Introducing TE Rekaah3: Unleash the Beauty of Arabic Calligraphy by Tharwat Emara TE Rekaah3 is not just a font; it is a masterpiece crafted by renowned calligrapher Tharwat Emara, bringing the timeless beauty of Arabic calligraphy to life. With its exquisite design, meticulous attention to detail, and captivating aesthetics, TE Rekaah3 invites you to embark on a journey of creativity and immerse yourself in the artistry of Arabic script. Impeccable Craftsmanship: Tharwat Emara, a master calligrapher, has poured his expertise and passion into every curve and stroke of TE Rekaah3. The result is a font that showcases the flawless craftsmanship and artistic precision that Tharwat Emara is renowned for. Each letterform is meticulously designed, reflecting the elegance and grace of Arabic calligraphy in its purest form. Elegance Redefined: TE Rekaah3 embodies a harmonious balance between tradition and innovation. It embraces the timeless elegance of Arabic script while infusing it with a contemporary flair. The graceful letterforms and balanced proportions of TE Rekaah3 exude sophistication, making it the perfect choice for projects that demand refined aesthetics and a touch of modernity. Captivating Visual Appeal: TE Rekaah3 captivates the eye with its visually striking composition. The seamless flow of each character, carefully curated ligatures, and distinctive swashes create a captivating rhythm that draws the viewer in. Whether used for headlines, logos, or editorial layouts, TE Rekaah3 ensures that your designs make a lasting impression. Unparalleled Legibility: Tharwat Emara's expertise in calligraphy shines through in TE Rekaah3's exceptional legibility. Each letterform is thoughtfully crafted to ensure clarity and readability, even at smaller sizes or in intricate design compositions. Your message will be conveyed with precision and impact, making TE Rekaah3 a reliable choice for a wide range of design applications. Versatile Expressiveness: TE Rekaah3 offers a wealth of creative possibilities. With its comprehensive character set, including alternates, ligatures, and stylistic variations, you have the freedom to express your artistic vision. Whether you seek a contemporary look or a more traditional feel, TE Rekaah3 provides the versatility to bring your creative ideas to life. Seamless Integration: TE Rekaah3 seamlessly integrates into your design workflow, ensuring a smooth and efficient experience. Available in various file formats and compatible with popular design software, it offers convenience and ease of use. Focus on your creative process and let TE Rekaah3 effortlessly elevate your designs. Celebrate the Art of Arabic Calligraphy: TE Rekaah3, born from the creativity of Tharwat Emara, celebrates the rich heritage of Arabic calligraphy. It pays homage to centuries of artistic tradition while embracing the demands of contemporary design. By choosing TE Rekaah3, you honor the legacy of Arabic calligraphy and create designs that resonate with cultural richness and artistic expression. Immerse yourself in the beauty of TE Rekaah3, where the mastery of Tharwat Emara converges with the art of Arabic calligraphy. Unleash your creativity, elevate your designs, and let TE Rekaah3 become the embodiment of your artistic vision.

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

“Nusaibah” is the first name of an early convert woman to Islam, and the first female to fight in defense of the Islamic religion. Her full name is Nusaibah bint Kaíab Al-Maziniyyah and she took part in the Battles of Uhud, Hunain, Yamama and the Treaty of Hudaibiyah with Islam’s prophet Muhammad (pbuh). Nusaibah is best known for her brave and heroic feat during the Battle of Uhud - fought on March 19, 625 - when she entered the battle carrying a sword and a shield to protect the prophet Muhammad (pbuh) from the arrows of the enemy, and she accordingly received several wounds while fighting and these wounds were not healed until the following year. The prophet Muhammad (pbuh) mentioned her distinct courage by saying that in whichever direction he turned in the battlefield, he could see her defending and protecting him. "Nusaibah" is a modern, geometric, and headline Arabic display typeface. The main trait of this typeface is the novel symmetrical design of its letters which renders it as one of the modern stylish typefaces used for headlines and titles. This is can be noticed in its letters such as “Theh”, “Jeem”, “Ain”, “Sheen”, and others. Moreover, “Nusaibah” font has a character set which supports Arabic, Persian, Urdu, and Latin letters and numerals with a limited range of specific Arabic and Latin ligatures. This font comes in two weights (i.e., regular and bold) with nearly 643 distinctive glyphs. Due to its geometric and linear design, “Nusaibah” typeface is appropriate for heading and titling in Arabic, Persian, and Urdu magazines, posters, and surfaces of different equipment. It is also elegantly suitable for signs, books’ covers, advertisement light boards, products’ and services’ names, and titles of flyers, pamphlets, novels, and books of children. “Nusaibah” typeface is one of the Arabic typefaces that has a novel and modern-day design which can be used in versatile graphic, typographic, and artistic works in different languages for diverse cultures.

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

Introducing Narcis, the delightful retro bold script font that's bound to add a touch of nostalgia and flair to any project! This charming typeface boasts a unique blend of boldness and elegance, making it perfect for various design purposes. With its alternate and ligature glyphs, Narcis offers a wonderful range of creative possibilities. These additional characters add extra variety to your text, giving it a truly personalized and artistic feel. Whether you're designing a logo, poster, invitation, or any other project, Narcis' alternates and ligatures will help you achieve a distinct and eye-catching look. But that's not all! Narcis is also impressively versatile when it comes to language support, accommodating up to 87 languages. This means you can confidently express yourself in multiple languages without compromising on the font's aesthetics or legibility. Narcis comes in both regular and italic styles, allowing you to emphasize specific parts of your text or create a dynamic interplay between the two styles. The regular style offers a bold and confident appearance, while the italic style adds a touch of sophistication and movement to your design. Whether you're a seasoned designer or just starting on your creative journey, Narcis is sure to become your go-to font for adding that retro touch with a modern twist. Its warm and friendly demeanor will instantly win you over, making every project a joyful and visually captivating experience. So go ahead and give Narcis a try – you won't be disappointed! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Mochon, the perfect typeface for architects and designers looking for a touch of personality in their projects. Hand-lettered and inspired by the incredible work of Donald Mochon, the former dean of the RPI School of Architecture, this typeface brings a charming, erudite/hilarious feel to your designs. With Mochon, you can add a touch of wild energy to your work, infusing it with the same creative flair that Don Mochon was known for. This typeface is perfect for designers who want to capture the essence of architectural design in their work. Mochon features automatic shuffling of alphabetic variations, giving your designs a bouncy feel that is both unique and visually interesting. In addition, the letter “I” automatically sprouts serifs in initials and possessive use, adding a touch of elegance to your designs. For those who love to explore stylistic alternatives, Mochon also offers an alternate letter “S” that is accessible through apps that enable OpenType. This means that you can fully customize your designs, giving them a personalized touch that truly stands out. Incorporating Mochon into your design projects is a great way to pay homage to the great Don Mochon while infusing your work with his creative energy. So why not give Mochon a try and see how it can take your designs to the next level? 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.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

NOTE : If you want any specific ligature included, just write me a message and I will add it with next update :) Type Master is a sophisticated and delicate serif font that exudes elegance in every aspect. With its extensive collection of over 100 ligatures and alternate glyphs, this font offers endless possibilities for creative expression. Additionally, its support for 87 languages ensures that it is versatile enough to meet the needs of any project. Whether you are designing a logo, creating marketing materials, or crafting an editorial layout, Type Master is the perfect choice for adding a touch of refinement to your work. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, PI, EY, AY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, FAS, FAST, CKS, OOD, FOOD, FOO, THEY, HEY, HYP, TYP, OUT, UST, URS, WAS, THE, WES, EST, WEST, ERS, EAST, EAS, LES, ENT, FOR, OUG, OUGH, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. UPDATES : COMING SOON Mock ups and backgrounds used are not included. Thank you! Enjoy!