GraphicRiver - TheSketch - Sketch Photoshop Action 16089152

• 1 Sketch Effect

• Easy to customize to change the look

• Include Files: ATN file, PAT file, User Guide file

• This action has been tested and works on CS5 to CC+ (English Version)

GraphicRiver - HatchFX - Photo Templates 16359342

• 2 Templates (Landscape 3000×2000px, Portrait 2000×3000px)

• 7 Color Presets

• 6 Hatched Line Options

• 300 dpi / RGB

• Smart Object Replacement

• Well organized layers (100% Editable)

• Easy to customize to change the look

• Compatible with CS5, CS6 and CC+

• Include Files: PSD file, User Guide file

http://www.myfonts.com/fonts/borutta/alergia-remix/

Alergia Remix, designed by Mateusz Machalski, is the younger sister of Alergia Grotesk. Remixed styles were made as a hybrid between a linear antiqua and a geometric display typeface. Alergia Remix is characterised by a lot of details, which gives it a strong character. Unpredictable construction in the letters a,s,g,e,m,h etc. in combination with a delicate contrast, makes Alergia Remix a good choice for many display purposes. The whole family has a comprehensive set of characters. In additionton to Latin letters, Alergia Remix also has a full set of characters for Vietnamese, extended Cyrillic (with Abkhasian) and Greek.

OTF | 10 Fonts | + JPG Preview

http://www.myfonts.com/fonts/insigne/haboro-slab/

Haboro Slab. It’s a nose-to-the-grindstone kind of font like the first of its family. This slab serif pushes through the clutter powerfully in editorial and corporate work such as business websites and software. The Haboro hyperfamily as a whole is known for its ability to make the work clear and simple, even with the fonts’ advanced angle--and Slab is no change here. Consistent with Haboro, too, the simplified geometric features of the slab face just make sense, no matter where you use it. Its timeless wedge-molded serifs give this family the formula it needs to function flexibly in jobs from fashion to packaging. Enhance your output with the font’s wide range of ligatures and alternates, including OpenType alternates. Use Haboro Slab’s large pair of solution glyphs and various other OpenType specifics, too, to give your message the clarity it deserves. Even more, it couples well with the sophisticated didone of the Haboro hyperfamily to further expand your capabilities. Haboro Slab has every quality you need for successful lettering. Use this modification on a classy tradition to mold and shape your next layout, whether website, iPhone app, advertising, or newspaper. There is no work Haboro Slab won’t power through.

OTF | 42 Fonts | + JPG Preview

CM 719132 - Ink Brushes Pack

This brush set includes:

• 205 hand drawn art brushes for Adobe Illustrator longest to shortest;

• help file

http://www.myfonts.com/fonts/joebob/hesster-moffett/

OTF, TTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/type-type/tt-blushes/

Glitter, flashing cameras and fame – now you know how to deal with this stuff! Freshness and brightness is what defines the Blushes fontfamily, which is created for beauty and fashion industries. TT Blushes is a vibrant part of you that emphasizes your character. Glamorous makeup and trendy clothes are now harmoniously enhanced with our fonts which follow every trend of both industries. TT Blushes can do it all: create edgy prints on T-shirts, use it for beauty products packaging design and fashion magazines layouts as well as advertising brochures. TT Blushes works perfectly in the contemporary digital environment. For instance, it is great for an edgy designer clothes on-line store’s website layout, as well as for a beauty products manufacturer’s app. TT Blushes fontfamily is created by TypeType’s classic formula (Thin, Light, Regular, Bold, Black & Italics)!

OTF, TTF | 10 Fonts | + JPG Preview

http://www.myfonts.com/fonts/urw/urw-geometric-condensed/

URW Geometric Condensed is the matching complement for the URW Geometric. Including 20 additional condensed styles the URW Geometric Condensed is the space-saving alternative in the URW Geometric family. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements. Please have a look at the URW Geometric Type Specimen (PDF) for further information.

OTF, TTF | 20 Fonts | + JPG Preview

http://www.myfonts.com/fonts/argentina-lian-types/lubaline/

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most. The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’, smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read.

OTF | 6 Fonts | + JPG Preview

http://www.myfonts.com/fonts/fort-foundry/rift/

The idea for Rift was conceived while designing a board game called Control. The time-travel theme and sci-fi overtones of the game pushed me to find inspiration in the titles and lettering on campy sci-fi posters from an earlier age. What was found was tall, geometric type often rooted in the square-sans genre. From that exploration, a bold typeface was built for the titles on the cards and logo of the game. An interesting phenomenon occurred as Rift was placed in other scenarios—it adapted. Though sci-fi usage was the original influence, the end-product became something much-more versatile. This led me to develop new weights, italics, and soft styles for the face in order to accommodate a wider array of use. Rift was further given Opentype features to allow designers more flexibility and control over the family. Stylistic Alternates give Rift a more playful vibe that still retains its earnestness. Tabular Figures are perfect for reports, timers, or apps when numbers and currency need to align vertically. Clocking in at 457 glyphs, Rift covers an extensive range of languages.

OTF | 20 Fonts | + JPG Preview

http://www.myfonts.com/fonts/latinotype/queulat/

Queulat is a hybrid typeface that combines two different styles, reflecting charm, freshness and, especially, a strong personality. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the regular with the alt version. The regular version is more simple than the alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’. Queulat also comes with a Unicase version, in which a higher number of shapes can be found, resulting in a unique colourful display.

OTF | 25 Fonts | + JPG Preview

http://www.myfonts.com/fonts/tdf/crazymond/

Catchy, clumsy and charming – that’s Crazymond. Contains 38 ligatures, 12 ending characters and collection of 42 dingbats.

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/latinotype/corp-sans-round-condensed/

Corporative Sans Rounded Condensed is the narrowed version of Corporative Sans Rounded that offers high performance when using for text, what makes it the perfect match for Andes Rounded. The font works well at both display and small sizes. Corporative Sans Rounded Condensed is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded Condensed comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded Condensed provides users with a wide range of characters and weights for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded Condensed was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

OTF | 32 Fonts | + JPG Preview

http://www.myfonts.com/fonts/tipotype/aromo/

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments. Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script.

OTF | 14 Fonts | + JPG Preview

http://www.myfonts.com/fonts/thefoundry/architype-renner/

The geometry of Paul Renner’s sans letterforms was tempered by optical correction to follow earlier typeface proportions, with capitals close to old-style forms, yet still retaining the spirit of the New Typography. His early experimental characters were included as alternatives in the sans which was to become the Futura released by Bauer in 1927–30. Unusually, old style figures also appeared in his early versions but they too were soon discarded. Foundry Architype Renner as a new four weight family has been developed from the original Renner Regular and Bold, created by The Foundry for the first Architype Collections in the early 1990s. This new family features the old style figures and the experimental elements.

OTF | 4 Fonts | + JPG Preview

https://playtype.com/font/vogue-paris

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/fontbureau/stainless/

One day in his sketchbook Cyrus Highsmith began hacking the serifs off his Dispatch characters, and liked this rough start. Like any good sans, Stainless depends upon much more than amputation. Lower contrast ratios, completely rethought spacing, and shapes reworked to occupy missing serif space led to a sanserif partner for Dispatch, and an interesting sanserif series on its own feet. Among other uses, Stainless is recommended for Newspaper, Magazine, Book and Corporate use.

OTF | 59 Fonts | + JPG Preview

CM 713979 - Summer Collection

This collection contains 27 hand crafted seamless patterns and 50+ summer objects: anchors and ship, palm trees and leaves, fruits, etc. All elements can be used to decorate your print designs (cards, wrapping paper), textile (t-shirts, towels, cushions, phone cases), as well as web designs (banners, backgrounds), etc. The possibilities are endless, as always :) YOU WILL GET:

27 patterns in following formats:

   • vector EPS10 files;

   • vector AI files;

   • PNG files with a transparent background (2083 x 2083 pixels, 300 dpi);

   • JPG files (2083 x 2083 pixels, 300 dpi).

63 objects (all displayed in the preview):

   • one vector EPS10 file;

   • one vector AI file;

   • separate PNG files with a transparent background (various sizes, 300 dpi);

   • separate JPG files (various sizes, 300 dpi)

http://www.myfonts.com/fonts/insigne/ainslie-slab/

Holy Dooley! It’s a new Ainslie! Based on the inspiration from Mt. Ainslie and the Ainslie suburb outside Canberra, the original Ainslie adds geometric simplicity with a hint of aboriginal flair to the project. And now the muses of Ainslie are back at work, lending their structure as the foundation of Ainslie Slab. Like its big brothers, the new Ainslie Slab puts together a great mix of influences from Oz for a great looking typeface with some ace new shoes. Slab’s spiffy new slab serifs complement the classic frame, making the result a ripper Aussie typeface that can be used in a great number of applications. Take a look at the trendy typeface’s alternates in action, too. You can access these in any OpenType-enabled application. Alternates, swashes and alternate titling caps allow you to customize your look and feel. Capital swash alternates, old style figures, and compact caps are included to add a bit more flexibility to your work as well. OpenType enabled applications can take complete benefit of your automatic replacing ligatures and alternates, and this font also presents the glyphs to help a wide array of languages. View all of these in the PDF brochure. And then try them out. Combine it with the original Ainslie and Ainslie Sans for more flexibility. Whether you need a good slab for the copy or you want a clean, upbeat look for your headline, Ainslie Slab offers you a unique touch of the Outback that’s anything but out of touch.

OTF | 42 Fonts | + JPG Preview

CM 12965 - RetroPress - Photoshop Actions

Say Hello to RetroPress - Photoshop Action Set! RetroPress makes it easy and fun to add an authentic retro printing press look to your designs. Just select your artwork, click a RetroPress action and you have a retro look in seconds.

RetroPress includes these useful actions:

• Ink Viscosity - Ink soaks into paper and spreads based on how thick it is. That's called viscosity and it's essential to getting a realistic print effect. RetroPress gives you three viscosity actions (light, medium, and heavy.

• Roughness - Look at a printed newspaper or magazine from circa 1950 really close (go ahead, I'll

wait : ). You'll see the edges of the ink aren't smooth but have a slightly rough edge. This subtle touch if often missed when designer try to create a retro print effect. RetroPress includes 3 roughness settings.

• Ink Texture - When ink soaks into paper it flows over the small paper fibers and pools in between. This creates a subtle texture. With RetroPress you get an easy to use action that let's you adjust the intensity as you see fit.

• Halftone - Back in the day you'd find halftone printing everywhere (images created from small dots). RetroPress gives you an authentic halftone effect in black ink and color.

TUTORIAL VIDEO - I've included a tutorial video that shows you how to install and use the actions. These actions are super easy to use but I thought it might be useful to see them in action (no pun intended).

Here's all the cool stuff you DO get:

• 3 Ink Viscosity Actions • 3 Roughness Actions • 1 Ink Texture effect with adjustable intensity. • 3 Black Ink Halftone Effects • 1 FREE Bonus Color Halftone Effect • Tutorial video documenting my workflow for using the actions.

This action set has been tested in Adobe CC and Adobe CS6. I have no way of testing if they work correctly if used in older versions of Photoshop. If you purchase and own an older version of Photoshop please let me know if you have any problems and I will do my best to fix the situation. I'm available often on Creative Market and will respond as quickly as I can. NOTE: RETROPRESS WAS DESIGNED TO CREATE A RETRO NEWSPRINT EFFECT. IT'S RECOMMENDED THAT YOU USE IT ON ONE COLOR ARTWORK. RESULTS WILL VARY ON COLORED ARTWORK.

CM 545127 - Cine Collection - Lightroom Presets

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

Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.”

OTF | 14 Fonts | + JPG Preview

CM 703950 - VECTOR SAVIOR: Distressed Halftones

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

The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work.

OTF | 24 Fonts | + JPG Preview