Amateur Photographer - 17 June 2017
English | 68 pages | True PDF | 22 MB

Palm tree in pot 3D model
Max2013 + FBX

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GraphicRiver - Memorial Day Flyer 11430442
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GraphicRiver - Labor Day Flyer 8509158

https://typofonderie.com/fonts/ps-fournier-family/

PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context.

https://www.myfonts.com/fonts/konstantynov/orchidea-pro/

Orchidea Pro is a typeface balancing on the verge of sans and serif. Called a stressed sans or a serifless serif, it does not feature any serifs, but resembles a serif typeface by build, and features unilateral nibs that speed up the reading and create a particular distinction in the form. Such solution results in a contemporary-looking yet elegant type, virtually unique in texture, that exists in the same stylistic space as flared serif families. Orchidea Pro will fit particularly well for use in magazines of any theme, as well as in branding for beauty-related products. The typeface comes in 8 weights + corresponding real italics, each supporting numerous Latin-based languages as well as major Cyrillic languages. It is packed with OpenType features like ligatures, small caps, 5 sets of digits, 4 stylistic sets in romans and 1 in italics, superiors and inferiors, fractions, ordinals, respective punctuation varieties including all-cap punctuation, as well as language-specific alternates.

https://www.stormtype.com/families/anselm-serif/

The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable labourer, immune to all excentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

https://www.stormtype.com/families/antique/

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.  Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. 

https://www.stormtype.com/families/amor-sans/

Monumental inscriptional majuscule originally carved in stone, sometimes called "Roman Capital", is a craddle of upper-case part of latin alphabet. Its narrowed form, derived from handwritten original used between first to third century A. C., served as inspiration to typeface Mramor, which I have drawn with ink on paper in 1988 under Jan Solpera's leadership. After composing negative letters on a strip of film there was possible to use Mramor through first phototypesetting devices. In 1994 with the help of Macintosh IIvi I have made also lower-case letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing of numerous decorative useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining cca 9600 glyphs contained in the present font system names Amor Sans & Serif Pro.  It is already usual to combine sans- and serif fonts within one family, in order to distinguish historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typeface don't arise by simple removing serifs, it has to be drawn completely separeately, when ocassionally many declined forms may be made, considered to the serifed original. Neverteless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere. Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner "order" was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate indentity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.

The Foundry Katana 2.6v1 (x64) | 215 MB

KATANA offers a highly efficient, collaborative, asset-based approach to look development and lighting that gives you the creative scope and scalability to meet the needs of today’s most demanding visual effects projects.

3D Tracking and Nuke Compositing
Size: 5.16 GB | Duration: 1h 21m | Video: AVC (.mp4) 1280x720 30fps | Audio: AAC 48KHz 2ch
Genre: eLearning | Level: Advanced | Language: English

Whether you're working with a team or on your own, understanding how to efficiently use 3D tracking information in compositing can help you speed up your workflow. In this course, learn how to use 3D tracking data to add 3D objects to a 2D shot in Nuke.