BC On The Beats Urban Drumloops Vol 1 WAV | 44 MB

URBAN DRUMLOOPS VOL.1 es una librería que te ayudará a AHORRAR mucho TIEMPO a la hora de CREAR tus BEATS.
Contiene 20 DrumLoops Que Haran Que Tus BEATS Esten A Otro LEVEL.

https://www.briefcasetype.com/fonts/bc-sklonar

The Sklonar typeface was originally designed exclusively for Zdeněk Sklenář’s “S” Gallery corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.

https://www.briefcasetype.com/fonts/bc-ludva/

The inspiration to create the Ludva type family comes from Louis Oppenheim’s Flamingo — a compressed, thin, vertical, elongated type from the late 1920s. Ludva takes over the basic proportions of its distant ancestor, but instead, it follows the ideas and spirit of the Bauhaus and reduces the complex world around us to banal geometric shapes. Its simple stems are balanced precisely with well-considered proportions. The type is so trivial as to be surprising. On second glance, it proves to be so well-constructed that it will find a whole range of uses.

BC Retroduktor Font Family

BC Retroduktor celebrates one of the most familiar typefaces ever designed – Akilines by Akihiko Seki. The typeface was originally issued by ITC in 1970. Mecanorma announced its release 3 years later under the name Akilines. There are many revivals of this popular typeface. Our release counts over 100 masters of this font. The results are twenty-four carefully picked weights in the standard OpenType format, and four styles in the advanced variable type format, enabling its maximum use from a spectrum of lines. It’s a perfect match for motion design graphics and advertising.

MAX | FBX | OBJ | TEX

BC Minim Font Family

Minim is something of a hybrid which attempts to explore the possibilities of the variable format, balancing between the analogue past and digital future, standing precisely on the line between readable type and letter experiment.

BC Baseliner Font Family

Variable font is a tool that offers the ability for relatively radical mutations of a typeface’s skeleton. The typeface Baseliner with regards to examine in practice whether the proclaimed variability is, in reality, a mere advertising trap. But above all we were interested in whether we could imprint an easily recognisable character and “content” in practice; more precisely, not to end up designing an elegant set of unsubstantial shapes, which would have an effect of changing, but for nothing.

https://www.briefcasetype.com/fonts/bc-rebecca

The Rebecca font family is loosely inspired by the impression evoked by medieval calligraphy and manuscripts. Its inspiration were the Irish-Anglo-Saxon miniscule of the seventh century, the Rotunda script, the Uncial script, the Langobard book typeface, Lettre Bâtarde and also Literra Beneventana – excellent calligraphic minuscules, which were created many centuries ago by monks at the monastery of Monte Cassino.

https://www.briefcasetype.com/fonts/bc-steiner

Have you ever imagined what a modern serif with massive triangle-shaped serifs instead of the usual hairline ones would look like? And what if the uppercases got smaller and the extenders were minimised at the same time? How big a narrowing can a serif type handle but still retain its character and legi­bility? Vojt?ch ?íha asked himself all of these questions and answered them with the extensive Steiner family. A contemporary serif, German-like in strictness and precision, but still retaining originality in its shapes.

Sudeten German Anton Steiner (*20 May 1855 – † 17 June 1920), buried in a cemetery near Karlovy Vary. The lettering on his gravestone served as the basis for a majestic display type, in which static and dynamic principles are in symbiotic opposition. A vertical shadow axis and heavy, trian­gle-shaped serifs anchor the letters firmly on the baseline, with serif diagonals accentuating the inner dynamics of the whole typeface. Distinctive lowercase bulbous terminals disrupt the seemingly strict triangular principle dominant in the uppercases. Deep incisions in the outstrokes to stem connections create a pleasing contrast and help cast away a slight weariness typical of Classicist Didot types. Six weights with increasing contrast form a palette of options one doesn’t get bored with easily; the seventh version, simply titled Headline, is a shadowed version of the Black style and is most appropriate for death certificates and various manifests with no expiry date.

One of the greatest pleasures in a typographer’s life is having nice italics. Each weight of Steiner contains a dynamic italic, which compensates for a lack of distinctive slant with a visible change of accentuation. Romantic moods are evoked by softly arched curves, bulbous terminals alternate with pointed instrokes and outstrokes, asymmetrical characters lend the text a feral character. The rippling of the italics as a counterpoint to tectonically upright styles works perfectly.

The Steiner family was origi­nally part of a collection of fonts inspired by gravestone inscrip­tions, which Vojt?ch ?íha designed during the course of his studies at the Type Design studio of the Academy of Arts, Architecture and Design in Prague. Vojta designed a set of three type families: Frieden, Wagner and Steiner, which are based on Sudetenland gravestone inscriptions traced onto paper using the frottage technique. Each represent a different font cate­gory – Sans Serif, Grotesque and Antiqua. All three typefaces have their strokes adjusted to correspond to real stone-chiselled inscriptions. Each typeface has well thought out shapes of difficult strokes, such as crossings, instrokes, bottoms or extended and condensed ellipses. Vojta ?íha verified his font during a stone sculpturing workshop in Ho?ice, organized by Type Design studio, where he chiselled the Steiner Bold and the thinnest Wagner Light faces into the stone without impairing the letters. Vojta sais: “Steiner is pure masturbation on the subject of the old Sudeten­land gravestone typography, which I enjoy finding. Steiner draws not only from one single gravestone inscription, but from gravestone aesthetics in general, and also from Germany.”

Steiner is a blessing for all designers of newspaper and magazine, as it can magically conjure up a dramatic buzz even when substance is lacking. But a quality, contemporary typeface in seven weights with seven italics will always find its application – no clever type foundry recommendation will ever replace the designer’s own sense of invention.