Graphic Downloads

Back to School Reloaded Flyer

Photoshop PSD | Print Dimensions 4x6 | 33 Mb

Back to Music Flyer Template 5406691

Photoshop PSD | Print Dimensions 4x6 | 19 Mb

Automotive Exhibition Flyer Template

Photoshop PSD | Print Dimensions 4.25x6.25 | 15 Mb

Alternative Flyer Template 003

Photoshop PSD | Print Dimensions 17x11 | 2 Mb

7 photo-realistic paper bag mock-ups

Photoshop PSD | 2000x3000 | 420 Mb

3D Web Page Display Pack V2

Photoshop PSD | Print Dimensions 13.7x7.7 | 112 Mb

10 Pages Resume Booklet V02

InDesign INDD | Print Dimensions 8.5x11 | 3 Mb

 Amazing SS - Amazing Bowling 4, 25xJPGs 

25 UHQ JPEG | up to ~ 10000 x 6000 | 300 dpi | 146 Mb RAR

Andes Font Family

Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography. Andes is a typeface with 10 Upright weights, 10 Italics & Condensed version, ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features. This type is well-suited for use in retail, magazines, logotypes, books, etc.

OTF | 8 Fonts | JPEG Preview | 3.6 Mb RAR

Amazing SS - Baby Shower 3, 25xEPS

25 EPS | + HQ JPEG Preview | 225 Mb RAR

 Businesswoman Collection, 25 UHQ JPEG 

25 UHQ JPEG | 9100x6000 | 206 MB

Stock Vectors -  Cook and Chef

25 EPS | 25 AI | 25 JPG Preview | 141 MB RAR

Compendium Font

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know.

OTF | 1 Font | JPEG Preview | 3.9 Mb RAR

 

Icons Collection #2 - 50 Vector 

50 EPS | + Preview | 157 mb

Infographic set #16 - 25 Eps

25 Eps | + Jpg Preview | 173 mb

 Collection of infographics vol.94, 25xEPS 

25xEPS | PREVIEW | 210 MB

Stock Photos - Jumping kids

25 UHQ JPEG | Up to 4836x5952 Pixels | 228 Mb RAR

Labels And Stickers #3 - 25 Vector 

25 EPS | + Preview | 161 mb

Magesta Script Font Family

The Magesta Script family by Yellow Design Studio is a set of four retro script fonts that capture the warm, authentic qualities of letterpress printing. Light, Regular, and Bold weights were created using different levels of ink coverage, while Mix is a combination of all three. The texture and slight misalignment add to its realism and vintage charm.

OTF | 4 Fonts | JPEG Preview | 10.5 Mb RAR

Amazing SS - Menu Cover 5, 25xEPS 

25 EPS | + HQ JPEG Preview | 208 Mb RAR

Ollie Font

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Schizotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults.

OTF | 1 Font | JPEG Preview | 7.4 Mb RAR

Pizza Collection 2, 25xUHQ JPEG 

25xUHQ JPEG | 8000x6200 | 430 MB

Stock Vectors -  Globe, Planet Earth 2

25 EPS | 25 AI | 25 JPG Preview | 272 MB RAR

Stock Vectors -  Purple Abstract Background

25 EPS | 25 AI | 25 JPG Preview | 247 MB RAR

RBNo2.1 Font Family

RBNo2.1 is a condensed sans serif typeface with a technical and geometric appearance. The family includes 2 versions (RBNo2.1a and RBNo2.1b) and has 7 weights with matching italics. RBNo2.1 feels comfortable in technical surroundings with short text passages, in brochures, catalogs, magazines, posters, websites headlines and logos.

OTF | 28 Fonts | JPEG Preview | 7.3 Mb RAR

Reznik Font Family

A compact sans serif with a technical origin. Each character was drafted out from a grid template and then refined through the application of subtle curved detailing. The result is a precise, contemporary typeface best suited to identity, mobile and video game development. Details include 9 weights with italics, 500 characters, 5 variations of numerals, stylistic alternatives, manually edited kerning and Opentype features.

OTF | 18 Fonts | JPEG Preview | 4.9 Mb RAR

Stock Vectors -  Summer holidays 2

25 EPS | 25 AI | 25 JPG Preview | 295 MB RAR

 Amazing SS - Wedding Day 7, 25xEPS 

25 EPS | + HQ JPEG Preview | 215 Mb RAR

Web UI Kit 6944989

Photoshop PSD | 1020x4650 | 8.4 Mb

Vizion Flyer Template 7143474

Photoshop PSD | Print Dimensions 7x4 | 137 Mb

Virtual Magnifier 130014

Layered PSD, Photoshop ATN | 5.5 Mb

Twitter Stamp Badge 64080

Photoshop PSD | 248x231 | 421 Kb

T-Shirt Mockup 4860257

Photoshop PSD | 3500x3000 | 412 Mb

Travel Agency Banner Set 6966722

Photoshop PSD | 8.3 Mb

Toilet Seat Mock-Up 6902610

Photoshop PSD | 5000x2787 | 145 Mb