This is a collection of text effects for Photoshop that resemble typography styles from the 60s and earlier. They come as PSD files and in 2,000 x 1,500px dimensions.
Why it’s our top pick
This set features a collection of 12 vintage text effects that span different decades from the first half of the 20th century, giving you many options to pick from. It’d make a great addition to any graphic designer’s personal library.
Retro Text Effects is another collection of text effects that resemble vintage text styles from the early to mid 20th century. They come in PSD and ASL file formats and 2,560 x 2,000px dimensions.
80s Text Effects Vol. 2 is a collection of 10 text effects inspired by styles that were popular in the 1980s. They come as 10 PSD files with dimensions of 2,000 x 1,500px.
Citrus is a single retro text effect available as a script font style inspired by text styles of the 60s and 70s. It comes as a PSD file in a 3,508 x 2,480px dimension.
Holochrome is a collection of text effects in various styles inspired by holochrome styles of the 80s. There are six PSD files in 3,000 x 2,000px dimensions.
3D Cartoon Text Effects is a retro text effect collection inspired by text styles used in vintage cartoons. The styles come in PSD file format in 2,000 x 1,500px dimensions.
Vintage Text Effects Vol. 2 is another retro text effect collection inspired by styles prominent within the first half of the 20th century. There are 10 styles in PSD file format and 2,000 x 1,500px dimensions.
Comics Text Effects, as the name implies, is a collection of text effects inspired by comic book typography. This includes comic books popular in the 40s, 50s and 60s. You get 10 styles in PSD and ASL file formats.
This is a retro text effect collection for Adobe Illustrator. As such, it comes in AIT, AI and EPS file formats. The effects themselves feature vibrant, modern takes on vintage text styles.
This collection features more effects inspired by vintage typography styles from the first half of the 20th century. It comes with 10 PSD files in 2,000 x 1,500px dimensions.
This collection applies neon text effects to numerous retro text styles. It includes eight styles available in PSD and ASL file formats and in 2,560 x 2,000px dimensions.
Vintage Text Effects Vol. 6 is a collection of retro text styles inspired by fonts popular in the 40s and 50s. It has 10 styles available in PSD file format and a dimension of 2,000 x 1,500px.
This is another collection of retro text effects inspired by styles of the early to mid 20th century. It features 10 PSD files in dimensions of 2,000 x 1,500px.
Retro Text Effects V01 features 3D text styles that mimic text styles found within signage prominent in the 40s and 50s. The collection is available as 10 PSD files in seven colors and in dimensions of 2,020 x 1,500px as well as one ASL file.
This collection of retro text effects combines vintage text styles with 3D effects and black-and-white color schemes reminiscent of older TV shows and films. There are 11 PSD files in dimensions of 2,000 x 1,500px.
This collection of retro text effects features a mix of script and slab text styles inspired by similar styles seen within the 50s and 60s. It has 10 PSD files in total with each file having a dimension of 2,000 x 1,500px.
19. Retro School
Retro School is a single text style that combines a sans-serif font with a script font to form a text effect inspired by high school text styles popular in the 1950s. The style features a graph paper design. It comes as a single AI or EPS file.
While Stranger Things is a modern TV show, it still takes place in the 80s and features styles prominent within that time period. This includes text styles. This text effect is inspired by the show’s title logo that displays near the start of every episode. The effect comes as a single PSD file in a dimension of 2,535 x 1,950px.
This is a diverse collection of vintage text styles inspired by popular typography styles prominent throughout the 20th century. The collection features 10 styles but comes with 11 AI files and 10 JPEG files.
Retro Melt Text Effect is a single text effect inspired by wavy, “psychedelic” text styles that were popular in the 70s. It comes with one PSD file and one JPG file and in a dimension of 4,500 x 3,000px.
Retro Text Effects V2 is a simple retro text effect collection featuring 10 effects inspired by styles of the early 20th century, including old film text styles. It comes with 10 PSD files and seven colors or a single ASL file. Dimensions are 2,020 x 1,500px each.
Outline Text Effects isn’t a dedicated retro text effect collection, but its styles are similar to those that were popular in the 70s and 80s. The collection has eight separate file collections in PSD, ASL and JPG formats. Its dimensions are 2,560 x 2,000px.
This 3D, golden text effect features modern styles, but it resembles text styles often used on the covers of fantasy novels published in the 1970s. It comes with a single PSD file.
Pop Art Text Effects is a vibrant text effect collection featuring styles inspired by pastel color schemes and text styles of the 80s and early 90s. It comes with eight PSD files.
This is not a dedicated retro text effect, but it’s similar to graffiti text styles that rose in popularity with the emerging hip hop scene of the 80s and 90s. It comes with a single PSD file in a resolution of 3,000 x 2,000px.
This “movie title” text effect uses a very familiar text style popularized by a famous 80s movie: Back to the Future. It comes as a single PSD file in a resolution of 4,000 x 2,667px.
This collection of 80s text effects is a little more vibrant and extensive than the other 80s collection in our list. It has 10 styles available in PSD files and in a resolution of 1,920 x 1,080px each.
This collection features holiday-inspired text effects from decades past. It comes with 10 PSD files in resolutions of 2,000 x 1,500px each.
Final Thoughts
The majority of these text effects are very easy to use. All you need to do is replace your text with your chosen effect by using Photoshop’s Smart Objects feature.
This works with logos, vector shapes and regular text.
Deciding on a text effect is a lot more difficult.
If you’re having trouble, stick with templates that come with more than one effect so you have options to work with.
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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