“Modified Version” refers to any derivative made by adding to, deleting, or substituting-in part or in whole-any of the components of the Original Version, by changing formats or by porting the Font Software to a new environment. “Original Version” refers to the collection of Font Software components as distributed by the Copyright Holder(s). “Reserved Font Name” refers to any names specified as such after the copyright statement(s). This may include source files, build scripts and documentation. “Font Software” refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. The fonts and derivatives, however, cannot be released under any other type of license. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 This license is copied below, and is also available with a FAQ at: This Font Software is licensed under the SIL Open Font License, Version 1.1. Yes, you can still have pretty fonts, but these little details are what sets your design apart from something quick and easy.Copyright (c) 2011 TypeSETit, LLC Reserved Font Name “Alex Brush” If you’re designing online or with free fonts, you often don’t have these options. I honestly feel that this is the biggest advantage to working with a stationery designer directly. you hired a calligrapher for your amazing wedding invitations. They're similar, but not identical, so this can help a font look. What I look for specifically is making sure that those showcase letters have flourish, but not the same flourish. This might be too much so we can swing somewhere to a middle ground. I look at the swashes I have available and see if they trail to the right or to the left - balance is key. I look at the letters in your names and see where those showcase letters are. They asked if I could jazz this version up a bit so we swung to the more swirly end next. Alllll the swirls or just clean and tidy. I've have conversations with them about their font preferences, and we walk though how ‘flourishy’ they like their calligraphy. This might be perfect for Jenna and Spencer. I start with the most basic versions of each letter, then I start to play around. When I’m using a calligraphy font for a wedding design, I quite literally place each letter, one by one. HOW DO I CREATE THE LOOK OF A HANDWRITTEN WEDDING INVITATION? In graphic design software, I’ll have a palette of these letters up and I’ll work through different options to find the right balance. I’ll often have 2-3 different styles for each upper case letter and 3-10 options for those showcase letters - l, h, f, g, y - any chance to add a good flourish. The cool thing about these awesome designers, is that their fonts often come with extra letters called swashes or glyphs and they can give stationers like me the ability to make some changes to letters so I can give it the look of a handwritten wedding invitation. Now, a lot of these calligraphers are also mega talented and can turn their writing into a font that other designers purchase. I hire calligraphers from time to time for envelope addressing, so if you want to combine calligraphy with my print designs, we can absolutely do that! That isn’t an easy answer - it often depends on the amount of calligraphy you want on your design - just headings vs. A wedding invitation that is handwritten will be 100% unique, and if you look closely you can see very small differences between the letters - usually in the height of the same letter throughout the design. They balance the highs and the lows, and the flourishes. If you work with a calligrapher, they consider each and every letter that they draw and how each letter plays together. Calligraphers are amazing humans and that is a skill that I definitely don’t have.
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