CM 1498679 - Geometric Logo Designs

Geometric Logo Designs - Premium Edition. Vector and easy to customize logo designs with free font used.

FORMATS

• .psd

• .ai ( Illustrator CS )

• .eps ( Illustrator CS )

• .txt ( help file with links to download the fonts )

Every logo have 2 styles and 4 versions

• Vertical

• Vertical + Slogan

• Horizontal

• Symbol

CM 1500708 - Pro Smart Oil Painting Action

This action set has been developed for photographers and graphic designers. Everything is very straight forward. I have tried to make the item as very easy to use.

Instructions 1. Open Photoshop. 2. On the “Window” tab, click “Actions”, once the window has opened you will see an arrow pointing right in the top right hand corner, click this then click “Load Actions”. 3. In the end you just have to choose your action and click the play button. 4. You are done! This actions will work in photoshop all latest version like CS5,CS5.5,CS6,CC2014+

CM 1527682 - Lush Greens Wedding Presets

Deep rich, modern, Greens and beautiful skin tones for an overall modern look. The slight desaturations provides soft tones and a bump in contrast deepens the over feel of the image. This preset works best on outdoor areas when you want to boost your greens. This is part of my LAVISH Collection. Each Preset has been hand made to give you a consistent set of presets in the same tonal family to edit an entire wedding. Unlike other collections these presets were made to be shown on imagery side by side. You will be able to add a variety of feels to your images while still having a flow in your clients wedding images. The LAVISH Collection will give your wedding photography a unique style all your own as you can fully customize each Preset/ACR with the Tool Kits for Both Lightroom & Photoshop.

LAVISH - TOOL KIT FOR LIGHTROOM & PHOTOSHOP:

• 50 Lightroom Tool Kit Stackable Presets used on top of your LAVISH Preset

• 40 Photoshop ACR Tool Kit Presets used to further adjust you LAVISH Preset

Presets to Fully adjust and customize your presets, remove JPG contrast if you shoot in JPG, lens profile corrections that fix lens problems as distortion, chromatic aberration, vignetting and perspective correction non-destructively. You may need to adjust your presets according to your taste, lighting, and shooting style. I have included 50 adjustment presets for Lightroom & 40 adjustment presets for Photoshop Camera Raw. These can be applied on top of any of your LAVISH Presets to help you fine tune your outcome. There is a (reset) or -RESET- Preset for each adjustment preset to help you go a step back incase you want to remove your last adjustment.

INSTRUCTIONS & USAGE

• 12 Page PDF to help you use/install/adjust your LAVISH Collection of Presets in Both Lightroom & Photoshop

• Written instructions for Lightroom/Photoshop

COMPATIBILTY:

For Use in Both Lightroom & Camera Raw 4, 5, 6 and CC. Can be used on both Windows and Mac operating systems. Best Results from use on RAW images but will also provide good results on JPG images.

Unique seamless ornament pattern with transparent background

Perfect for products such as,

• Wallpapers

• Textiles

• Personal projects

• Gift wrapping

• Invitation cards

• Stationary products

• Packaging

• Accessories

• And more

Download includes:

• 1 PSD file where you can choose the background color, 4000 x 4000 px, 300 dpi

• 1 PNG file with transparent background, 4000 x 4000 px, 300 dpi

• 8 JPG files with my favorite background colors, 4000 x 4000 px, 300 dpi

• 1 pattern file (.pat) 4000 x 4000 px, 300 dpi for Photoshop

• BONUS! Jpg file and a texture in 4000 x 4000 px, 300 dpi

CM 1527667 - Malifisenta

Malifisenta - a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more! This font are perfect for wedding postcard. Or you can create perfect and unique design of your logo, blog, stationery, marketing, magazines and more :)

CM 1446498 - Lebakre Font Duo

Lebakre font duo, a double clean bold and monoline script plus and a casual sans serif typeface that never get any wrong for your vintage branding, logo, adventure, fashion things, hipster generator, quotes, posters, and many more. Lebakre Script - A monoline round script with various style with implementation of hand lettering things. Uppercase, Lowercase, Numbers and Puncts, Stylistic Alternates, and Ligature are available in this type. So many variation and possibilities for your design projects. Lebakre Sans - A round bold sans serif font to make a good pairs for Lebakre Script. its an All Caps style, the lowercase are a lil' bit smaller than the uppercase, bring another vibe to your design by combining them for the various style.

CM 1501952 - Marsha Typeface

Marsha Script is a handwriting script font which good looks, trendy and charmed feeling. Create with concern and add your project with jazzy feeling too. Marsha Script is just what you've been looking for! Use Marsha Script on all of your projects to give delicacy and sophisticated taste. In particular would look great on, branding projects, logos, product packaging, posters, invitations, greeting cards, titles, blogs, everything that includes particular charm and you name it. ;) Marsha Script lettering script comes with upper and lowercase characters, punctuation glyphs, numerals and a TTF of web font.Feel free to use it for commercial/ extended license purposes. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. And this Font has given PUA unicode (specially coded fonts). So that all the alternate characters can easily be accessed in full by a craftsman or designer. Thanks for looking and we look forward to you take pleasure in it as much as we did creating it!

https://www.stormtype.com/families/preissig-antikva/

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojt?ch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author's creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also R??i?ka’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

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

Plagwitz is the name of the part of Leipzig where the Werkstätten and Museum für Buchkunst are to be found, which, in September 2000, hosted the ATypI Congress. During the lecture on Black Letter type faces, a lovely quotation from Bismarck could be heard: ?I never read German books set in Roman type.? These circumstances gave me the idea that it would be nice to create some distinctive Black Letter type face. The best Black Letter type faces we know date from the Gothic period, when books were copied by hand, with the use of a bevelled quill. Our alphabet still takes into account Neo-Classical influences when decorative ascenders of upper case letters were added. In 19th-century typography, such Black Letter type faces were frequently complemented with Didot-type Roman faces and steel-engraver’s scripts. I, too, would recommend to combine Plagwitz-Gotisch with type faces like, for example, Hercules, Genre, Excelsor Script and Splendid Quartett.

CM 1527045 - 50 Retouching Pro LR Preset

This lightroom pack is very creative & professional lightroom pack. Every preset work properly. No destroy preset included in the pack. This preset work with any photos. Item Features This lightroom preset pack will work in Lightroom version 4.0, Lightroom 4.2, Lightroom 4.3, Lightroom 4.4, Lightroom 5, Lightroom 5.5 and CC version. This preset is very clean & professional retouching with editable. Smart adjustments & professional results. – Supported file formats: DNG, TIFF, and JPEG formats (in other words, the formats primarily used in digital cameras).

• One Click to Apply Effects On Your Photo

• Clean preset, Smart work

• Easy to use/ No destruction effects

• Save Your Precious Time And Money

• High-Quality Retouching Preset

CM 1500086 - Isolated Food Items Vol.1

Contain PSD and PNG files with: slice of bread, baked rolls, round and square bun, baguette, rustic bread, donuts in different colors, flour, dough, corn flour, yeast, salt, pasta bowls, spaghetti, wide noodles, apple pastry, hot dog puff, cheese pastry, pizza pastry, pretzel, croissant, etc. All images are with a transparent background, converted to smart objects, with transparent shadow on a separate layer (top view). Is all you need to create beautiful presentations, hero images, headers, flyers, banners, mockups, great for blogs and websites, restaurant and food identity. Present your projects in an interesting and attractive way to your clients. Check other volumes for more food items.

7 PSD files:

• Size 3000x2000px 300ppi

• Contain isolated food images on categories

• Each PSD is Layered and Grouped

• Each Group contain the food image and the shadow both converted to Smart Object and linked together

• Smart objects are resized down at 50%, so you can scale up to x2 of objects size

• The Shadow is transparent so you can place it on any background and you can also hide it or reduce opacity to fit your design

• Adobe Photoshop CS2 or Higher

73 PNG Files:

• Saved at 300ppi with transparent background and no shadow

• Each PNG is named just like in PSD and saved in a group with the same name like the PSD file

CM 1523216 - Lens Flares Procreate Brushes

IMPORTANT: These brushes are compatible only with the iOS app Procreate for iPad. They won't work in Photoshop or other digital drawing/editing softwares!

A set of 20 handmade lens flares & lights effects brushes for Procreate. They work great for space/sci-fi digital art, or for adding special lights effects to your artworks. Don't hesitate to test blending modes & colors to get interesting results! These brushes can also be combined for custom lighting effects. Most of them are stamp brushes (indicated in each brush name); which means they are meant to be used by just "stamping"/placing one brush at a time where you want (not by dragging the stylus like when using a painting brush, for example). Others, like starfield brushes, can be used like regular brushes.

You will receive a ZIP containing the 20 brushes files, in .brush format. The set includes:

• 10 Lens flares stamp brushes

• 4 Diffraction spikes stamp brushes

• 3 Starfield brushes

• 3 Lights brushes

• Also included a JPG sheet with a quick tip of how these brushes can be used.

CM 1500525 - Annual Report

Exeelo – Annual Report are 28 Pages,both of A4 and Letter size. Clean Bold shapes, and cropped placeholder for photos.It has all the features you’d expect in a professional brochure template, from placeholders, to text styles, customizable infographics, and easy to edit master pages. Available in two different sizes A4 and US Letter.

FEATURES:

• Easy Customization and Editable

• A4 (8.2×11.7) and US Letter (8.5×11) Size with 3mm bleed

• 28 Complete pages

• Paragraph Style, Character style included

• Images, text, Objects are Different Layers

• Design in 300 DPI Resolution

• Indesign files

• Images and Mockups not in the zip file

• Working file adobe cc

• Adobe Indesign CC,CS6,CS5,CS4 or Earlier software version supported

CM 1501943 - Coffee Mug Mockup Bundle

This listing is for 11 mockup photos. Show off your mug designs with these pretty and easy-to-use photos. You will receive 11 high resolution photos each at 4000 x 4000 pixels. All 11 photos are zipped together. About Prospect Photos: As a busy lady with a 9-5 desk job, I often come home too tired to work on my side business. I didn't have much time left in the day to promote my projects on social media. So I began to look for content to use on Instagram and found beautiful images but they were way out of my budget. So I began to create my own photos and I fell in love with styling images. I want to help your business grow with affordable and easy-to-use images.

https://www.optimo.ch/typefaces_Apax.html

This new typeface by François Rappo explores the visual grammar of constructivism through a modernist lense. Thanks to a rigorous and systematic design, Apax reveals a strong constructivist identity. Its geometric architecture develops radical shapes through many distinctive letters. Still, this uncompromising approach is combined with the tradition of modern grotesques based on functionalism. Therefore Apax is drawn with the unique optical balance that characterizes François Rappo’s typefaces. The fluidity of the typesetting surface allows Apax to be used in a wide range of contexts, from body text to visual identities. Each style proposes alternate glyphs that allow to adapt the typeface to its application context. The family is designed with an optimized contrast gradient available in six styles and their matching italics.

https://commercialtype.com/catalog/styrene/

Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif called Breede Schreeflooze shown in an early 20th century type specimen published by the Enschedé Typefoundry in the Netherlands. However, Styrene has an ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. Styrene is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene’s two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

https://commercialtype.com/catalog/chiswick_serif/chiswick_headline

Chiswick follows the path taken by John Baskerville (1706–1775) in taking the handmade letter and fixing it in type. The single surviving example of Baskerville’s lettering, cut in the 1730s, shows the vernacular letter that would be the model for his later adventure in printing. As a modern serif design, Chiswick has high contrast between thick and thin, yet its freewheeling shapes make it quite distinct from other members of the genre, such as Didot, Bodoni or a Scotch Roman. At the same time, its crisp contrast makes it different from a transitional design such as Baskerville or the types cut by Richard Austin for John Bell, which are more formal in style. Chiswick Headline is designed for situations where Chiswick Poster is too delicate and Chiswick Deck too heavy in its thins and serifs; perfect for sizes from 30 point to 60 point.

http://www.fontsmith.com/fonts/fs-millbank

When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’

https://www.stormtype.com/families/tyfa-antikva/

This Antikva and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed original designs dating from late 50s are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned and read as a bitmap template to the FontStudio program. The newly created bold weights derive from Tyfa's only drawings of the bold letters "a", "n", "p", the darkness of which was increased further, to enhance their emphasizing function. We have used electronic interpolation to produce the medium weights. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points.

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

Rondka is a sentimental reminder for those who have forgotten what is a pen with a rounded, flat nib. Inspired by a brochure of letter patterns for teachers and clerks, published between the world wars. It is most appropriate for books of folk songs. Swashed upper-case elements are deliberately mixed among plain shapes to resemble certain amateurish feel. When adding lines to your page, have the ends rounded.

https://www.stormtype.com/families/splendid-quartett/

The traditional division of a type-face family into four designs pertains to every body type. However, jobbing typography calls for a richer tonal scale. Its purpose is to decorate, to represent and to please. Splendid Quartet is an example of a combination of heterogeneous sources of inspiration into a single harmonious formation. An American-style script is accompanied by a subtle English-type Roman type face with a bold design. The whole is reinforced with a Germanic Grotesk. The designs as such do not surpass the significance of their models, but the real charm of this family consists in the sensitive interplay of perfect, even though antagonistic shapes. Pure elegance, refinement and gracefulness radiate from this quartet of type faces. The basic design is a paraphrase of Didot, but it is also inspired by Modern, a type face of English provenance. The details of the serifs, however, are not rounded, but left in a coarser, more interesting engraved form. Splendid Script functions in this case as italics, having the same x-height of lower-case letters as the basic design. The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period. This resulted in a blend of balanced typographical flavours, as if a connoisseur smoker had blended together some fine tobacco. It is by far the most fitting material for graphic design of festive printed materials and an ideal supplement to engravings and etchings.

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

Tenebra is an example of a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols. The widespread forms of the letters allows for the use of the old Germän manner öf writing öf the „ümläüt“ when, in place of two dots above the letter, there is a reduced E. In our case it is inserted in the open letters. This concerns only the decorative upper-case letters in the position of the lower case. The upper-case letters of the basic design are a monumental alphabet without any embellishments, having a classic, two-dotted „Umlaut“. Tenebra Shaded and Old Face decorate, but do not refine.

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

Is a typical newspaper, dictionary and magazine type face. It is also very suitable for children's books and posters. The large x-height, condensed shapes and darker colour of the basic design guarantee its legibility already in small sizes and even in morning twilight. The line is bitten into the surface by the marked "slippers"of the letters. The lower- case letters have flattened upper and lower limbs, just like in letterpress. Their bellies are quite round and their knees are lightened by slight incisions. The type face is rather archaic in expression and its italics are dynamically flamboyant. The "juicy" design of the alphabet is achieved by strengthening the elements of variety, sometimes even in exaggerated form. When reading newspapers, we are interested in the surface of things, in their, as far as possible, unbiased description. We forage for arid facts which do not require our spiritual or emotional participation. That is why the type face must be neither dull nor expressive, but absolutely huckstering. For – seen from the other side – if we are publishers, we sell information, or else merchandise just like any other. The type face is its packaging, its outer form which here has all manner of functions except for the aesthetic one. The apparent proportional disharmony between the upper-case and lower-case letters is a question of habit. The view that the upper-case and lower-case letters must have the same width proportions is prejudice. On the contrary – the history of type faces enlightens us on the fact that the two alphabets did not have much in common. To prove this it is sufficient to look briefly at their forms – we will find out that only 8 out of 26 pairs of letters resemble each other and, moreover, the ones which do are less frequent in the text. The bold design does not need serifs, because the upright finial of the wide stroke already sits well on the surface. Moreover, the sans-serif bold design better sets off the basic, more picturesque design. Both sets of italics have non-aligning figures, so that in a small number of designs we have everything that is required of a dependable type face which is not exactly intended for the setting of poetry. The design called "Headline" has sharp edges in place of hidden serifs and is darker, which predetermines it for use in headlines. The complementary SC & OSF will be welcomed when we design headings, by-lines and captions to illustrations. An original newspaper type face must also create an impression of uninterchangeability of the typographical appearance of the periodical, but not to the detriment of legibility and technical reliability, even when printing on bad quality paper. Under such conditions there is nothing worse than a banal type face of fragile strokes. A newspaper type face should be original and uninterchangeable in order that the subscribers might feel a certain "snugness" in the pages. An original type face also extricates the printed matter from the omnipresent graphic anonymity and endows it with a more intimate character.

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

In Bucharest in 2007 I've seen an unusual stencil typeface which stands out by his horizontal double strikethrough. The sprayed paint then makes rounded and blurred edges. Stencil can be used on posters and fancy occasions.