SHILIA – AN ARABIC FONT THAT LIVES HAND IN HAND WITH LATIN TEXT CHARACTERS A special design principle underlies the Arabic font Shilia created by Mamoun Sakkal: the form of the characters means that they harmonise happily with sans serif Latin fonts, such as Univers. Because of this, Shilia is the ideal choice for any bilingual project and for use in international corporate branding. Shilia™ had its beginnings in the 1970s. Taking one of the oldest variants of Arabic script, the minimalist Kufic, as his inspiration, Mamoun Sakkal fashioned simple stroke shapes that are combined according to a geometric grid. Shilia is at home in both worlds, that of the East and that of the West. And although Shilia has been primarily designed to be used as a display font, it is also ideal for setting shorter texts. Before being published by Linotype, Shilia underwent major adaptation and updating, and is now available in the modern OpenType format. Mamoun Sakkal increased the characters available per individual typeface variant to over 1,800, and his daughter, Aida Sakkal, worked on programming the extensive OpenType features for the font. There are numerous ligatures that can be used to provide suitable variation and avoid repetition within a given context, and many special features such as the dots under the initial and final segments of words being automatically centralised. Shilia not only supports Arabic, but also Persian and Urdu. Special character combinations for setting texts in these languages, particularly Urdu, are provided through OpenType. And there are a total of 19 stylistic sets with additional character variants available to the user. An example of Urdu text Shilia is available in eight weights, from UltraLight to Black. The corresponding condensed versions are in the course of preparation. Along with the Arabic characters, all of the typeface versions include matching Latin alphabet letters of Adrian Frutiger’s Linotype Univers® family, making Shilia intrinsically suitable for setting bilingual texts. A set of ornaments carefully designed to allow for numerous compositions of bands and decorative patterns rounds off the range of characters on offer. With its 21 weights, Shilia is one of the most extensive of Arabic typeface families that is currently on the market. Its clear and well-balanced forms emphasise the linear nature of the font without allowing it to appear sterile or artificial. Shilia not only cuts a good figure as a display font for signage or in artistic projects, thanks to its substantial range of features, the font family can also be used to set texts, such as corporate and administrative documents. In addition, but the full compatibility between the Arabic and Latin characters makes Shilia the perfect choice for international and multilingual design projects.

Earlier this year I visited a bakery in Newport Beach, CA and fell in love with the organic design and typography of the place. Hand-drawn menus, table cards, chalkboards, and wall quotes surrounded the charming spot. It inspired me to create a new font family based on the combination of hand drawn fonts. Included in this package are 5 font families, with 2 graphic ornament fonts. Each font family contains at least a light, medium and bold. Here is a breakdown of what's cookin' at Catalina's Bakery: Catalina Anacapa: Tall and skinny, this font comes in 3 weights for both sans and slab serif styles. It includes contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and also includes Small Caps. Catalina Avalon: Based off Anacapa, this sub family has a high contrasting line weight. It comes in light, regular and bold as well as an inline alternative for both sans and slab serif styles. Avalon also includes opentype features such as contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and small caps for each letter. Catalina Clemente: In a more standard width, Clemente is one of the two sub families that can be used for paragraph text as well as headlines. It's organically geometric in style and comes in ALL CAPS and lowercase, includes upright and custom italics, and has the opentype feature giving 3 versions of each letter. Catalina Script: A great compliment with the display sub-families, Catalina Script rounds out the package with a hand-drawn cursive flair. It includes contextual alternatives (giving 2 variations to each letter) as well as stylistic alternatives for many of the capital and lowercase letters. It has special ligatures for some letter combinations, and titling alternatives for all the capital letters. Catalina Typewriter: The second of the paragraph text sub-families, this typewriter inspired hand-drawn font family works great as either a display or paragraph text. It has contextual alternatives with 3 versions of each letter, and comes in both upright and custom italics versions. Catalina Extras! These two fonts go perfectly with the Catalina Family. They includes borders, frames, arrows, banners, flourishes and more. Catalina Flourish has all of it's options in a light and bold style, to use the light version type all lowercase letters, then to make something bold, used it's uppercase (or shift+) characters. For a breakdown of graphic/letter correlation, see the breakdown PDF. All of Catalina was drawn by the same hand, using the same ink and technique. While they contrast in their type styles, they work together perfectly to create one cohesive font family.

Rev your engines and get ready to add some muscle to your typography with Threefortysixbarrel, the ultimate typeface for those who live life in the fast lane. This high-octane typeface was peeled right off the air filter of a 1970 Plymouth Barracuda. With Threefortysixbarrel, you’ll be able to proclaim your message with confidence and authority. This no-nonsense alphabet is barely street legal, just like the muscle cars it takes inspiration from. And with three different styles to choose from, you can customize your typography to match your message perfectly. First up, we have Threefortysixbarrel. This is the serious, clean version of the font, with a powerful personality that commands attention. It’s perfect for when you need to make a statement that can’t be ignored. If you’re looking for a more vintage feel, Threefortysixbarrel Intake is the way to go. This style features a realistic rusty letterpress effect that will make your typography look like it’s been around since the golden age of muscle cars. It’s perfect for adding a touch of nostalgia to your designs. And finally, we have Threefortysixbarrel Exhaust. This style is raspy and faded, barely hanging on—just like a muscle car that’s been pushed to its limits. It’s the perfect choice when you want your typography to have a scruffy, worn-in feel. But that’s not all—the textured styles of Threefortysixbarrel also include custom pairs that will be substituted automatically in apps that can handle OpenType ligatures. This means that repeated character textures will be broken up, resulting in an even more realistic, scruffy effect. So what are you waiting for? Grab the pistol grip, slam the pedal down, and peel out with Threefortysixbarrel. This typeface is the ultimate choice for anyone who wants to add some serious muscle to their designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Refinery is the newest font in the Evanston Collection of square typefaces. With a similar capital structure to Tavern and Alehouse, Refinery includes both lowercase and small caps, making it an ideal typeface for paragraph text settings. It also comes in a wide array of weights and widths, with 85 font files in total. DESIGN Refinery has it’s roots in early 20th century signage and saloon typography, but has been modernized - even future-ized - to fit the 21st century digital landscape. The design was aimed at providing a type family that could work in many modern design fields, from sports, tech and military to gaming, HUD, virtual reality and augmented reality. ENGINEERING Essentially. Refinery is a simple mono-linear square design has been expertly refined into an easy-reading sans serif typeface. It was designed to be used in both display and text settings. From hairline to black in ultra-narrow or extended, the wide array of weight and width options makes it easy to find the right font for each text need. SPECS Refinery not only includes 85 font files, but each one include a wide array of Opentype Extras that allow even further customization. • Stylistic Alternatives: Letters A W Y have a styling variation that rounds the pointed apex into a square curve. The S and 2 variation straightens the spine, making all curves in the alphabet read as 90º angles. • Small Capitals: A shortened version of the capitals for alternate header settings. • Titling Alternatives: In this typeface, this feature turns on lifted small caps. Take the small capitals, raise them to level with capitals and underline at the baseline. When multiple lowercase or small capital letters are typed in a row, the underlines connect, creating unique ligatures. • Figures: There are different figure styles for different text needs. Options include, proportional lining, tabular lining (for math), old style and small capitals. • Discretionary Ligatures: A little funk to this otherwise serious typeface. Letters with a long baseline or cap height stem - F, L, T - get elongated to hug a small capital vowel. Other ligatures include Co. and No. • Catchwords: These are common words that bring emphasis to a design. In English these words include ‘and’ ‘as’ ‘by’ ‘in’ ‘of’ ‘the’ ‘to’ ‘when’, among others. Refinery also includes multilingual catchwords of ‘el’ ‘la’ ‘oder’ ‘go’ ‘para’ ‘pour’ ‘und’ ‘y’, among others. For the full list, please check out the specimen images. EXTRAS To round the typeface off, a set of over 150 ornaments, icons, arrows, patterns and line breaks is included to provide complimentary graphics. These can be found in the Ornaments labelled font, it is recommended to use the Glyphs panel to select which text glyph is needed.

Welcome to the old version of Kage. "Old does not mean obsolete" In April 2022, we updated whole letterforms. We redrew all glyphs and refined the nodes, corners, rounded shapes, flowing tails, etc. Of course, you can still use the update of an older version of Kage, although we highly recommend you move to the Pro version for the full benefits. Kage Pro has massive development, puts forward experimentation on alternate letters, and applies an oblique style to provide diverse style choices. Come with tons of swirly ligatures and advanced opentype features include case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Learn more about Kage Pro here: Kage Pro 2.0 | Type Specimen About Kage The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage has 11 styles, from thin to black; all family-style consist of one variable font with two axes. The total number of glyphs is 748 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: discretionary ligatures, stylistic alternates, ordinals, fractions. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

Romantically -the lovely natural signature font- It is classy, it is naturally, it is beauty signature fonts... - Fantastic 417 Ligature I was created 417 ligatures to keep this font looks naturally, al bl cl dl el fl gl hl il jl kl ll ml nl ol pl ql rl sl tl ul vl wl xl yl zl at bt ct dt et ft nt ot pt qt rt st tt ut yt all ell att ett itt ott utt alt elt ilt olt ult atl etl itl otl utl ftl attl ettl ittl ottl uttl ab bb cb eb ib jb mb nb ob sb ub abb ebb ibb obb ubb abl abh ebh ibh obh ubh abt ebt ibt obt ubt ah bh ch eh gh hh ih jh mh nh oh ph rh yh zh ahh ehh ihh ohh uhh ak ek ik kk ok rk sk uk yk zk akk cc dd ee ff mm nn oo pp ss zz am em im om um amm emm imm omm umm amb amh an en in on un ann inn anb anh ank enh inh anl enl ant ent ar er ir or ur arb arh erh irh orh urh ark arl erl url art ert fr urt ce co com ay eel iu ppl erfl Ar Br Cr Dr Er Fr Gr Hr Ir Jr Kr .............and more as you seen on presentation pictures. I am also created it for multilingual characters. àl ál âl ãl äl ål æl œl èl él êl ël ìl íl îl ïl ñl òl ól ôl õl öl ùl úl ûl ül àt át ât ãt ät åt æt ............and more as you seen on presentation pictures. - Swashes Swashes make it completed. You only need adding underscore 2x after lowercase from a to j . For example a__ - Multilingual Support Fonts include punctuations and multilingual support. Romantically is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, labels, and much more! I hope you really enjoy it.. Regards, Abo Daniel

Style and elegance in 14 styles PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context. The Pierre Simon Fournier heritage Pierre Simon Fournier (1712—1768) was a leading innovative type designer of the mid-18th century. Early in his career, the young Pierre Simon developed a strong aesthetic that he cultivated throughout his life. His art is representative of the pre-revolutionary “Age of Enlightenment” (Siècle des Lumières). Precursor of the Modern style, Fournier’s body of work deeply influenced his times, and created the fertile ground from which the Didot family and Giambattista Bodoni developed their own styles. During the historical period of the 18th century, Fournier exemplified the intellectual pursuits of the times with his own research on type, documenting in detail the typefounding process. He also offered a unique vision: he is the first to clearly comprehend the concept of “type family,” sorting a set of similarly styled alphabets by sizes, width, and by x-heights. In addition, Fournier is one of the earliest advocates of the point system to organize the practice of typography, the point system that contemporary typographers continue to use to this day. The refined and discreet elegance of PS Fournier With a close look at the family, one finds you’ll find that the difference between the optical sizes (Petit, standard and Grand) is more than a contrast variation between the thin and the thick; the eye can also denote a palette of distinct tones: More streamlined and robust in the smaller sizes (Petit), more refined and detailed in the larger sizes (Grand). The PS Fournier standard family is designed to adapt to any situation with its intermediate optical size, from body copy to headlines. With a bit of tracking, PS Fournier Petit will make the smallest captions perfectly readable. However, Petit family is not limited to body and captions — its “slabby robustness” will make a relevant headline choice as well. PS Fournier Grand presents a higher contrast adapted to large text sizes, displays or banners. Its refined elegance makes it a perfect choice for Design, Fashion or Luxury publications. As a “modern” type PS Fournier Grand features a larger x-height than the preexistent old style typefaces such as Garamond or Jenson. These proportions provide any basic text set in PS Fournier Grand a strong typographic texture. As a result, the PS Fournier global family is a versatile alternative to the Modern typefaces commonly used in the publishing industry. The optical sizes, the large range of weights, and the design variations make this family adaptable to captions, paragraphs, and pages, as well as to large texts and displays. A leading-edge typography in the 18th century In the spirit of modernity, Pierre Simon Fournier did not find any use for the conventional swashes still produced by peers such as Caslon or Baskerville. Nevertheless the French designer created many inventive elements to decorate the page and set delightful variations in the text itself. To this regard PS Fournier includes a large set of glyphs variations, ligatures and more than one hundred glyphs for borders, rules and ornaments or — as called in French — “vignettes.” PS Fournier: A tribute to the French modern typography era by Stéphane Elbaz

If you are into the vintage feel, you will love this one. This is as vintage as it probably gets. There are probably only a handful of places in the world where schools still use blackboards and chalk – they’ve given way to their white board and marker counterparts for decades now. White boards are definitely more practical and less messy when compared to chalk, but then if you are creatively inclined you will agree that a little bit of mess is worth it if you are going to get the effects that you desired! Well, we can give you the effects minus the mess with our chalk hand lettering fonts! As the name suggests, this font gives you that distinctly unique chalk on slate feel, and if you are wondering what’s distinct about it; writing on slate or blackboard was a slow process which required deliberated and concentrated efforts resulting in a handwriting which was usually quite different to a person’s handwriting on paper. Typography of chalk on slate was an everyday event in the classrooms of yesterday, and today we hardly ever get to see one of these if it all. Writing on a black board with chalk was quite an interesting achievement in its own right, if you ended up with anything legible and if your writing remained focused and ‘in-line’! But of course like everything else, his took time to master and when you did get it right, chalk hand lettering was quite an enjoyable experience! For semi-permanent designs, say for example an eventful day at school; students of the day would create beautiful typography on the boards, and add a solidarity to it sometimes by shading one side of the lettering – usual y the right side towards which the lettering leaned. This is the effect our chalk hands lettering shaded variation gives you. You could get this font individually, but we strongly advise you check out the “chalk hand lettering pack” font. It includes the simple “chalk hand lettering” (minus the shading effect) and also a “chalk hand elements” bag of tricks. The elements is a collection of graphic art which resemble shapes and designs that used to be added to chalk art, to beautify the typography. If you enjoyed seeing the effects of our Chalk Hands font, and the shaded variant – you are simply going to go gaga over Chalk Hand Elements! The chalk hand font of course enables you to make typographic art similar to the effect of chalks on slates and black boards. This was quite the art form in the days gone by! The shaded variation added a bit of solidarity and the technique was commonly used to make semi-permanent designs say for example a welcome note when somebody important was to visit. Classic chalk hand designs, especially the semi permanent ones often had little pieces of art to help beautify the creation as a whole. It could simply be symmetrical graphics appearing before and after the title and headings, maybe just an interesting shape to fill in an empty area on the board, and such…our Chalk Hand Elements offers you a ton of such graphics. The two chalk hand variations and the elements are all included in the Chalk Hand Family, and this is strongly recommended if you want to make designs that are truly reminiscent of the days of chalk on slate.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Over the past couple of years I received quite a number of unusual and surprising requests to modify my type designs to suit projects of personal nature, but none top the ones that asked me to typeset and modify tattoos using Burgues Script or Adios. At first the whole idea was amusing to me, kind of like an inside joke. I had worked in corporate branding for a few years before becoming a type designer, and suddenly I was being asked to get involved in personal branding, as literally “personal” and “branding” as the expression can get. After a few such requests I began pondering the whole thing from a professional perspective. It was typography, after all, no matter how unusual the method or medium. A very personal kind of typography, too. The messages being typeset were commemorating friends, family, births, deaths, loves, principles, and things that influenced people in a deep and direct way, so much so that they chose to etch that influence on their bodies and wear it forever. And when you decide to wear something forever, style is of the essence. After digging into the tattooing scene, I have a whole new respect for tattoo artists. Wielding that machine is not easy, and driving pigment into people’s skin is an enormous responsibility. Not to mention that they're some of the very few who still use a crafty, hands-on process that is all but obsolete in other ornamentation methods. Some artists go the extra mile and take the time to develop their own lettering for tattooing purposes, and some are inventive enough to create letters based on the tattoo’s concept. But they are not the norm. Generally speaking, most tattoo artists use generic type designs to typeset words. Even the popular blackletter designs have become quite generic over the past few decades. I still cringe when I see something like Bank Script embedded into people’s skin, turning them into breathing, walking shareholder invitations or government bonds. There’s been quite a few attempts at making fonts out of whatever original tattoo designer typefaces can be found out there - wavy pseudo-comical letters, or rough thick brush scripts, but as far as I could tell a stylish skin script was never attempted in the digital age. And that’s why I decided to design Piel Script. Piel is Spanish for skin. In a way, Piel Script is a removed cousin of Burgues Script. Although the initial sketches were infused with some 1930s showcard lettering ideas (particularly those of B. Boley, whose amazing work was shown in Sign of the Times magazine), most of the important decisions about letter shapes and connectivity were reached by observing whatever strengths and weaknesses can be seen in tattoos using Burgues. Tattoos using Adios also provided some minor input. In retrospect, I suppose Affair exercised some influence as well, albeit in a minor way. I guess what I'm trying to say is there is as much of me in Piel Script as there is in any of the other major scripts I designed, even though the driving vision for it is entirely different from anything else I have ever done. I hope you like Piel Script. If you decide it to use it on your skin, I'll be very flattered. If you decide to use it on your skateboard or book cover, I'll be just as happy. Scripts can't get any more personal than this. Piel Script received the Letter2 award, where they selected the best 53 typefaces of the last decade, organised by ATypI.

Introducing "Te Hafs tharwat Emara" - An Exquisite Arabic Font for the Holy Quran Unveil the beauty and elegance of Arabic calligraphy with "Te Hafs tharwat Emara," a meticulously crafted font designed specifically for typing the Holy Quran. This magnificent typeface pays homage to the rich cultural heritage of Arabic script while embracing modern design elements, resulting in a captivating blend of tradition and innovation. With its unique and enchanting aesthetic, "Te Hafs tharwat Emara" captures the essence of Islamic art and typography, making it an ideal choice for any project related to the Holy Quran. Whether you're designing Quranic verses, Islamic manuscripts, or educational materials, this font will elevate your work to new heights and leave a lasting impression on your audience. The essence of "Te Hafs tharwat Emara" lies in its harmonious balance of form and function. Every letter has been meticulously crafted to ensure legibility and clarity, even at smaller sizes. The thoughtful spacing and meticulous attention to detail make this font a delight to read, enhancing the overall reading experience of the Holy Quran. One of the standout features of "Te Hafs tharwat Emara" is its ornate and intricate calligraphic strokes. Each character is a masterpiece in itself, reflecting the skill and expertise of traditional Arabic calligraphers. The fluidity of the strokes and the subtle curves create a sense of rhythm and grace, evoking a sense of reverence and spirituality. The versatility of "Te Hafs tharwat Emara" allows it to adapt effortlessly to various design contexts. Whether you're working on printed materials, digital platforms, or even signage, this font will maintain its beauty and legibility, ensuring your message is conveyed with utmost clarity and impact. To further enhance its usability, "Te Hafs tharwat Emara" includes a comprehensive set of Arabic ligatures, diacritical marks, and punctuation, enabling you to accurately represent the intricacies of the Arabic language. These thoughtful additions ensure that your typography remains authentic and faithful to the traditions of Arabic script. When it comes to font selection, readability is of utmost importance. "Te Hafs tharwat Emara" has been meticulously optimized for digital and print environments, ensuring exceptional legibility in both mediums. Each character has been carefully tested and refined to guarantee optimal reading comfort, making this font an excellent choice for long passages of text. Moreover, "Te Hafs tharwat Emara" supports a wide range of OpenType features, granting you creative control over your typography. From alternate character forms to contextual alternates, swashes, and ligatures, this font offers a plethora of options to customize and elevate your design. With such flexibility at your fingertips, your creativity knows no bounds. Beyond its technical prowess, "Te Hafs tharwat Emara" is a font with a story. It symbolizes a rich cultural heritage, embodying the devotion and reverence associated with the Holy Quran. Its elegant curves and intricate details evoke a sense of spirituality, making it a perfect choice for projects aimed at preserving and celebrating Islamic traditions. In conclusion, "Te Hafs tharwat Emara" is more than just a font; it is a celebration of Arabic calligraphy, Islamic art, and the beauty of the Holy Quran. With its exquisite design, unparalleled legibility, and versatile application, this font is an invaluable asset for any project related to Islamic typography. Embrace the artistry of "Te Hafs tharwat Emara" and elevate your designs to new heights of beauty and elegance.

Introducing "Te Hafs1 tharwat Emara1" - An Exquisite Arabic Font for the Holy Quran Unveil the beauty and elegance of Arabic calligraphy with "Te Hafs1 tharwat Emara1," a meticulously crafted font designed specifically for typing the Holy Quran. This magnificent typeface pays homage to the rich cultural heritage of Arabic script while embracing modern design elements, resulting in a captivating blend of tradition and innovation. With its unique and enchanting aesthetic, "Te Hafs1 tharwat Emara1" captures the essence of Islamic art and typography, making it an ideal choice for any project related to the Holy Quran. Whether you're designing Quranic verses, Islamic manuscripts, or educational materials, this font will elevate your work to new heights and leave a lasting impression on your audience. The essence of "Te Hafs1 tharwat Emara1" lies in its harmonious balance of form and function. Every letter has been meticulously crafted to ensure legibility and clarity, even at smaller sizes. The thoughtful spacing and meticulous attention to detail make this font a delight to read, enhancing the overall reading experience of the Holy Quran. One of the standout features of "Te Hafs1 tharwat Emara1" is its ornate and intricate calligraphic strokes. Each character is a masterpiece in itself, reflecting the skill and expertise of traditional Arabic calligraphers. The fluidity of the strokes and the subtle curves create a sense of rhythm and grace, evoking a sense of reverence and spirituality. The versatility of "Te Hafs1 tharwat Emara1" allows it to adapt effortlessly to various design contexts. Whether you're working on printed materials, digital platforms, or even signage, this font will maintain its beauty and legibility, ensuring your message is conveyed with utmost clarity and impact. To further enhance its usability, "Te Hafs1 tharwat Emara1" includes a comprehensive set of Arabic ligatures, diacritical marks, and punctuation, enabling you to accurately represent the intricacies of the Arabic language. These thoughtful additions ensure that your typography remains authentic and faithful to the traditions of Arabic script. When it comes to font selection, readability is of utmost importance. "Te Hafs1 tharwat Emara1" has been meticulously optimized for digital and print environments, ensuring exceptional legibility in both mediums. Each character has been carefully tested and refined to guarantee optimal reading comfort, making this font an excellent choice for long passages of text. Moreover, "Te Hafs1 tharwat Emara1" supports a wide range of OpenType features, granting you creative control over your typography. From alternate character forms to contextual alternates, swashes, and ligatures, this font offers a plethora of options to customize and elevate your design. With such flexibility at your fingertips, your creativity knows no bounds. Beyond its technical prowess, "Te Hafs1 tharwat Emara1" is a font with a story. It symbolizes a rich cultural heritage, embodying the devotion and reverence associated with the Holy Quran. Its elegant curves and intricate details evoke a sense of spirituality, making it a perfect choice for projects aimed at preserving and celebrating Islamic traditions. In conclusion, "Te Hafs1 tharwat Emara1" is more than just a font; it is a celebration of Arabic calligraphy, Islamic art, and the beauty of the Holy Quran. With its exquisite design, unparalleled legibility, and versatile application, this font is an invaluable asset for any project related to Islamic typography. Embrace the artistry of "Te Hafs1 tharwat Emara1" and elevate your designs to new heights of beauty and elegance.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.