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From delicate fine-line florals to intricate geometric patterns, hand tattoos are the perfect blend of edgy and elegant, making them a go-to choice for women looking to express themselves in a big ...
The term 'Trash Polka' was created in 1998 by Volker Merschky and Simone Pfaff at Buena Vista Tattoo Club in Würzburg. [12] The artists originally gave their work the name 'Realistic Trash Polka' because they combined realistic images (Realistic), with graphic, lettering and other artistic layers (Trash). [13]
A very delicate, fine-line hand tattoo featuring stars, a sun, and a moon. ... It features a realistic heart on the palm and the words “ART” and “LOVE” on the fingers. ... Finger tattoos ...
Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text.It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman".
ITC Benguiat Gothic is a sans-serif variant for the original serif font family. Both faces are loosely based upon typefaces of the Art Nouveau period but are not considered academic revivals. The face follows ITC's design formulary of an extremely high x-height, combined with multiple widths and weights.
A wonton font (also known as Chinese, chopstick, chop suey, [1] or kung-fu) is a mimicry typeface with a visual style intended to express an East Asian, or more specifically, Chinese typographic sense of aestheticism. Styled to mimic the brush strokes used in Chinese characters, wonton fonts often convey a sense of Orientalism. In modern times ...
Stylistically Peignot is a "stressed" or modulated sans-serif in the Art Deco style, in which the vertical strokes are clearly wider than the horizontals. Use of Peignot declined with the growth of the International Typographic Style , which favored less decorative, more objective, traditional typefaces such as Akzidenz-Grotesk .
Contrary to their current perception, in its early years, the Bauhaus school printed serif art nouveau typefaces. After some years of design work at the school, Herbert Bayer and Joost Schmidt created the more recognizable proposals—sans-serif geometric letterings, with decorative elements of the font removed for a crisp industrial style.