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Born in Sao Paulo City, Brazil, Adhemas Batista is a self-taught digital artist that is world-renowned for his colorful and distinctive illustrative style that he brings to his projects. Batista has been in the business of selling colors since the age of fifteen. He has worked for advertising agencies, design studios and interactive shops around the world and has developed skills in creative and art direction, illustration, interactive, photography and photo manipulation. Colorful Typography by Adhemas Batista » Design You Trust
Beautiful Typography Artworks by Francesco Muzzi
Advertisement The possibility of embedding any font you like into websites via @font-face is an additional stylistic device which promises to abolish the monotony of the usual system fonts. It surely would be all too easy if there was only one Web font format out there. Instead, there’s quite a variety, as you will get to know in this article.
The Art of Typography #43 Hi, my name is Houke de Kwant.
Advertisement Typography is not only an all-important aspect of design, it is also an art form in and of itself. Choosing the right font, the perfect spacing and even the correct shape of text can be an important factor as to whether a project fails or succeeds. Although Illustrator is not really used for multiple-paged projects, many would agree that it is one of the most powerful applications for creating vector graphics, such as logos, and it is also often used for one-page documents, such as business cards, posters, or postcards.
Words aren’t just words. Rather, words portray meanings and can stir up every emotion from anger to lust. As such, designers have immense power over their audiences simply with the fonts they select and the manner in which those fonts are used. The following are ten 10 masterfully composed videos that provide perfect examples of how typefaces can be used to move audiences. 1. 10 Most Inspiring Videos about Typography
33 of Amazing and inspiring typography designs #4 | mameara | Graphic and web design resources, and inspiration
Typography in Rome Paul Soulellis è un graphic designer americano che nella sua recente visita a Roma ha utilizzato il suo tempo libero per girare la capitale e fare foto, ma come spesso accade, la "deformazione" professionale lo ha portato a fotografare le centinaia di bellissime scritte grafico/tipografiche che si trovano girando per Roma. Stiamo parlando di insegne, cartelli, segnaletica stradale, ecc. Roma per questo è una vera e propria miniera per tutti gli appassionati di lettering e tipografia, caratteri ormai introvabili, insegne scritte a mano ed esempi d'arte moderna sono alla base dell'interesse fotografico di Soulellis (e non solo) come lui stesso ci tiene a specificare nel suo blog: "Ho deciso di andare in strada e catturare il maggior numero possibile di questi fantastici elementi tipografici.
A Look into Experimental Typography
International Typography: Problems and Solutions
For many beginners, the task of picking fonts is a mystifying process. There seem to be endless choices — from normal, conventional-looking fonts to novelty candy cane fonts and bunny fonts — with no way of understanding the options, only never-ending lists of categories and recommendations. Selecting the right typeface is a mixture of firm rules and loose intuition, and takes years of experience to develop a feeling for. Here are five guidelines for picking and using fonts that I’ve developed in the course of using and teaching typography. 1. Dress For The Occasion
'Alfabeto di Lettere Iniziali' (c. 1730) from designs by Mauro Poggi. [The edition above, from the Austrian Musuem of Contemporary Art (link below), dates from c.1750, and the cover page - sans watermark - comes from here] "[T]his lovely engraved oblong folio [is] one of the most delightful 18th century alphabets in the high rococo style. Reflecting the style of the early 18th century engraver, Giambattista Betti, the design of each splendid plate features an elegant cursive capital form of one of the two dozen letters of the 18th century alphabet (there were 24 letters, rather than 26, because i and j were the same letter, and because there was no w).The capitals are elaborated with scrolls and flourishes and then inhabited by satyrs, mermaids, Medusa heads, birds, cats, dogs, snakes, and other creatures. The letters were designed by Poggi, drawn in ink by Andrea Bimbi, and engraved by Lorenzo Lorenzi. Ornamental Typography