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It rained, poured, then rained again. We braved the weather, joined the queue that snaked around Fort Canning, tiptoed through the mud, roughed our voices and sacrificed our shoes. All these for an amazing concert by The Script.
script.
lighting pulled from..
marktipple.blogspot.com/2008/10/hanging-in-balance-sydney...
...understanding directors, with so much to think about when your subject can put 2 and 2 together it helps that much hey.
Anyway with too many leaves and not enough time to rake them I think we pulled it off, ended up putting two strobes in the one umbrella for the key, meaning my soft light chimera froth didn’t really eventuate, but I’m still stoked on the look. By having two strobes in the one holder I could throw soft light so far from the source, with a sb-28 and sb-26 on full into a 44” shoot through I could move it back, way back and still have it hit her.
Sydney Life lyfe.
sb-26 and sb-28 1/1 in 44" shoot through umbrella camera right - with black cover on back to control loss from bounce.
Did more theory work today, and I also got some inspiration for my script, so I started writing it old-school with pencil and paper. It actually helped and I had written a page in no time. Then I typed it on the computer, and so far I have two pages of my second draft. =D
I watched a Swedish film to get some inspiration, Let The Right One In ... man it was ridiculous and awful! Don't watch it ... I'm gonna watch The Bridge instead.
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
Orchids from the Cool House in the National Orchid Garden-Singapore Botanic Gardens and texture and script brushes by French Kiss Textures
These pages are from a manuscript written in the late 1200s, likely done by a monk or scriptoria. The red, blue and gold lettering is very traditional, and likely contains lapis lazuli and real gold. It is part of the McDonald Rare Book Collection at OSU. Date: Oct. 26, 2011 (photo: Theresa Hogue)
I know, I know, my Urdu handwriting is pretty pathetic and...(read entire post here oylpa.blogspot.com/2011/04/day-188-practice-practice.html ).
The Script
Support from: The Original Rudeboys
Glasgow SECC
Tuesday March 12th 2013
All photos by Stacey @ Music Box Unwinds Webzine
Do not remove any watermark/credit
With great help from Joei Lau from Visual Journal Club, I bought a clear stamp making kit in my last trip to Tokyo.
The kit is called EZStamp Maker from Taiyo-seiki, included within the box a 100% Japanese language usage manual. I can understand only 5% of it, but luckily with diagrams and 7 failures, I made it! A clear stamp of my favorite logo for use on tags, notebook, signature, etc.
Dabbed the stamp on VersaColor pigment ink pad I had some fun personalizing a lot of stuffs. I also used a 2 color dabber to put on red and black ink to make an even more appealing impression, but just black also look great.
The small fonts also works well even on Polaroid photos, I just have to learn to stamp with the right pressure.
More on Scription blog: moleskine.vox.com/library/post/scription-clear-stamp.html
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Script Cleveland at the Foundry in Cleveland, Ohio
️ Fine art prints & more: petercirophotography.com/gallery
Script breakdown is thr biggest and most important thing-on shoot everyday this is required.
Creditd – how to film school
Script Breakdown
First you will need to:
Print out the latest version of the script. It is very important to make sure you are working with the most recent version of...
cinemababu.com/script-break-down-template-basics/?cinemababu
Ardmore, Waterford, Ireland.
Ogham (pronounced Ohm) is an ancient linear script, an alphabet, probably dating from the 2nd- 4th century, and was the first known written language of Ireland . The Ogham letters consisted of a series of notches carved on a stone or piece of wood.
1956 Porsche 356A “European” Coupe
Chassis No. 55461
Engine No. 60656
Transmission No. 7933
Completed: 01/13/1956
“Many 356 enthusiasts are aware that European-spec cars were imported into the United States when new. Fewer enthusiasts have heard of the 356A "European" badged cars, which are an often misunderstood rarity. The "European" badge did not signify European delivery — in fact, it couldn't be further from the truth!
The 356A model was introduced in the fall of 1955, and some had a side script that proudly identified the car as a "Continental". This name was instigated by Max Hoffman, the exclusive importer of Porsches into the USA who felt that Americans didn't relate to cars that only had model numbers. Previous Porsches had simply been called the "356", which was the Porsche internal design number.
"Continental" Hoffman was convinced that Americans wanted to buy cars with names like "BelAir" or "Fairlane". So, in the spirit of American marketing, Porsche began putting a "Continental" script on the fenders of late 1955 model year coupes and cabriolets that were sent to the United States. Unfortunately for Porsche, Ford Motor Company claimed the rights to the "Continental" name and threatened legal action, so Porsche stopped using that script at the end of the 1955 model year and changed the script to "European" for the 1956 model year (production of which began in the fall of 1955). Cars delivered in Europe did not have the script.
"European" For reasons that are now obscure, Porsche appears to have ceased using the "European" script sometime in January, 1956, well before the end of that production year.
Other than the badge, the "Continental" and "European" cars were standard-specification cars for the United States market, meaning speedometer markings were in miles and the headlights were the sealed beam type. After January, 1956, except for the Speedster and Carrera models no further 356 models were badged with names, only letters were used as model designations. The "European" script does not appear to have ever been reproduced.” - 356 Registry
Chassis No. 55361: This immaculately restored 356A coupe is an extremely exceptional find. Not only is car finished in the very rare Sahara Beige hue offered only in 1956, but it is believed to be one of the last European models ever built.
While under the care of the previous long term owner, the car was fully revived to concourse quality. Some time has passed since the restoration; the glossy paint exhibits slight signs of aging, revealing shallow cracks throughout the surface. However, the remainder of the vehicle survives in impeccable showroom condition.
Mechanically the car is strong and reliable. The 356 drives very well. The ride is smooth, while tracking is straight, even under heavy braking. The only aftermarket item on the European is an upgraded Abarth exhaust system, although the original exhaust accompanies the car.
* One of only 156 European coupes produced!
* Ready to show or drive!
* A very rare treat!