Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

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 "Pilot" because it was the very first one we produced. The first "Alef" doesn't have a "hamzit wasel" nor a "fatha", this indicates to skip the pronunciation of that 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). Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf & Alef". 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

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 "Subhanahu Wa Ta'ala" because we have added "Subhanahu Wa Ta'ala" to each and every name. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "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). The calligraphy is rectangular shaped, and the "fatha" is big and covers almost the entire name, in most of the names. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Ta, Kaf & 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.

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 "Kids" because it looks as if a child is writing the names. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "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). Some of the letters in the calligraphy are unusually big, they look as a child is writing them. No decorative letters are used in this calligraphy. 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.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

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 "Handwriting" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is very easy to read, no letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Saad & Ta". 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

Danah” is the first name of a very close and cherished classmate, friend, and peer. Danah is a Palestinian woman who used to study with me in the same university where I was honorably introduced to her several years ago. In fact, I decided to dedicate this typeface wholly to her in return for all the years of friendship that we had spent together as classmates during the late 1990s. She was—and absolutely still—a source of support and inspiration for me in life due to her brilliant, big-hearted, and philanthropic personality. Danah likes different things in life and among them the sea, horses, reading, and also travelling. She lives and works now in Palestine, and yearns for being granted a new life—like many other free Palestinians—full of freedom, peace, and happyness. Danah® is a handwriting and scribbly Arabic display typeface. The main trait of this typeface is the realistic handwriting design of its letters and ligatures. This feature renders it as one of the stylish typefaces used for headlines and also texts. Among the distinguished letters of Danah® typeface are the “Qaaf”, “Kaaf”, “Meem”, “Noon”, and others. Moreover, Danah® typeface has a character set which supports Arabic, Persian, Urdu, and Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This font comes in a single weight (i.e., regular) with exactly 639 distinctive glyphs. Due to its free and streamlined design, Danah® typeface is appropriate for heading and text in Arabic, Persian, and Urdu. It can be graphically and visually exploited in magazines, posters, and interfaces of different things such as clothes and equipment. Moreover, it can be pleasingly used in writing personal, friendly, and unofficial letters, messages, documents, invoices, notes, dispatches and menus which require a smoothed handwritten touch and trend. It is also elegantly suitable for signs, books’ covers, advertisement light boards, and titles of flyers, pamphlets, novels, and books of children and adults. In brief, Danah® typeface is one of the new hand-drawn typefaces which can be brought into play efficiently in diverse graphic, typographic, calligraphic, and artistic works in different languages and cultures. 2018-09-13 00:00:00.000 10.0000 F25946-S114426 10913 Timeless URW Type Foundry https://www.myfonts.com/collections/timeless-duplicate-font-urw NULL NULL 2016-01-08 00:00:00.000 89.9900 F10913-S42560 54569 Jellofries Maulana Creative https://www.myfonts.com/collections/jellofries-font-maulana-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/JtHgrbkPi7YU282OWix69Tqb_97b690350e4b3ed453d7c27fe0eb6664.png Jellofries is a fancy brush script font. With brush bold contrast stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Jellofries font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Jellofries font. Cheers, Maulana Creative 2022-05-06 00:00:00.000 12.0000 F54569-S252887 38361 Alt Moav ALT https://www.myfonts.com/collections/alt-moav-font-andreas-leonidou https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/70046_aa489c02cd589f8f924b405c901a8014.png Moav is a geometric experimental display typeface for use on logos,posters etc. 2011-12-13 00:00:00.000 15.0000 F38361-S179452 42255 M Elle HK Monotype HK https://www.myfonts.com/collections/m-elle-hk-font-monotype-hk NULL HK series fonts are in Unicode encoding and consists of BIG 5 character set and HKSCS characters. The character glyphs are based on the regular Traditional Chinese writing form and style. It is generally used in Taiwan ROC, Hong Kong and Macau. 2011-05-11 00:00:00.000 523.9900 F42255-S193845 71839 Kaerobi Kulokale https://www.myfonts.com/collections/kaerobi-font-kulokale https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10004/ieVtB18gl4EgKrVVDIPLtX8b_33d93ffd2cd339b2544feb3d7a0a3121.png Kaerobi is an condensed display font, and with a style that is very different from the others. This font comes in four styles, Regular, Oblique, Rough, and Outline Version. Kaerobi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank You. 2022-08-16 00:00:00.000 17.0000 F71839-S298671 52588 The Heather Romie Creative https://www.myfonts.com/collections/the-heather-font-romie-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/Lc4estBSB0wCiDunz9GNDUcb_097035319875b31f0a18a4bb2e8e675b.png The Heather Script is a formal calligraphy design, including Regular. This font is casual and pretty with a stroke. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes and much more. Heather Script featuring OpenType style alternatives, ligatures and International support for most Western Languages ​​is included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: *https://www.youtube.com/watch?v=XzwjMkbB-wQ Heather Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: *https://www.youtube.com/watch?v=Go9vacoYmBw 2022-02-23 00:00:00.000 19.0000 F52588-S242949 16709 Pastina Lebbad Design https://www.myfonts.com/collections/pastina-font-lebbad-design https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/220264_a574aa9e49d2f9f1da3950f1fef09123.png Pastina is an elegant serif font consisting of caps, lower case, and alternate characters. Soft serifs and the graceful flow of each character add to the classic feel of this font. 2008-07-31 00:00:00.000 24.9500 F16709-S66588 2367 Munira Script Picatype https://www.myfonts.com/collections/munira-script-font-picatype https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/309621_5c93006e7517281c082dc7c75bfd1c2b.png Munira Script is a modern calligraphy design. This font is casual and pretty with swashes. It can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Munira Script features OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Munira Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing! 2019-07-05 00:00:00.000 10.0000 F2367-S10062 27004 Ketimun Hanoded https://www.myfonts.com/collections/ketimun-font-hanoded https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/306179_8517cd9a57ccc15cff68737e17de4e85.png Ketimun means ‘cucumber’ in Bahasa Indonesia. At home we eat a lot (A LOT) of Indonesian food, which often includes Acar Ketimun (Sweet/sour cucumber salad). I usually make the simple version, but sometimes I go for the more elaborate cucumber salad (the recipe of which you’ll find on poster 2). Ketimun font is a rather delicious script font; uneven, organic and full of life. Comes with a fresh taste and lots of diacritics. 2019-06-06 00:00:00.000 15.0000 F27004-S120951 38675 Psalterium Alter Littera https://www.myfonts.com/collections/psalterium-font-alter-littera https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/204202_94b78204200645ccd1daa5d5f1a63916.png A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg’s break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula. The main historical sources used during the font design process were high-resolution scans from the copy of the Mainz Psalter preserved at the Österreichische Nationalbibliothek, Vienna (the only copy whose colophon includes the famous printer’s mark of Fust and Schöffer). Other sources were as follows: Masson, I. (1954), The Mainz Psalters and Canon Missae, 1457-59, London: Printed for the Bibliographical Society; Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 8). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Psalterium” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable). 2012-07-06 00:00:00.000 25.0000 F38675-S178340 23791 VLNL Donuts VetteLetters https://www.myfonts.com/collections/vlnl-donuts-font-vetteletters https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10001/190114_ca5047d6d6754375933067862f9328a8.png VLNL Donuts’ first incarnation was designed already in 2005 by DBXL as a logo for Dutch funky house music outfit Hardsoul, and since then has been used for lots of music related projects. Donuts is heavily infused by hip 1970s geometric fonts like Blippo, Pump and ITC Bauhaus, but nonetheless has both feet in this modern day and age. Meticulously designed and tightly spaced, VLNL Donuts is very suitable for logos, headlines and music artwork. We especially recommend using it on big 12 album covers. Oh, and it got its name for obvious reasons (“the O looks like one...’) VLNL Donuts is deep fried, glazed and can be covered in a variety of sweetness: sprinkles, cinnamon, coconut, chopped peanuts, powdered sugar or maple syrup. They also can be filled with cream, custard or jam. As a very sweet and saturated snack should, VLNL Donuts is fitted with a full set of alternate swoosh caps that can be deployed to liven up your already ‘out there’ designs.

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 "Spiral" because of the spiral like design. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce the names both ways, "AR-RAHMAAN" or "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). The "Ye" doesn't have 2 dots at the end of a name, instead we chose to include a small "ye" on the letter "ye". Also, we used the traditional "soukoun" instead of the Quranic "soukoun". Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef & Ye". 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 ---------------------------------------------------------------------------------------------------------------------------

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

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 "Clear" because of how clear and easy to read the design is. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce it as both "AR-RAHMAAN" or "R-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The "Ye" in this calligraphy doesn't have the two dots, nor does it have a decorative "Ye", just like the Holy Quran. Also, we went for the traditional "soukoun" instead of the Quranic "soukoun" & decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Tah & 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 USED THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR, 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 ---------------------------------------------------------------------------------------------------------------------------

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 "Attached" because the "alef" and "lam" are attached together. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation & spelling according to the Holy Quran). You will also notice that the decorative letters in this font are bigger than usual, we also used the traditional "soukoun" instead of the "Quranic soukoun" & we were a little bit more generous than usual with the decorative symbols. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef, Tah & 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 ---------------------------------------------------------------------------------------------------------------------------

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

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 "Compact" because as you can see everything is very close and decorative symbols are at a maximum. The first "alef" has neither a "hamzit wasel" nor a "fatha", this indicates to skip that first alef so instead of saying "AR-RAHMAAN" you say "R-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is anything but traditional & we have used all the decorative letters except for the "Ye". In other calligraphy you don't usually find the decorative letters: "Dal, Ra & Ye" but we like them and we use them, the important thing is that they don't change the pronunciation or the meaning. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef, Ta, Dal, Ra & 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

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

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

PRISMATIC SPIRALS FONT! The Prismatic Spirals Font is a decorative type-system and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals has two related families, its “bold” braided version Prismatic Interlaces and the Pro version. While the default is simpler or easier to use, as all piece’s spin in same way, PRO provides a more complex intricate Design which requires typing alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Font Map Reference Interactive PDF Here! (!) Is recommended to Print it to have the Reference in handy or just open the PDF while composing a design with this typeface to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 48 are different keys repeated twice in both caps and shift, plus few more that were repeated for facilitating. It was settled this way in order for exchanging with Prismatic Spirals Pro font which has 96 different keys or 2 versions of each. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

PRISMATIC INTERLACES TYPEFACE! Prismatic Interlaces is a decorative system and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Interlaces has two related families, both as a kind of lighter weight versions Prismatic Spirals Default & Pro. While Default is simpler or easier to use, same way as Prismatic Interlaces, Pro provides a more complex intricate Design that requires typing alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Interlaces Font Map Reference Interactive PDF Here! (!) Is recommended to Print it to have the Reference in handy or just open the PDF while composing a design with this typeface to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 49 are different keys repeated twice in both caps and shift, plus few more that were repeated for facilitating. It was settled this way in order for exchanging with Prismatic Spirals Pro font which has 96 different keys or 2 versions of each. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table

PRISMATIC SPIRALS PRO FONT! The Prismatic Spirals PRO is a Decorative Type-System and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals Pro has two related Typefaces both more basic or easier to use versions, the Default Family plus its “bold” braided version Prismatic Interlaces… PRO provides a more advanced, complex, and twisted Design, plus requires to be typed alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Pro Font Map Reference PDF Here! (!) Is recommended Print it to have the Reference or open the PDF to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. The 2 glyphs sets are separated in colors for facilitating. Also use the Map Font with key captions or switch to it for ensure that the characters are alternating between both uppercase and lowercase letters as other Keys as numbers, marks, and punctuation along the strings, holding Shift one by one or actually two by two. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 96 are different keys with 2 versions of each of both caps and shift keys, plus a few repeated for facilitating. It was settled this way in order for exchanging with its Prismatic relative fonts which has only 48 different keys repeated twice. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.