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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
RUGRATS-The-Movie_Script
"RUGRATS: The Movie" ORIGINAL SCRIPT - USED IN PRODUCTION - NOT SIGNED – NOT A FACSIMILE
Paramount Pictures 1998
Written by J. David Stem & David N. Weiss
KLASKY CSUPO DRAFT
MAY 10, 1997
USED IN PRODUCTION
NOT SIGNED – NOT A FACSIMILE
The film marks the first film made by Nickelodeon Movies to be based on a Nicktoon.
The film features the voices of Elizabeth Daily, Christine Cavanaugh, Kath Soucie, Cheryl Chase, Cree Summer, Tara Strong, and Charlie Adler, along with guest stars David Spade, Whoopi Goldberg, Margaret Cho, and Dave Mustaine.
• E.G. Daily as Tommy Pickles
• Tara Strong as Dil Pickles
• Christine Cavanaugh as Chuckie Finster
• Kath Soucie as Phil and Lil DeVille
• Cheryl Chase as Angelica Pickles
• Jack Riley as Stu Pickles
• Melanie Chartoff as Didi Pickles
• Busta Rhymes as Reptar Wagon
• Joe Alaskey as Grandpa Lou
• Michael Bell as Drew Pickles / Chas Finster
• Kath Soucie as Betty DeVille
• Tress MacNeille as Charlotte Pickles
Guest stars
• David Spade as Ranger Frank
• Whoopi Goldberg as Ranger Margaret
• Tim Curry as Rex Pester
• Roger Clinton, Jr. as Air Crewman
• Margaret Cho as Lt. Klavin
The Rugrats Movie is a 1998 American animated film, produced by Klasky Csupo and Nickelodeon Movies. The film was distributed by Paramount Pictures and first released in theaters in the United States on November 20, 1998.
Based on the popular 1990s animated Nickelodeon series, Rugrats, this film introduced Tommy's baby brother Dil Pickles, who was named after Didi Pickles' cousin, and appeared on the original series the next year. The film was released in theaters with a CatDog short titled "Fetch," in which Cat wins a radio contest and attempts to answer the phone as Dog chases down his tennis ball. (This short was later broadcast during a CatDog marathon and was also occasionally shown between programs on Nicktoons TV in the 2002-03 season.)
However, the video release contained a different CatDog short, "Winslow's Home Videos." The film marks the first film made by Nickelodeon Movies to be based on a Nicktoon. This was also the last Nickelodeon film to be released in the 1990s, and to be credited as Nickelodeon on the film's Nickelodeon Movies logo. Many longtime Rugrats fans believe this movie to be the point in which Rugrats jumped the shark.
Slap T. Pooch from Nickelodeon's animation showcase Oh Yeah! Cartoons appeared in the Nickelodeon Movies logo sequence to this film. Also, this counts as the only Nickelodeon product airing on CBS, next to the later-started Nick on CBS.
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
Kozmetica is new original elegance from the dynamic team of Koziupa and Paul. Soft, warm forms made of pensively fluid strokes make for comfortable and classy delivery with just enough ornamentation to evoke the rich days of art deco.
Kozmetica comes with plenty of alternates, focusing in particular on the degree of lowercase ornamentation. The setting can be simple and straightforward, or swashed with hairlines seamlessly emanating and swirling from beginning or ending forms.
As usual with Koziupa/Paul fonts, Kozmetica's ideal use is in packaging design.
Kozmetica covers all Latin-based languages.
More fonts > Visit Sudtipos
KARR (Knight Automated Roving Robot) is the name of a fictional, automated, prototype vehicle featured as a major antagonist in two episodes of the television series Knight Rider and was part of a multi-episode story arc in the 2008 revived series.
Origin and background
KARR is the prototype version of KITT, originally designed by Wilton Knight and built by his company Knight Industries. Upon completion of the vehicle, KARR's CPU was installed and activated. However, a programming error made the computer unstable and potentially dangerous. The project was put on hold and KARR was placed in storage until a solution could be found.
Unlike KITT, whose primary directive is to protect human life, KARR was programmed for self-preservation, making him a ruthless and unpredictable threat. He does not appear as streetwise as KITT, being very naive and inexperienced and having a childlike perception of the world. This has occasionally allowed people to take advantage of his remarkable capabilities for their own gain; however, due to his ruthless nature he sometimes uses people's weaknesses and greed as a way to manipulate them for his own goals. Despite this, he does ultimately consider himself superior (always referring to KITT as "the inferior production line model") as well as unstoppable, and due to his programming the villains don't usually get very far. KARR demonstrates a complete lack of respect or loyalty - on one occasion ejecting his passenger to reduce weight and increase his chances of escape.
KARR first appeared in the Season One episode "Trust Doesn't Rust" aired on NBC on November 19, 1982, where he seemingly met his demise at the end. However, he was so popular with viewers that he was brought back again in the Season Three episode "K.I.T.T. vs. K.A.R.R.", aired on NBC on November 4, 1984 (marking him as one of the very few villains in the original series to make a return appearance).
Appearances in the original series
"Trust Doesn't Rust" - Season 1, Episode 9
Once KITT was constructed, it was presumed that his prototype KARR had been deactivated and dismantled. However, the latter did not occur and KARR was placed in storage and forgotten following the death of Wilton Knight. When two thieves, Tony (Michael MacRae) and The Rev (William Sanderson), break into the warehouse where KARR is "sleeping", they unwittingly reactivate him, and he escapes.
When the two thieves realize how useful the vehicle could be, they use KARR to go on a crime spree, whilst Michael and KITT frantically try to catch up with KARR and stop him before anyone is seriously hurt. Bonnie devises a high-powered laser, the only known way to stop KARR, which must be fired from KITT directly into KARR's scanner. However, when KARR needs maintenance, Tony kidnaps Bonnie before the laser can fully be calibrated. Although Michael rescues Bonnie, she is unable to get a clear shot at KARR with the laser and he escapes.
KARR's only weakness is his primary directive of self-preservation and Michael uses this to his advantage. When KARR threatens to destroy KITT in a head-on collision, Michael plays chicken with him, on a hunch that KARR will veer out of KITT's path in order to protect himself. KARR indeed swerves out of the way, but unable to stop in time, he drives off a cliff and seemingly explodes in the ocean (using footage of the climactic scene from the 1977 film The Car, footage that was also used for KITT on a couple of other occasions). KARR was voiced by well known Canadian voice actor, Peter Cullen.
Trust Doesn't Rust was also printed in book form, written by Roger Hill and Glen A. Larson, following the story and general script of the original television episode, expanding some areas of the plot and adding several extra secondary characters.
"K.I.T.T. vs. K.A.R.R." - Season 3, Episode 6
KARR was only believed to have been destroyed. He was damaged and ended up buried in the sand on the beach below the cliffs. When the tide had gone out, a young couple, John and Mandy, stumble upon the partially buried car, dig him out, and reactivate him. This time, KARR is furious and has only one clear motive: revenge against Michael and KITT.
KARR is still damaged after the last encounter with KITT and forces John to serve as his driver, and also to carry out some cosmetic modifications to his paintwork. In a ravine, KARR challenges Michael and KITT to a final showdown. After releasing the young couple, KARR fires a stolen laser and damages KITT. However, Michael and KITT destroy KARR's laser by reflecting the beam back to the emitter. Damaged, KARR prepares for another attack. KITT and KARR both turbo boost and collide in mid-air. KARR is blown to pieces, but Michael and KITT survive the impact. At the end of the episode, however, KARR's motherboard — i.e. KARR himself — can be seen lying undamaged on the ground amongst the wreckage, its LED's still blinking - suggesting to the viewer that KARR is still "alive."
Production changes[edit]
Originally, KARR appeared identical to KITT, with a red light scan bar, and the only physical difference was a greenish-yellow LED voice modulator on his dash (for the first half of the first season, KITT's voice modulator is a red square that blinks on and off as he talks; KARR's voice modulator is the prototype to the one seen on KITT from the mid first season onwards, after it was received well by viewers). When KARR returns in "K.I.T.T. vs. K.A.R.R.", KARR's scan bar is now amber.
KARR later gets a two-tone paint job incorporating a silver lower body into his familiar all-black finish. KARR's scanner originally made a low droning noise, but in the comeback episode it sounds similar to KITT's but with a slight reverb audio effect added to it. The sound of KARR's engine, originally sounding rough and "fierce", here sounds similar to KITT's, again effected by a reverb. In "Trust Doesn't Rust," KARR had no license plates. In KARR's second appearance, he had a California license plate that read "KARR". Despite various other changes, KARR's dashboard remains correct with continuity - he still has the earlier version of the dash as previously seen on KITT, whereas by the time of 'KITT Vs KARR', Bonnie had updated KITT's dash and various functions at the start of the third season.
KARR's personality is also somewhat different in the comeback episode. His childlike perceptions are diminished into a more devious personality, completely cold and bent on revenge. His self-preservation directive is no longer in play when KARR is close to exploding after receiving severe damage; he willingly turbo-jumps into a mid-air collision with KITT hoping that his own destruction would also spell his counterpart's. Even KARR's modus operandi is different; serviceful enough in the first episode, he aims to actually make use of other persons, anyone, to serve his own needs. One explanation of this change could be as a result of the damage he received after falling over the cliff at the end of "Trust Doesn't Rust", which further malfunctioned his programming. Indeed, KITT himself is seen to malfunction and suffer change of personality as a result of damage in several other episodes.
In "Trust Doesn't Rust" and the 2008 series, the voice of KARR was provided by voice actor Peter Cullen, better known as the voice of Optimus Prime in the Transformers cartoon series, and whom had a previous working relationship with series creator Glen A. Larson after voicing several Cylon characters in the original Battlestar Galactica. In "K.I.T.T. vs K.A.R.R.", KARR was voiced by Paul Frees, best known as the voice of Boris Badenov in the popular series The Rocky and Bullwinkle Show and as the voice of Ludwig Von Drake in the popular anthology series, Walt Disney's Wonderful World of Color. As with William Daniels, the voice of KITT, who was never credited on-screen, Frees was uncredited on-screen for his role, leading Cullen to sometimes be mistakenly credited as providing KARR's voice in "K.I.T.T. vs K.A.R.R." Peter Cullen reprised his role as the voice of KARR in the 2009 Knight Rider episode, "Knight to King's Pawn."
[Text from Wikipedia]
en.wikipedia.org/wiki/KARR_%28Knight_Rider%29
As corny as Knight Rider seems now, this show well and truley captured the imagination of my 11-year old self. Many of the 'futuristic' technologies incorporated into K.I.T.T. are now becoming commonplace.
This miniland-scale Lego Pontiac 1982 Firebird Trans Am 'K.A.R.R.' (Knight Rider TV Series - 1984) has been created for Flickr LUGNuts' 91st Build Challenge, - "Anger Management", - all about cars with some link to being angry.
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
11 new free scripts has been released!
We are happy to announce release of 11 additional free imacros scripts for download.
locatefamily scraper script.
xvideos friends adder script.
Google maps screenshot saver script.
heart4me messanger script.
flirtomatic registration script. watch
ezpostalcodes scraper.
Compete save sites data script.
Badoo account creator. watch
Backpage poster. watch
Alexa category scraper.
Addmefast twitter follower and facebook liker. watch
So now we have 60 free imacros script for you!
Get them here.
frenchkisstextures.com/brushes/images-using-the-free-fren...
Leslie Nicole French Kiss textures and Vintage French brushes
Photos made for blog post about shell script that dynamically splits output into files while processing.
Blog post: blog.christiaan008.com/2015/11/08/dynamic-splitting-outpu...
Modern Love
Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps.
Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density.
Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features.
Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough.
The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion.
Modern Love Regular, Grunge and Rough contain 800 glyphs
Modern Love Caps contains 309 glyphs
This font is available at Myfonts bit.ly/1NnpXDc
Shahada- the article of faith in square Kufic script 'Laa illaha illah Allah, Muhammad rosul Allah' on 100% cotton canvas mounted on 2 inches wooden frame. Painting in acrylic. Jamil
Some chinese script written on the side of a building on the Hollywood Boulevard.
Canon 5D Mk III with Canon 24mm F1.4L Mk II lens. 1/1,600th sec at F8, ISO 100.
For a FontShop page of typefaces that emulate the connecting script lettering style commonly found in the chrome emblems on automobiles, gadgets, and appliances of the 1930s-1960s.
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
A serie of labels designed by Pupo Boldrini and Gato Ficcardi to celebrate the release of Bellissima Script.
License the typeface: www.myfonts.com/fonts/sudtipos/bellissima-script-pro/
: : : : : :
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:
Boldrini & Ficcardi based in Mendoza , Argentina.
The B&F studio: Boldrini & Ficcardi is a graphic design agency with expertise for the alcoholic drinks sector. Work both with regional and global companies, helping them to build strong and profitable brands. Founded by Victor Boldrini and Leonardo Ficcardi, the studio develops design and communication tasks from 1991 working in projects of branding, packaging and publishing. B&F projects have won awards internationally and published in various magazines and design books. (Latin American Graphics.Taschen, / Novum magazine / Etapes magazine / Pluswine / Brand Identity Now, and many others)
For label design visit Boldrini & Ficcardi
Nokia N8 smartphone - Gossip Girl star, Ed Westwick reads a copy of the script for the upcoming film 'The Commuter' also starring Dev Patel and Pamela Anderson
Follow Nokia UK: www.nokia.co.uk
Facebook: www.facebook.com/nokia.uk
Twitter: twitter.com/nokia_uk
YouTube: www.youtube.com/user/nokiauk
Nokia UK – Nokia N8 smartphone: www.nokia.co.uk/find-products/all-phones/nokia-n8
new.myfonts.com/fonts/typesenses/parfumerie-script-pro/
After the success of Aphrodite Slim (One of MyFonts' best fonts of 2009, which was co-designed with Maximiliano Sproviero) Typesenses presents Parfumerie Script, designed by Sabrina Lopez. With more than 2500 glyphs, Parfumerie is unique amongst the others in its style because it is based on the author's calligraphy. One of its variables is a Decorative option which combines Copperplate Calligraphy with an ornamental form native of Buenos Aires (where Sabrina lives), the “Filete Porteño”, which makes it look original amongst the other fonts.
Sabrina has exclusively designed this font for two years, with an obsessive adjustment, in order to provide the world with one of the best scripts ever made. With the idea of “Endless way to write a word”, lots of glyphs were Open-type programmed so that users can dive into many alternates and ligatures according to their language.
Parfumerie, as its name reflects, is attractive like a fragrance, delicate, elegant, sophisticated, feminine, sensual, glamorous, ornamental and decorative. It works perfect in the world of perfumes, make up, fashion, weddings, greeting cards, wines, chocolates, romantic novels, magazines, books… It is also versatile enough to be used in any kind of work because the user can choose between a wide range of possibilities: Standard Ligatures, Discretionary Ligatures, Required Ligatures, Contextual Ligatures, Historical Ligatures, Swashes, Stylistic Alternates, Titling, Contextual Alternates, Historical Forms, Initial Forms, Terminal Forms #1 #2 #3, 19 stylistic sets, ornaments, 4 options of numbers, …and up to 20 alternates per glyph in the Pro Version.
13.22 Tattoo Studio
Queens Park
London
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