6 matches Hello. My debut CD release is to be entitled 'Candyman's Cupboard' (in the studio recording now).& the front cover design is to be the original 'Candy Cupboard' lettering on a white backdrop (original meaning the multicolored, patchwork style w/ the jagged edges.as opposed to later on, when they went w/ a solid red.) I need to find this lettering style, really bad. I realize fonts are black & white.but I thought I may run across some experts here that may know where this might be found.

Instant downloads for 11 free pop, rocks fonts. For you professionals, 4 are 100% free for commercial-use! Instant downloads for 11 free pop, rock, rocks fonts. For you professionals, 4 are 100% free for commercial-use!

[Heck.if I could find an original boxtop.I would scan it in & fashion my own extra letters in Photoshop.] Thanks very much, mark4man.

I have few rules in life. One of these rules is to never cover Bruce Springsteen songs. That is, your name happens to be Eric Bachmann. From his tenure in to Barry Black to Crooked Fingers, has influenced my own songwriting and guitar-playing significantly more than most. (And he recently has been spotted on stage with Neko Case, another fave of mine.) But as with many of our beloved artists, life occasionally gets in the way.

We don’t bother to make new playlists, we lose track of tour stops in our hometown, and we miss out on that critical release of note. Such is the case for me with 2011’s from Crooked Fingers. Tender New Signs is the welcome follow-up record to Tamaryn’s 2010 release, The Waves. Using most of the 80’s Creation Records’ roster as a jumping-off point, New Zealand born vocalist Tamaryn and collaborator Rex John Shelverton make the kind of hazy left-of-center pop music that should be on big, expensive radio stations but is not.

This is a shame because you should be able to be driving down a big city boulevard and randomly hear songs like “While You’re Sleeping, I’m Dreaming” on your car stereo. There are so many intriguing things about Unrest’s final full-length, it’s hard to even know where to begin. The Robert Mapplethorpe portrait of musician/journalist on the cover, the rich history of lead singer Mark Robinson’s label, Duran Duran’s Simon LeBon as producer, the fast and catchy pop perfection of songs such as “,” the mention of “no guitar effects or synthesizers used on this recording” — there’s so much to take in and digest. However, we’re just going to ignore all of that and focus on the very fitting typeface by British designer and typographer, who is still independently producing typefaces today. Editor’s Note: We were thrilled when writer, photographer and all-around badass accepted our invite to be a guest contributor.

Crazy Taxi 2 Pc. She’s worked in the music industry for longer than she’ll allow us to mention, tour managing famous bands and working on events such as. But mostly, she “tells it like it is” like no one else. Catch more of her talents and grains of wisdom at and. Nuclear And Particle Physics Ebook here.

When Shawn asked me to do a post for Rock That Font, well of course I was excited because anyone asking me to write anything is pretty groovy and sure, I like music and design. I am not, however, a super smart font nerd so it became ponderous, what record to discuss. Classically beautiful and hauntingly melancholic, exists in that thin space between orchestral and ambient. Replete with harpsichord and clarinet, the Eastern European sensibilities of the Baroque period twist around the sounds of bitcrushed digital noise to create a delicate tension that makes the record compelling and beautiful. The sleeve reflects Jacaszek’s moody atmospherics perfectly. Executed by Michael Cina—founder of the design studio, —the cover features a broken, fragile gold leaf ellipse set against a dark background.

Both earthy and sophisticated, the contrast matches the simple elegance of the music. Recently, Rock That Font caught up with Michael Cina to discuss the cover design, naive craftsmanship and the value of not knowing your limits. It’s rare these days that an album grips me so completely as Bon Iver’s recent eponymous release. It’s an album in that classical, 60’s-era sense — every song is necessary and complete. Songwriter Justin Vernon has created a unified work that both touches on and transcends folk, soul, rock and chamber music. Maybe it’s Vernon’s work with Kanye West, maybe it’s his preoccupation with Bruce Hornsby, but Bon Iver, Bon Iver aims for the grand statement and wins; all the while managing to maintain that intimate scale that Vernon created on his debut, For Emma.