CM 1380165 - 5 Email Templates Bundle V

FEATURES

• Responsive email template

• StampReady Drag & Drop editor

• Compatibe with CampaignMonitor

• Compatibe with Mailchimp

• Supported background images in outlook

• Litmus tested

• Fully layered PSD

• Unlimited colors

• Documentation with video preview

• Full-time support

FILES INCLUDED

• Documentation with video instructions

• 5 HTML email template

• 5 StampReady compatible template

• 5 MailChimp compatible template

• 5 CampaignMonitor compatible template

• 5 Layered PSD

CM 1382153 - Eternal Dawn - Watercolor Set

Passionately painted and carefully processed, this ethereal flower set is as pure and organic as it can get. Get a bunch of gorgeous flowers in morning tones to brighten your day ....and your designs :) This pretty pack contains:

• 30 individual elements

• 4 pre made bouquets

• 5 pre made wreaths

https://www.myfonts.com/fonts/eurotypo/chipa/

Chipa has all the advantages of OpenType technology that allows a variety of combinations: Swashes, old style numerals, standard ligatures, contextual alternates, discretional ligatures, word ending and tails. These fonts were specially designed for creating logotypes and packaging design, can also be used in advertising, flyers and posters, for its good legibility and accurate kerning. Chipa support the Central European character set as well as basic Western languages.

https://www.stormtype.com/families/mramor-pro

Mramor family first appeared in Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs, however with true small caps, cyrillics and rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

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

Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive – from dictionaries and technical literature through magazines to art posters and advertising materials.

CM 1361525 - COFFEE AND TEA ELEMENTS SET

This great SET for your COFFEE AND TEA ELEMENTS SET design, cafe, menu, advertising, signboards, business cards, labels and any more. Zip contains: AI ( Made in CC save in CS required), EPS, JPEG files, PDF, PNG, SVG.

• 31 vector elements

• 23 unique vector objects and elements:

• 11 Black coffee and tea elements

• 12 Color coffee and tea elements

Fully editable text. Just double click to edit. All fonts used are available for free download. Names of free fonts and links on google fonts into zip file FONT.txt 

CM 1341159 - Boho Bordo Watercolor Flowers

Boho bordo watercolor floral collection includes over 80 PNG images. Great for wedding, baby shower invitation cards, greeting cards, printables, wall art, logo, web and blog designs, invitations and many more. All are PNG files (transaprent background) and high resolution - 300dpi.

You receive:

• 9 pre designed floral bouquets 14' (35cm) wide and smaller.

• 5 wreaths - 12' (30cm) wide.

• 1 floral drop - 12'(30cm) wide.

• 55 separate flowers and leaves - 6x6'(15x15cm) and smaller.

• 6 embellished frames

• 55 separate flowers and leaves - 6x6'(15x15cm) and smaller.

• 1 deer scull - 12'(30cm) wide

• deer antlers - 12'(30cm) wide

• 4 feathers and 2 arrow1 - 9'(22 cm) wide

• 4 watercolor spotches - 6'(15cm)wide

• 3 seamless patterns -5000x5000 pixels.

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

Compur is the name of the most famous photographic shutter of all time. This is a reconstruction of a type face which served for describing various devices, using the technique of monolinear engraving. With its soft forms, stringency of signs and period accent it ranks among the display alphabets offering the widest use in magazines, on posters and – for description of devices. It comes right in small sizes and in inscriptions arranged in a circle.

CM 1359864 - 250+ Bundle Icon set

250+ Bundle icon set with 2 styles (outline, glyph and filled outline). Include the source file (PNG, AI, EPS and SVG format).

CM 1380758 - Aquarium Fishes

This is a lovely hand-drawn watercolor collection of aquarium fishes. This illustrations are perfect for scapbooking, designing cards, invitations, party decorations, children clothes, pillows, textile design and so many other things.

This set contains:

• 15 fishes

• 9 bubbles

• 6 seamless pattern

All in PNG format with transparent background -6 colorful seamless pattern in JPEG

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

To design a text typeface „at the top with, at the bottom without” serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting – for double-sign matrices –, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter.

https://www.stormtype.com/families/biblon-pro

Next generation of award-winning typeface (Excellence in Typography by TDC in 2000, Bukva-Raz! in 2002) Biblon. This 6-font family contains all styles as published by us and by ITC in 2000, plus many more in the 2006 version: new, interpolated Medium colour is a useful contribution for display purposes, numerous glyphs were newly created, old ones redrawn, more swashes of Italics added, 27 new ligatures, and 12 new OpenType Features enable real professional work. Among significant changes you can see slightly taller Small Caps, better kerning, etc... In our modern times people print ever more futile ideas and intersperse them with many blank pages. There is no need to economize on paper and to look out for optically narrowed type faces. An opposite situation is in every biblical society where the editors must cram a text containing some 2000 pages into a single volume. That is where there is a need for type faces which are economizing, legible and spiritually cultivated. The new Biblon type face, therefore, does not need to rely on a wide range of sizes; it is sufficient if it looks well from approximately five to eighteen points. Its elegance decreases commensurately with its increasing size. In poster sizes the speculative construction of the letter form is already revealed – the points of gravity of the strokes are shifted as much as possible in the horizontal directions and the crotches – the spaces between the rounded stroke and the shaft – are emphasized. In small-size letters we hardly notice that almost all horizontal serifs (if they have not disappeared entirely) have been pushed inside the letter form so that they should not hamper the adjacent letters. To quieten the lines, the accents have been miniaturized as well. The figures have uniform width and avow the lower case principle. The italics of Biblon have been stylized more daringly, with the use of long-forsaken Rococo elements. The slanted designs of the small capitals have upper case letters slightly submerged under the capital line, in order to enhance the decorative character of titles and headings. Biblon has a large x-height of lower-case letters and one can get used to its compressed proportions. Many condensed type faces leave a feeling of distress after longer reading. Here, however, this has been sophisticatedly eliminated. We have availed ourselves in this type face design also of several optical tricks dating from fairly recent period, but our main source of inspiration was the daringness of type designers of the 18th century. Underneath the contemporary-looking design of Biblon one can conjecture a Baroque play with the shifting of shadows, intentional overstatement or absolute simplification of forms. Even though Biblon probably will not be used for its purpose in the near future, it represents a very sound body type.

CM 1327103 - Cageless Birds

Celebrate spring with style! Cageless Birds is a pack of more than 70 graphic elements in both .png (watercolor-textured, gold-textured and flat black) and .ai (flat black) for you to design with.

What's inside the pack?

• 14 flocks of birds ;

• 26 single birds ;

• 5 detailed feathers ;

• 27 frames, clouds and decorative doodles to enhance your designs ;

• 6 twigs, branches, wreaths and wires to put your birds on ;

Bonus: A simple photoshop (both CS and elements) tutorial on how to edit the graphic's color.

Files included

• A vector file .ai containing all the elements in a flat silhouette editable to your taste. Works great in Illustrator CS2+ ;

• 70 watercolor-textured .png (300dpi) graphic elements, each of them on an individual transparent .png ;

• 70 gold-textured .png (300dpi) graphic elements, each of them on an individual transparent .png ;

• 70 dark, flat .png (300dpi) graphic elements, each of them on an individual transparent .png.

CM 1382069 - 34 Texture Brushes Vector

34 custom texture brushes! perfect for Shading. Subtle to extreme texture.

CM 1381934 - ARMAMENT - Vintage Illustration Pack

A Bundle of 70+ Vintage Armament Illustrations. Saves you time and energy. Create a custom vintage logo or a T-Shirt design in a few minutes! The package includes 3 Ready made Vintage logo templates!

CM 1380885 - Dorrotthy Script: 3 Fonts & Swashes

Welcome to The Dorrotthy. Premium quality handwritten font with elegant imperfections. It includes 3 individual fonts full of alternates and ligatures with a collection of swashes. Dorrotthy script was originally drawn by a professional calligrapher Eugene Spizhovy in collaboration with BlessedPrint. All glyphs include maximum of texture imperfections with italic rough appearance. It is perfect for branding, logos, wedding invitations and inspirational quotes.

CM 1380751 - Set of Vintage Weapons

BOORDON introducing to your attention SET OF VINTAGE WEAPONS. This great SET for your Vintage heraldic weapon design, t-shirt, logo, advertising, signboards, business cards, labels and any more. Zip contains: AI ( Made in CC save in CS required), EPS, JPEG files, PDF, PNG, SVG.

SET includes:

• 54 Black vector elements isolated on white

• 8 Black swords

• 5 Black knives

• 12 Black bow and crossbow

• 18 Black arrows

• 4 Black quivers

• 7 Black tassels

CM 1382285 - Hello Autumn Physalis Vector Set

Cute vector illustrations, pattern, cards and label set with autumn flowers physalis

CM 1379255 - "No.5" Vector and OTF

"No.5" Vector and OTF - Display Like Save "No.5" Vector and OTF - Display - 1 "No.5" Vector and OTF - Display - 2 "No.5" Vector and OTF - Display - 3 "No.5" Vector and OTF - Display - 4 "No.5" Vector and OTF - Display - 5 Update: OK, OK! not everybody owns and needs Illustrator, so I made this a font now with 233 glyphs, western european included. Have Fun! No.5 is a hairline based VECTOR FONT for use in Adobe Illustrator with a slight OCR character. Give it any weight and style you want. See the examples done with some standard illustrator brushes. Looks best with rounded caps and joins. I put a handful of accents in the mix.

CM 1380274 - Asure

Asure - all caps sans serif font. It’s clean and universal. Best for logos, branding or heading.

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

Every type face which was originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelená Hora) is surprisingly well usable also in minor graphic works. The proportions and colour (tonal value) of the upper-case letters derive freely from Mediaeval and apart from this they paraphrase, as was required in the order, the morphology of the Baroque Gothic. The lower-case letters seem to ring with gambolling melodies in their details and behave like immature counterparts of the upper-case letters. To combine monumentality with playfulness and gravity with ease means to arrive at a magnanimously balanced whole. That is why such type face can be used not only for casting in bronze or chiselling in stone, but also for children's books, magazine headings and invitation cards. I would, however, be apprehensive about using it for setting longer texts in which considerable amount of artistry tends to be cumbersome.

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

The source of inspiration for this design is immediately apparent in its name. It is suitable for texts of drunkards and dubious persons. Likewise it is cut out for posters for theatre pieces by contemporary dramatists. It has been issued in three designs only.

CM 1382168 - Tote Bag 2 Mockup

• files works only in Photoshop (min. PS C6);

• pack includes 1 .psd files, file specs: 2200x2200 px 300dpi;

• changeable colors, gradients (full range) and design (via smart objects);

• changeable color of straps;

• removable flowers;

• backgrounds: custom, neutral and white (check preview);

• Amazon ready: white background is always included;

• well organized layers as in all of other Creatsy mockups.

CM 1380324 - Salty

Salty - not fat just big boned. Salty is a hearty brush family that’s great for any kind of display use from packaging to poster & logos to headlines. Salty has bold and clear basic letterforms and lots of alternates for more customised look. Salty family consists of Script, Caps and Extras and two weights of each. Salty script is equipped with plenty of OpenType features: Keep Automatic Ligatures on to keep the flow and click Swash, Stylistic or Titling Alternates for extra goodies or manually select from even more alternates from Glyph Palette. Salty Caps is a vivid set of casual caps that play well with the script but can also be used on their own. Salty Extras is a set of ornaments and swashes designed to support the script. Some of the Extras are designed so that they can be used to customise the letters - to create your own Alternates.