer Kingsley Davis ( Flip the Script on Flickr), documenting some of the most talented artists, musicians, Dj’s and producers from both sides of the Atlantic to have emerged over recent times. The book with a special preface by Norman Jay MBE, is a who’s who of genre-defying artists from the last ten years. Some of the artists featured in the book are Estelle (cover), Omar, Marc Mac, Pharrell, Guru, Bashy, Jonzi D, N\'Dea Davenport, Ms. Dynamite, John Legend, Flying Lotus, KRS-One and many more. www.flipthescriptbook.com/
Photo taken with mobile phone (Nokia Lumia 930) and edited with PicMonkey.
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...
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.
This event was planned to coincide with “Eudunda Revisited” celebrations of 125 years of European settlement. Chris Radford, the Freeling sculptor, has depicted his subject sitting on a rock, holding a notebook, and looking down at Mr Percival, the pelican in Storm Boy.
The Eudunda community raised over $60,000 to have the statue cast in bronze by Tim Thomson of Crafers in 2004.
[Details for this sign have been taken from “Can I call you Colin”, the authorised biography of Colin Thiele, 2004, by Stephany Evans Steggall, and from her PhD thesis, 2005, entitled “Colin Thiele: Double Vision. A Biographical Study of an Australian Writer and Educator”.]
*Colin’s life was a deep well, from which one could draw refreshment and encouragement. He walked tall down the road of recollection among the people and the land he loved and portrayed so well.
(From the eulogy given at Colin’s funeral, written by Mr Max Fatchen one of his closest friends.)
Colin Thiele died of heart failure at Brisbane, Queensland, on 4 September 2006.
The classic Canadian Pacific script logo on any equipment makes for a must have photo. That includes the lowly ore car? ballast car? seen here at Thunder Bay, Ontario. September 29, 2002.
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
Fix und Foxi / Heft-Reihe
> Hayawatha / Teil 38 von 42
script: Roy D'Ami (Rinaldo Dami)
art: Carlo Porciani (?)
Kauka Verlag / Pabel-Gevacur Verlag
(München / Deutschland; 1968)
ex libris MTP
Charming old Spanish books for learning how to read different handwritings.
From Michael Twyman's personal collection.
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
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Enjoy the 30% off!!
《Actress rotten script.》
Do you believe it? Snow White and Cinderella is Prince abandoned!
Because they too believe in fairy tales, so reject premarital sex.
But this is for men is a ridiculous and childish thing, they think it has nothing to with the noble identity.
"Just love Well, what stick it?"
Prince says.
「我們還是回家吧！那些逝去的、遺憾的、該來的已走、該走的留不了藉口。我們又不是星光，沒有道理照亮別人的路、卻讓自己的肉體昏暗，連靈魂都要遮蔽視野。」
「但他是我認定的男主角。」
「將來妳會有很多男主角。」
「他是我唯一不會勉為其難的男主角。」
「我欣賞妳的勇敢！但妳應該清楚生命不能浪費在等待。」
「我懷了他的孩子，而且是第二胎。」
「妳活該。」
從此，白雪公主和灰姑娘過著不幸福、不快樂，但卻是婦產科業界龍頭的生活。
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...
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
--
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
Get the font
www.myfonts.com/fonts/sudtipos/bowling-script/
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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
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