Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

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 ---------------------------------------------------------------------------------------------------------------------------

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.

Rahere Esoteric is a gothic-flavoured, quasi-Roman display font with an eccentric persona and more quirks than a Tim Burton film. A member of the extended Rahere typeface family, it’s the enigmatic cousin of Rahere Roman Display & Rahere Sans. This is a niche display font that doesn’t try to please everyone. Rahere Esoteric revels in its mystical aura, using a bewildering array of ligatures to magically transmute itself as characters loop, curl, jerk and strut, randomly connecting and disconnecting into words like a retro-futuristic steam train clattering along a disused railway track, challenging and delighting the reader at the same time. To add more sparkle, there are alternatives, inferior and superior caps plus a [Wicca] basketful of symbols, ornaments, weird faces and even a snake-infused ampersand. Whilst Rahere Esoteric has been designed primarily as an all-caps font, the lowercase slots contain small caps with corresponding numerals. However, because this is an arcane, unpredictable font, order and regularity are frowned upon, which means there are no tabular numerals – so company reports or accounts are a solid no! Unless they’re for the Golden Circle of Alchemists PLC or Gothic Blackstar Corporation. It is ideal for all things pagan, esoteric, alchemy, other-worldly or magic-related projects and particularly useful for music genres across the Gothic / Darkwave / Ethereal spectrum. What about legibility? Hey, look into my eyes: Esoteric is all about the mystique. If a secondary font is needed for the important stuff, I recommend its cousin, Rahere Sans, which pairs beautifully with this display font and is perfect for long passages or small text. The initial idea for Rahere Esoteric came about during a visit to Whitby, a small coastal town in Yorkshire, UK and famous for its inclusion in Bram Stoker’s novel, Dracula. A Steampunk festival was in full swing and the narrow streets of the town centre were teeming with people adorned in a glorious fusion of clothing and accessories influenced by a love of 19th-century life, science fiction, horror, fashion and art. I was fascinated by the juxtapositions of colour, patterns, material and style – archaic mechanical Sci-fi, gothic, the American Wild West and romantic Victorian. But what intrigued me the most, somehow, all the disparate elements worked as a whole. Thus, like Frankenstein, this font jolted into existence. Supported languages include Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

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 ---------------------------------------------------------------------------------------------------------------------------