Iphegenia was one of our early designs, a creative advertising script font with a modern, hand-drawn look but regular character forms and a nice even line to it. It has high readability despite its decorative look and works well in combination with a variety of other fonts.
The demo version of Iphegenia with a limited character set can be downloaded for free. If you like it, you can download the full version from our ONLINE STORE for just $24. The full version includes alternate capital letters and foreign language characters.
Walter Crane produced a series of small pamphlets in the 1890s based on popular fairy tales, done in large format with 6 pages of illustrations and about an equal number of pages of text. They were rather like the 19th century equivalent of comic books, in the same vein as what Howard Pyle was doing across the Atlantic at the same time with his Lady of Shalott or what Ivan Bilibin was doing in Russia with his Byliny and Skaski booklets of folktales.
Four of these stories were collected together into a bound volume titled Aladdin’s Picture Book. It includes “Aladdin and the Wonderful Lamp,” “The Yellow Dwarf,” “Princess Belle-Etoile” and “The Hind in the Wood.” One of several similar collections, all of which are very hard to find.
We’ve digitized and cleaned up all of the images at large size and high resolution and put them together into a beautiful package ready to use for your personal design projects. The images make great screen savers or art prints or resources for many other purposes.
We’ve got a font package for just about every other holiday, so it seemed impossible to resist putting together a collection of fonts specifically for the romantic themes of Valentines Day. Once we’d settled on the idea it was inevitable that we also include a selection of romantic art by Eleanor Brickdale which is just perfect for making decorative Valentines Day cards.
The package includes 12 fonts which are mostly not featured in other packages, plus an equal number of outstanding illustrations (you can see some samples below). It’s a perfect selection of resources for making Valentines cards or for any other romantic project.
You can purchase the package online for just $59 from our ONLINE STORE.
There was an interesting report on NPR today about the history of Olympic pictograms, the special sets of custom international symbols used to help people from many different linguistic backgrounds find their way around the Olympics and identify things like sports venues and restrooms. There is a long history of specialized graphic design associated with the olympics and the fonts used to publicize and promote the event.
Historically these pictogram icons have been rendered as fonts. An early example from the 1968 olympics in Mexico City can be seen to the right. To the left is the most recent example from the current games in Sochi, Russia. Most olympics also have custom logo font, custom text or title fonts and even fonts featuring their mascot. These often get much more publicity than the symbol fonts, which are ubiquitous and essential to the games, but not as high profile.
While we’ve never been fortunate enough to be called on to design an olympic font – at least not yet – we’ve had a little practice along the same lines. Some years ago we were called on to design a similar font for the Field Day event at a local private school, with symbols representing the different sports and activities featured at the event. The result is our Field Day font. It’s a simple and pretty straightforward rendering of the concept. You can see samples to the right. If it catches your fancy you can order it at our online store.
Edifice is a decorative titling font based on samples of lettering by J. M. Bergling. It has an architectural, constructed look to it. Very well suited to sign and poster design. It’s stylish but still readable and clear.
Edifice includes a full uppercase character set, custom small caps and numbers and punctuation.
Cosmic Dude was designed as one of the special original fonts developed for our Modern Poster Fonts package. The character forms are based on samples of hand lettering from a late 1970s rock show poster. The character set includes numbers, punctuation, uppercase letters and smallcap style letters. The look is bold and unexpected, with some of the character of graffiti lettering. It also includes a large selection of alternate character forms.
I’m writing in response to an article published a while ago in The Awl which looks at the decline and fall of “grunge” typography. It’s a good historical overview of the subject, but suffers from a fundamental flaw. The author thinks that there is such a thing as grunge typography.
Grunge was a design movement and continues as a way of describing a certain style of graphic design, but because of its spontaneous nature and the predicate that everything not look the same and that design norms be deconstructed, you can make type grunge but you cannot make grunge into type. It only works as a one-way process.
Grunge was never about type. It was about what you did to the type.
The author uses Raygun magazine as his point of reference for grunge design. The cover to the right shows immediately why grunge cannot be typography. The idea of distorting characters, repositioning them or even removing them entirely defines grunge. In the example to the right, the “G” and “N” in Raygun and the “r” in bjork are backwards and the “b” in bjork is missing. This works in the cover design. It’s not a radical example of grunge, but the light touch of starting with a familiar font, removing a character and distorting or damaging a couple of others makes it grunge.
These elements that make the design grunge are not part of the type design. They are something done to it after the fact and they are unique changes applied in the process of designing the cover. If you were to take them and actually make them into a typeface, the result would no longer be grunge, it would just be a defective typeface. Building the variations into a font takes away the aspect of spontaneity which defines grunge. The concept works if it is expressed as some apparently random changes in a cover design. But if you are using a font based on the same concept, where every “G” and “N” is backward snad every “b” is missing, every time you type them, then it is not spontaneous and all you really have is a mess.
The article also references the grunge font Morire where every character is uniquely distorted. Morire had a fad popularity in the 90s which didn’t last. It didn’t last because the uniqueness of the font caught your eye the first time you saw it and then every time you saw it again you asked yourself why you bought such a butt-ugly and inflexible font. Grunge works because of its inherent impermanence. Sometimes everything is normal and other times it’s all screwed up and you never know when. Once you nail down the randomness and make it static you lose the whole point.
This is why a font like Morire really does not work and has a short shelf-life. If every “A” looks like every other “A” and the relationships between characters remain the same every time you type the same letter combination, what you have is just something dull and deliberately ugly, with no real life to it.
The problem with grunge typography is that to be really excellent and creative it has to not really be typography at all. The best designs that fit into this category require a quality of uniqueness which you cannot produce with type alone. It may start with type, but if you deconstruct the type and make it “grunge” then you cannot really reconstruct it as type and preserve that character. Making the unique duplicable and the spontaneous static is a flawed concept.
Grunge is a design style, not a viable category of typography.
Doge is a new font based on samples of late-renaissance period lettering from Venice, preserved and reproduced by early 20th century calligrapher and designer J. M. Bergling. It has some similarity to some of our other fonts based on lettering from the same period like Acadian and St. Nicholas, and like those fonts it is a style very well suited to invitation designs and holiday uses.
The font includes full upper and lowercase character sets, plus a typical selection of numbers, punctuation and special characters. The name derives from the title held by the hereditary rulers of Venice during the 16th century.
hatever holiday you celebrate, it’s probably a time of cards and presents and decorations and parties — that means you’re going to need great fonts and art to add elegance and unique flare to your seasonal projects. The Scriptorium Holiday Fonts and Art collection has the resources you need, including free samples and shareware demos, as well as a selection of holiday fonts and unique seasonal art which it took us years to collect.
e’ve also added some new graphic material including some specialized borders, some color decorative initials (featured on this page) and a selection of new art, including pieces by several pre-raphaelite and renaissance period artists. These new images are pretty extraordinary.
Other images in the collection include all of Arthur Rackham’s illustrations for Dickens’ Christmas Carol and Howard Pyle’s illustrations from his story Travels of the Soul, plus art by Rackham, Rossetti, Nielsen, Dulac, Mucha, Wyeth and others. Only a small portion of the images are sampled on this page. Several bonus borders by Pyle are also included. Other recent additions to the collection include some seasonal Pre-Raphaelite images by Millais, Leyton and Hunt.
The new release of the collection now includes a total of 21 fonts, plus scores of great images and useful graphics. Fonts include everything from art fonts to decorative initials to elaborate text and titling styles
Like all of our font and art CDs, this package can be ordered online from our ORDERING site, or you can order by phone from 1-512-656-8011.
You’ll find a lot of these images and fonts in use on this site. This should give you some idea what you can do with them. In addition, to give you an even better idea of the unique quality of our fonts and graphics, we’ve got several demo items you can try out, including a demo version of our recently released Holiday Borders font, which is available exclusively on this CD. Just click on the appropriate button below each font sample to download a shareware demo version to try out.
For those of you doing your own Christmas design work, here’s a special pallette which you can open in Photoshop or other art programs and access with the sampling tool. It includes a variety of special colors which we think are particularly seasonal.
And finally, here’s a great Christmas themed page border with holly and candles and other good things. This graphic was found in an old issue of St. Nicholas children’s magazine from the early part of this century. Just click on the sample image to the right below to download the large size image.
As a special feature we’ve put together some ideas on how to design your own holiday cards. Just CLICK HERE for all the details.
You can order the complete package for download or delivery on CD for just $79 from our ONLINE STORE. Even better, through the 15th you can get $20 off the package with the coupon code SEASONAL on checkout – just in time to do your holiday cards.
One of the popular trends we’ve seen rcently s an interest in Celtic art and ornament as a theme for Christmas cards and decoration. We’ve got a special page devoted to Celtic fonts and art, which has some excellent resources if you want to give your holidays a Celtic look. Click here to visit our Celtic page: CELTIC FONTS & ART.
Reynard is a classic font based on hand lettering from the decorative frontispiece of a book of French fairytales published in the 1890s. It looks like a combination of art nouveau lettering and stylized Celtic calligraphy. Since we first released it in 2001 it has been fairly popular, particularly for use in commercial packaging, most notably for wine and cigar labels and advertising. The demo version of Reynard can be downloaded for free. If you like it, you can download the full version from our ONLINE STORE for just $24.