We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "complete" because this is the only calligraphy where the complete set of decorative letters have been used. The calligraphy is more on the traditional side, letters don't overlap, the "ye" at the end of the names doesn't have the two dots, and a decorative "ye" has been included. The first "Alef" doesn't have a "hamzit wasel" nor a "fatha", this indicates to skip the pronunciation of that first letter. So instead of saying "AR-RAHMAAN" you say "R-RAHMAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). In other calligraphy you don't usually find the decorative letters: "Dal, Ra & Ye" but we like them and we use them. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Tah, Dal, Ra, Alef, Ye & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

Upton is a modern and condensed sans serif. The initial inspiration for its design came from lettering Wim Crouwel created for a poster design. It also takes some cues from neutral grotesks like Helvetica and Akzidenz. Because of its narrow letterforms, Upton is best applied to headlines and poster-sized typography. Upton’s italics were designed with high-quality compensation for all circles and strokes. Upton ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 14 static OpenType font files instead. Those weights run from Extralight to Extrabold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The weight axes in Upton’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. In its fonts, Upton has several ligatures. That includes optional “discretionary ligatures,” which bring a unique tone to display usage. For instance, the fonts include optional ligatures for the letter combinations “E-T”, “F-l”, “L-E-T-T-E”, “L-E-T-T”, “L-E-T”, “L-E-L-O”, “L-U”, “i-j”. and “m-m”. There are also many alternate glyphs. Stylistic Set 1 substitutes in new forms for “G”, “R”, “a”, “f”, “g”, “i”, “r”, “t”, and “y”. Six more Stylistic Sets have alternates for the “æ”, “g”, “k”, “o”, “K”, “O”, and “Q”. Additional OpenType features activate other useful features, such as fractions, numbers in circles, or symbols.

Rubis is a contemporary serif typeface with a sharp aspect designed for long running text. It’s a family with a serious aspect but it keeps a certain charm. The idea behind Rubis was to create a typeface with flawless curves, every letter and symbol has been designed in this idea, it can be seen in the terminals which finish the letter with an extreme fluidity. It’s a family which mixes classical influence such as the calligraphic terminaison and the sharpness of a modern typeface. The Regular and Medium are optimized for long text while the Light and Black can be useful for Title. The range of style give a good flexibility to this family. It’s an excellent family for editorial use. Rubis consists in a 10 styles family, from Light to Black with their corresponding italics. Each font includes OpenType Features such as Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Fractions and ligatures. Rubis family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek .

Taca is a typeface built around a shape that Portuguese designer Rúben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type. Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it. Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support. The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Tatline Neue is a serif font family of 14 fonts encompassing a wide range of weights — from Thin to Heavy. Tatline Neue was modelled after the original Tatline display font, but this major overhaul resulted not only in updated and tweaked shapes and smother curves, but also in addition of 13 new weights, making Tatline Neue a perfect tool for designers and typographers alike. Each font contains 450 glyphs, multiple sets of numbers, stylistic alternatives for certain glyphs, ligatures, numerators, denominators, old style figures, and other symbols. Tatline Neue can be freely used across Western European, Central European, South Eastern European languages. Tatline Neue was designed from the scratch to keep glyphs consistent across all weights. Thinner fonts are more uniform, with little to no variation in the weight of the strokes. Bolder fonts, on the other hands, are chunky and somewhat comic —in a good way. Tatline Neue was born out of a display font, losing none of its original quirkiness and vibe. While serif fonts are often seen as vintage and orthodox, Tatline Neue strikes a livelier note: one of cheekiness, bizarreness, quirkiness, and expressiveness. Thanks to a wide range of weights, Tatline Neue is a great tool for a variety of projects: whether it's used for plain text in a larger body of text or as a headline font, or even as a key element in a logo creation or brand identity. Tatline Neue is a serif font for those who are tired of seeing the boring in the typography and design; it's a font for explorers, for adventurers, for those who seek to find their own voice.

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Mono-Spec Stencil is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width, which is immediately noticeable for its condensed nature. Mono-Spec Stencil is a sibling of a non-stencil family, simply named Mono-Spec. Characters in each are just as wide, allowing Mono-Spec Stencil to be used together with Mono-Spec, as a secondary typeface. As a typeface whose characters are stencil-shaped, this design channels the spirit of resistance and street culture. When you look at the family, remember that it ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Stencil Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec Stencil fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec Stencil’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, attracting the reader’s attention with measured tension in its curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate letters and numbers that propose a broad palette of tools to the designer. The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the letter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfortably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pocketbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with numbers and punctuation. The four main text weights of Abril Text were also manually hinted which grants the possibility of a smooth transition from printed media to web platform. Abril consists of 8 text styles and 12 display styles, all of them containing the standard TypeTogether character set that supports over 50 languages including those from Central and Northern Europe.

Poligon is a large family of geometric sans serif fonts. It is inspired by classic typefaces from the geometric-sans genre, like Futura and Avant Garde Gothic, whose shapes were constructed from circles and straight lines. Every character has been crafted to give it a distinct and individual feel. The family is an excellent choice for both corporate design and editorial design projects because of its range of weights, as well as its legibility in text. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s eight static OpenType font files instead. Those weights run from Thin to Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over the stroke width in their upright and italic texts. The weight axes in Poligon’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Despite their rigid geometry, the fonts have a playful air to them. That playfulness and uniqueness can be dialed up by applying stylistic alternates via the fonts’ four Stylistic Sets. The first of these replaces “G”, “M”, and “&” with alternate, more outgoing shapes. Stylistic Set 2 has an alternate “ß”; Stylistic Set 3 has a “Q” with a longer tail and another “G”. Stylistic Set 3 has alternates for “A”, “K“, “Q”, “R”, “S”, “Y”, and “Z”.

AS Palmer Script & Sans This pair was inspired by the spirit of the past, when manual labor was common, and technology was just beginning to develop. It was crafted by hand specially for traditional typography lovers and anyone who want to add natural handmade feeling in brand identity. It comes with Regular and Aged versions that expands its posibilities in use. Opentype features Script font has 151 stylistic alternates and 3 variations of end-swashes with about 10 lengths of each style. Stylistic Alternates. The easiest way to get alternate character is to add number for example 2, 3 or 4 after any Uppercase. Each of them has from two up to five alternates. This combination works with activated Standard Ligatures option in Opentype panel (Photoshop / Illustrator). End-swashes. AS Palmer Script has 3 variants of end-swashes and about 10 lengths of each style. It works like Stylistic Alternates with activated Standard Ligatures in Opentype panel. Just add special combination at the end of the word, to get needed swash element and its length. Underscore, double underscore or slash is swash style. Number is length. For example: _3, __5, /6. Just try, it's easy. AS Palmer Sans - different Double letters. This feature work automatically with activated Contextual Alternates in Opentype panel. Note, that this features are not available in Miscrosof Word. Palmer is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. I've designed some examples, so you can see how it can be used. Multilingual support (Western European characters). English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish.

Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font. How did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It's a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use. This font was created in July, 2012 and named Conspired Lovers. A font to capture and convey your message in a special way to the beloved one close to your heart. With a long practice of writing crafted into the unique design I hope that you and the recipient of your writing will soon enjoy this design. The Open-type version features 350+ glyphs including alternates and ligatures. All lowercase and most uppercase letters are connected, to create a realistic hand-writing-calligraphy on your creations. Conspired Lovers is international and supports a wide range of eastern european languages with accented letters to reach everyone in Sweden, France, Hungary and almost everywhere around the globe. A trailer for Conspired Lovers can be seen here: http://vimeo.com/haraldgeisler/conspired-lovers If you're looking for more heart related fonts also check out my other fonts.

Unlike the modest fonts in your menu content with discreetly imparting information, Carnival is conspicuous by design. Deliberately engineered to attract eyeballs, the typeface’s unmistakable silhouette produces a dramatic visual texture that stands out in print, on screen, or in any environment where your message demands to be noticed. The steady yet vibrant rhythm created by its letterforms also makes Carnival ideal for fashioning alphabet patterns and graphic devices. Flaunting a lean slender body anchored by stout stroke endings, Carnival turns conventional typographic thinking on its head by inverting the relative thickness of its stems and serifs. This reverse-contrast approach stretches all the way back to the roots of modern advertising, when similar types became the favorite for posters, packaging, and loads of consumer products during the 1800s. The striking style prevailed well into the next century, as Harold Horman, co-founder of New York City-based Photo-Lettering. Inc., modernized a version for the company’s popular film-typesetting service in the early 1940s. Digitized and expanded by Dan Reynolds in 2013, Carnival had previously been used exclusively for House Industries projects. Now you can get in on the action, and use this stunning slice of type history anytime you want your work to turn heads. SUGGESTED USES Carnival’s unique character commands attention, making it the perfect voice for promotional pieces, editorial design, labels, packaging, posters, and any other application that needs to strike the right tone. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

CA Normal is a typeface aiming for beauty without ostensible effects, merely relying on clarity and well balanced proportions. True beauty is not to be found in perfect geometry, so slight irregularities and inconsequences are spread throughout the typographic image. That’s perfection through imperfection. CA Normal merges influences from European grotesques and American gothics, breeding an experimental mongrel. The underlying concept stays in the background, giving the design a great self-evidence. Although it is doubtful if there can be such thing as neutrality, CA Normal comes pretty close to what people mean when speaking of a neutral font. Nevertheless it’s not faceless, anonymous or confound able. It’s just that the charm comes from subtle details rather than obvious design features. As good text typefaces must not be too smooth nor too agitated, CA Normal is smuggling little uneven details into the typographic image, that keep the readers eye awake. The well crafted oblique follows the grotesque tradition which knows no individually drawn italics. A rather unexpected addition is the reverse oblique, a style mainly used for maps. Under the classic surface lies a modern well equipped font, featuring small caps, a Central European character set and numerals in all kinds of flavors. Numerous ligatures round up the overall impression. By default CA Normal will set numbers as proportional lining figures. But if you prefer oldstyle figures, or tabular figures, just use the OpenType functions of your layout program. These allow access to the small caps as well, which feature a complete central European character set, brackets, punctuation and lining figures in small caps height.

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

The Typeface «Mixcoatl» by Elia Salvisberg was developed as a part of a course at the Lucerne School of Design and Art in 2016. Based on the book «The Empire of the Inca», a display-font has been created, which is inspired by the graphic language of the South American Empire of the Incas. At the beginning, only capital letters were designed but there was the desire for a complete typeface – which is why the missing signs were added. The font is based on a grid, so the characters are constructed equivalently and a uniform geometric font arose. The name was adopted from the god of hunting who plays an important role in the mythology of the Aztecs and appears in various forms. The uppercase letters can also be represented and combined in two alternative character-sets, so there are a lot of opportunities to combine uppercase words in different forms.

Awwam refers to the region of Awwam which is now thought by most scholars to be Ma'rib or the famous temple of Awwam otherwise known as Mahram Bilqis. The Awwam temple—Arabic Haram Bilqis or Mahram Bilqis—is a Sabaean temple near Ma'rib in today's Yemen. It was built by Mukarrib ‘Yada'il Dharih I’ between the 7th and 5th century B.C. Also, one of the most frequent titles of the God ‘Almaqah’ was the Lord of Awwam. Almaqah was the main God of the ancient Yemeni kingdom of Saba' and also the kingdoms of D’mt and Aksum in Eritrea and Northern Ethiopia. Different members of the ruling dynasties of Saba' regarded themselves as Almaqah’s children. Awwam is a wide and headline Arabic display typeface. The main trait of this typeface is the wide, curved, and streamlined design of its wide kashida, letters, and ligatures. This feature renders it as one of the modern stylish typefaces used for headlines, titles, headers, banners, and captions. Among the distinguished letters of Awwam typeface are the “Alef”, “Qaaf”, “Waaw”, “Yaa”, “Gheen”, and others. Moreover, Awwam typeface has a character set which supports Arabic, Persian, Urdu, and simple Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This typefac comes in two styles (i.e., Awwam, and Awwam-Pro) with a single weight (i.e., regular) and nearly 650 distinctive glyphs for each style. Due to its ultra-wide design, Awwam typeface is mostly appropriate for headings and titles in Arabic, Persian, and Urdu. It can be graphically and visually exploited in books, novels, magazines, newsletters, pamphlets, posters, and interfaces of other objects such as clothes and equipment. Moreover, it can be pleasingly used for signs, books’ covers, advertisement light boards, and titles of flyers, and books of children and adults. In brief, Awwam typeface is one of the new wide Arabic typefaces which can be utilized efficiently in diverse graphic, typographic, and artistic works for different languages and cultures.

Meposa is more than just a typeface; it is a bold statement of individuality and creativity. It’s a unique, tough, and quirky design that defies convention. Meposa’s mixed-case letters with open apertures deviate from the traditional roots of wood-block typography, bringing a fresh and modern twist to an old-school classic. This hybrid typeface is an amalgamation of various design elements from different eras and cultures. The result is a unique and mesmerizing typeface that defies categorization. Meposa also draws inspiration from the 1970s custom van culture, where artists and designers would showcase their creativity by customizing their vehicles with bold and colorful graphics. This typeface channels that same spirit of creativity and individuality, inviting you to break the mold and think outside the box. With historical wood type influences, Meposa pays homage to the timeless and authentic craft of typography. Yet, it also features retro-tech and modern design elements, resulting in a truly one-of-a-kind typeface that bridges the past and the present. In summary, Meposa is a unique and tough display typeface that is both historical and modern, quirky and bold. Its mix of design influences makes it an ideal choice for anyone looking to break the mold and stand out from the crowd. Whether you’re a graphic designer or a creative professional, Meposa is sure to leave a lasting impression. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

Stylish Serif is a Modern Retro Vintage Serif Font that we created special for Display, Logo and Branding A new Serif font that is nice to leverage designer or product owner that need solutions to make their design look more gorgeous and vintage. And specially for this font, We prepared any characters to help you create gorgeous for your creative needs specially for headline, and typography needs. Stylish Serif font ready with: Stylish Shape to get creative Preview as a inspirations that you can do with this font Ready with All Uppercase characters Wish you enjoy our font. :)

A Serif font that we created special for elegant branding needs, with extra unique shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more classy and modern. And specially for this font, We prepared any characters to help you create unlimited variations for your creative needs. Mahalini serif font ready with: Any characters to get creative variations Preview as a inspirations that you can do with Mahalini font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

An Unique Modern Display font that we created special for unique branding needs, with weird shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more standout and modern. And specially for this font, We prepared any characters to help you create unlimited variations for your creative needs. Algebra Unique Modern Display Font ready with: Ready with Unique Characters Preview as a inspirations that you can do with Algebra font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Hello, friends. I keep experimenting with handwritten fonts, shapes and lines. I want the font to set the tone, the atmosphere, and look like an inscription made in a hurry, but it is well read. Blushed combines all these qualities. Simple and clear, looks at ease. It is perfect for signatures or design, where you do not need a strict style. Test it out below to see how it could look for your next project! Includes: Uppercase and lowercase Numbers and punctuation Foreign language support Ligatures Check out my blog: https://www.instagram.com/zloillev pinterest.com/dmitriychirkov7 Enjoy

My new font is beautiful and smooth modern calligraphic script with a straight baseline. And I also added a separate font with cute swashes at the beginning and at the end. You do not need special software, everything works simply and clearly :) Mignon will look beautiful on Christmas and holiday invitations, wedding invites and stationery, logos, and more. I love using it for emphasis words and pairing it with serifs. Test it out below to see how it could look for your next project! Includes: Uppercase and lowercase Numbers and punctuation Foreign language support Check out my blog: https://www.instagram.com/zloillev pinterest.com/dmitriychirkov7

A Display font that we created special for Modern branding needs, with extra ligatures in unique shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more elegant and luxury. And specially for Moalina font, We prepared any ligatures characters to help you create unlimited variations for your creative needs. Amiora Display font ready with: Any options to get creative variations (combination of Ligatures) Preview as a inspirations that you can do with Moalina font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Shelby is friendly and casual; a monoline, semi-connected script typeface based on hand lettering. It has the natural appearance of handwriting, yet can be used to create appealing headlines, logos and eye catching call-outs. Shelby features ligatures, stylistic and contextual alternates, and 20 ornaments designed to complement its handwritten look. See what’s included! http://bit.ly/2bGS9S1 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Do you want energetic designs? Racer energy is a font created in capital letters with the racing theme producing courageous strong impressions in no time making it worth adding to your design list. Letters are made similar to firm rectangle blocks with sharp-angles. Enjoy other incredible features available on this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuation This font looks great on any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase it now. Happy designing.