Flexo Soft is the soft companion of Flexo. In Flexo Soft, the sharp edges of Flexo's characters have been tempered by a moderate rounding—creating a softer and friendlier typeface. Flexo Soft has a squarish design, making it stand out in many uses. It will shine in both headlines and text. It is well suited for graphic design and corporate identity design. Flexo Soft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features—so it’s ready for advanced typographic projects. For more information about Flexo Soft, download the PDF Specimen Manual.

Designed for Linotype Library GMBH and the International Typeface Corporation in 1997 by Phil Grimshaw. Based on bold script Banco designed by French graphic and poster designer Roger Excoffon and released in 1952 by the Fonderie Olive. Originally Banco was an all-caps bold typeface, and the lower case and the corresponding light weight were created for ITC. The tapering slightly slanted strokes of Banco made by sharp-edged flat brush. The face has the effect of being quickly sketched by a powerful hand. For use in advertising and display typography. Cyrillic version developed for ParaType in 2000 by Tagir Safayev.

Graublau Slab is the latest addition to the popular Graublau type family designed by the Berlin-based type designer Georg Seifert. Since its release in 2008, the Graublau Sans Pro typeface has been a popular choice for corporate designs, books, magazines, websites and much more. With Graublau Slab Pro, the type family becomes even more versatile. With its contemporary and expressive design, it’s perfect for editorial design, web headlines or any other text use, that should really draw the reader’s attention. And since Graublau Slab Pro comes in the exact same 7 weights as Graublau Sans Pro, both typefaces work together perfectly.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

dT Ampla shares many characteristics of the versatile sans typefaces of today: nice range of five weights with matching italics, 40+ supported languages, contemporary upper-to-lowercase proportions and impeccable performance in big and text sizes. However, all these features are designed with distinct shapes and details. Notice the angled terminals – the cut at the end of the strokes – or how the vertical strokes in the italics seem to 'bend' a little, for instance. The sum of these and many more design decisions result in a typeface capable of delivering a strong presence to sites, interfaces, apps, magazines and corporate graphic language.

The German designer Alexander Dosiehn developed the Liga Sans type family as part of his graduate thesis at the Fachhochschule Düsseldorf in 2001. Liga Sans is a sans serif typeface that acts as a bridge between classical modern styles. Traces of pen forms and brush strokes can be seen mixed together with the most legible elements from grotesk-style faces in the alphabet’s letterforms. These features work together to create a style that works very in many sizes, including smaller ones! Liga Sans is an original, lively addition to the porfolio from Linotype suitable for text, magazines, and corporate identity work.

A neo-brutalist variable typeface conceived with flexible proportions and a singular heavy weight, including the oblique. Useful for any quirky display uses. Designed with extra-wide contrasting shapes, as a result of an extreme simplification of traditional typographic letterforms, “Moai” has a variable width that adapts to your needs, pushing for maximum readability. It's perfect for logos, headlines, posters, art projects, social media, visual identity, corporate image, film posters, music cover art, and books. Specifications: - Files included: Moai Variable including obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features Thanks for viewing, Unio.

Spock has a neutral and clean structure but as we explore its OpenType features we will begin to discover a rich variety of alternates—even glyphs with pointed ears. All these combined elements provide a wide range of choices to meet different design needs. Each of the 4 sub-families consists of 6 weights and matching italics, making Spock a super family of 48 styles. The Pro family set contains 609 characters and it includes a generous number of alternates. The three other Essential sets are composed of alternative glyphs. Spock is specially suited for advertising as well as editorial and corporate design.

Contemporary Sans is a unique grotesque with a distinct contrast between its horizontal and vertical strokes that gives it a lively and elegant appearance. Friendly, subtly formed strokes and individual letter forms make it both legible and pleasant to read at small sizes, and striking at display sizes. Its narrow proportions make it a very easily useable typeface, particularly for narrow columns or tight headlines. It is suited to a wide range of applications, from corporate to editorial design, where a clear and distinctive impression is required. Visit this minisite to see the Contemporary Sans webfonts in action.

Deposit Pro is a wide slab-serif family with low x-height. In both headlines and paragraph text it creates a serious yet friendly texture between a typewriter and a contemporary slab-serif, making it particularly suitable for corporate communication design. Deposit Pro consists of 16 styles (8 weights and their corresponding italics) and features broad language support including all European Latin and Cyrillic languages. It also sports plenty of OpenType features including 6 sets of digits, fractions, small caps, ordinals, all-cap punctuation, and contextual forms for ‘f’, eliminating the need for too many ligatures.

Alethia Pro is a grotesque sans-serif typeface with high contrast in all weights. It has been designed to serve as a display typeface in various editorial projects, such as magazines or corporate brochures, as a sans-serif pair to serif types of modern style. Alethia Pro comes in 8 weights + matching italics, each supporting numerous Latin-based languages as well as major Cyrillic languages. It is packed with OpenType features like ligatures, small caps, 6 sets of digits, 3 stylistic sets, superiors and inferiors, fractions, ordinals, respective punctuation varieties including all-cap punctuation, as well as language-specific alternates.

DejaRip is a contemporary, neutral, all-purpose sans-serif. It is modest and inconspicuous thanks to its basic, natural shapes; yet it lends a remarkable sense of clarity and accuracy to the overall design. DejaRip was originally designed for a mobile phone interface. Although it was eventually developed into a much more versatile family, DejaRip remains particularly readable on screen. The DejaRip family is an ideal solution for corporate design. DejaRip’s extended character set includes Unicode Latin Extended A and B, as well as full support of Cyrillic. Small caps for all languages are also included.

Alan Meeks designed Chesterfield in 1977. Chesterfield is a retro typeface, harkening back to decorative design from the turn of the century. There are many subtle art nouveau traits and curves in Chesterfield, and a hint to Frederic Goudy's work as well. Chesterfield is a display typeface, and should not be used in sizes below 12 point. This typeface would be a great fit for newsletter headlines, or signs for country stores. There are two styles of Chesterfield available: Chesterfield, and Chesterfield Antique. Chesterfield Antique is a more antiquated version of the typeface, and its letters appear slightly corroded.

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs that each include true small caps, Cyrillics and a rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek and has special Stencil faces especially for low-budget navigations (don't forget to get your own Stencil Medium for free!).

Centim is contemporary sans with sharp top endings of stems that give a bit technical charm to typeface. With a squarish look, it can be used widely in all modern publications or become a part of an corporate identity. In smaller sizes, Centim offers good readability due to its simple and good balanced lines. Centim is available in Regular and Bold weights, as an ideal high-contrasted combination where all characteristics of the typeface are purely effective. Centim is the archaic Serbian word for Centimeter, a word that was mostly used in tailoring during XIX and XX century.

Montix is a narrow, constructed type family that developed by the German designer Diana Fischer in 2003. With five weights (light, light italic, regular, regular italic, and bold), Montix is a particularly effective small family, especially when used for headline or display purposes. Montix's letterforms have relatively long ascenders and descenders, which compared with its horizontally compact body gives it its unique style. Words or lines of text set in Montix would look best when some amount of white space is left around them. Because of this, the faces are well suited for logos and corporate identity uses.

Umberland Slab is an attractive family available in 3 different weights with italics. There’s a particular emphasis on simple geometric shapes and the way they interact with tall vertical strokes. Smooth curves and sharp angles blend together in a pleasing symmetry. Stroke widths are given variable degrees of contrast but serifs are consistent and heavy handed. Spacing is on the tight side with some lowercase pairs quite snug against each other. Umberland Slab would work well in small blocks of text, corporate logos, menus, or signage. This family is equipped with European accents/diacritics for international support, fractions, alternates, and ligatures.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

Riga is a space-saving and legible typeface designed to work equally well on paper and on the computer screen. Its personality is clear and practical, yet warm and polite. Riga is suitable for a wide range of typography such as editorial, websites, packaging and corporate design. Economical proportions, high x-height and open letter forms guarantee good performance in narrow columns and tight headlines. Riga is exceptionally readable at small point sizes and elegant at larger ones. Riga comes in 18 styles and weights and contains a large number of OpenType features. For small sizes on screen Riga Screen is also available.

Outspace Fighter is an electrifying game-themed display font designed in uppercase, capturing the essence of futuristic space battles. This font is made in boxy shapes with sharp corners, evoking a sense of strength and precision. Each uppercase letter is meticulously crafted to exude a futuristic aesthetic, mirroring the angular and geometric forms found in the vast expanse of outer space. This design choice gives the font a sleek and modern appeal, perfect for conveying the intensity of space battles. With low-contrast letters, this font places emphasis on the overall form and structure of the font. The subtle differences in stroke width create a balanced and unified visual experience. This design choice ensures legibility while maintaining a cohesive and visually appealing composition, allowing your audience to effortlessly engage with your game-themed designs. You can also enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Outspace Fighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

Austera Text is a clean and structural humanist font face whose purpose is to be clear while don't interferes with the message concept. Austera Text is a contemporary serif with moderate contrast, sharp shapes, fairly large x-height and moderate aperture with the aim to make it very legible in continuous text. The italic version has a unique appearance with its pronounced angle mixed whit its elongate beginning and ending strokes. Although Austera Text was created to be used in continuous text, it also could be applied to many other uses obtaining nice results, from editorial and corporate design to advertising, packaging and digital design. Austera Text has OpenType features such Old Style figures, standard and discretionary ligatures, ordinals and fractions. Composed of more than 500 glyphs, Austera Text supports Western European, Central/Eastern European, Baltic, Turkish and Romanian Languages.

Stonetype is a typeface that was used by stonemasons in the 70s & 80s of the last century. When I was starting as a stonemason, these were the first characters I had to draw, by hand, back then on grave monuments and memorial plaques. The idea was born to digitize all the material, to be saved for eternity. By digitizing all and fine tuning, plus the addition of some main characters, Stonetype has now grown into a user-friendly typeface that can, now still, be used by stonemasons, to improve their creation process times. But Stonetype can also easily be used in modern and contemporary designs. Stonetype is the perfect fit for graphic design, editorial design, magazines, posters, logotypes, brands and corporate design. Stonetype is designed by Coert De Decker in 2019 and published by Kustomtype Font Foundry.

Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera, but unlike some of our previous fonts (i.e., Leitura) Acto doesn't exactly match Acta in terms of structure, so they can live on their own. Acto is our first sans where the uppercase has the same height as the ascenders, so we decided to avoid common problems like the confusion between the I and the l, by drawing a curved l. We kept that spirit by removing the spurs on the b, g and q, resulting on a more warm typeface than Prelo, for instance. In the end it's a very powerful sans family, with eleven weights with matching italics, for editorial and corporate design.

Shandy is a cheerful, free-spirited font that dances jauntily along an undulating baseline. Like Gene Kelly merrily cavorting through that rain-soaked street, in the famous dance scene from Singin’ in the Rain. Curiously, it’s got the liveliness of a bouncy brush script, with some elements of a robust Copperplate-style script, that appear to have been defined by a funhouse carnival mirror. In order to promote variety, no two letters are identical within most occurrences of typical lowercase double-letter pairings (bb, dd, ee, ll, nn, oo, tt, etc.) To enhance your typography, Shandy features many automatic OpenType ligatures, beginning and terminal lowercase forms and Stylistic Alternates for letters E, M and N which are accessible in OpenType-capable applications. Suitable for Branding, Logos, Product Packaging, T-shirts, Magazine headlines, Fashion Glossies, and Food Advertising to name a few arenas.

A font face with cyber, spatial, and virtual connotations that offers a decisive futuristic and techno spirit. Inspired by geometric forms from visual tendencies in the early 2000s, it was used once in corporate identity. Originally created in 1998, it remained unpublished by its author until today. It is now offered with many improvements. With one alternate for H and more diacritics and ligatures and extended range glyphs, Conectiva can be used in titles and display text that require a futuristic and dynamic style. Conectiva 2.0 has been arranged and improved with more glyphs and new OpenType features (Fractions, discretional and standard ligatures, slashed zero and more new stylish alternates). This upgrade includes 4 new weight variables (Light, book, bold and extrabold). Recommended for games, presentations, or any graphic pieces that reveal and need futuristic, techno, and/or Sci-fi style.

Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit. The film type version had plenty of irregularities and quirks that made it seem like it was done in a hurry. In this digital version the errors have been corrected and the character set expanded to include international characters with built-in alternates, to be on par with what today's layout artists expect from a high quality font. This font saw a lot of use on record sleeves and music posters throughout the pre-disco part of the 1970s, which makes it a veteran of both the psychedelic and funk periods. This makes it the sharper, sturdier art nouveau contemporary personality of Canada Type's Tomato font. This font contains a very expanded character set that includes full support for Central, Eastern and Western European languages, as well as Baltic, Turkish, Esperanto, Greek, Cyrillic and Vietnamese.

Introducing a new retro font, Mofista font, Mofista is a modern serif typeface that honors expressive old style serif typography, the Mofista font comes with alternatives that will make your presentation or logo stand out even more! This font will make your project look retro, chic and neat. Its soft, juicy serif gives the typeface just the right amount of warmth and nostalgia. While hinting at classics like Cooper, the reinterpretation features some unconventional letterforms that make for a very dynamic italic romance. suitable for many projects: invitations, postcards, posters, books, advertisements, websites, blog headers, logos, brands, magazines, fashion, photography, etc. This font is a must-have in your collection and is perfect for your next design project. Mofista Features: Mofista(Regular,Italic) Uppercase And Lowercase Numerals & Punctuation alternatif characters Multilingual Support. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day :)

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design, Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This serif font family, with a resolutely modern aspect, also hides a unique typographic design since it has 2 distinct styles (Roman and Display) which have 2 different optical sizes in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

The font is actually not a revival of ‘Avant Garde’—by Herb Lubalin—but it takes its spirit. Fibra is a geometric sans serif, yet without the typical structural strictness of these kind of fonts, that represents experimental type design. This can be seen in the contrast between curves and straight lines in some characters such as ’n’ and ‘h’ unlike rounded ones such as ‘a’ and ‘d’; details of some display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra a strong personality—a sans serif typeface that ‘gives you the chills’. Fibra was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

Gothic Gothic is a fusion of old and new that is both Gothic and Gothic. In typography Gothic can refer to German Blackletter or Old English styles. Gothic can also mean block or sans serif style lettering. By combining and balancing the elements from both of these ideas we have created a contemporary extended block letter typeface. The Gothic Gothic family contains 2 companion fonts. Gothic Gothic Text is a more minimal variation that has a more roman looking style while still retaining some Blackletter feel. Gothic Gothic Black is a bolder version designed to tend more toward the Blackletter style of Gothic with more contrast of stroke and a few of the more unusual Blackletter forms thrown in for flavor. Gothic Gothic has been honored with an award of Excellence in Type Design from Association Typographique International (ATypI) in 2001. Typeco has updated this font and has released it as an expanded family. Gothic Gothic is a crepuscular family of 3 fonts

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. "Destra" is the Portuguese word for "right hand". The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

In a career spanning the early 1900s through 1940, George M. Cohan wrote and produced over 50 plays, 300 songs and was also an actor, singer and dancer. Many of his works honored his Irish roots, and the cover of one piece of sheet music called “The Irish American” (1905) had its title hand lettered in a condensed Art Nouveau type design with tiny spurred serifs. This is now available digitally as Dress Rehearsal JNL, in both regular and oblique versions.

Agatized Informal is a rough-edged stencil typeface with chunky letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. The design is something of an enigma, a curious mish-mash of genres – imagine splicing Uncle Buck and Deadpool into a horror movie – it’s big, bold and funny although has a dark side. But what really makes this typeface a joy to drive is its boot full of alternative characters and ligatures. There is a saying: Use sparingly. Not on this street! Make your Glyphs palette burn rubber. Set your OpenType to full throttle: crank up your style and get those liga-tyres screeching. Agatized is a souped-up old campervan spinning doughnuts on the beach. The design started life as a piece of lettering for a book design that didn’t progress past the sketch stage. I liked the rough, dense character shapes, so during some down time I started drawing more characters and the lure of a new typeface pulled me in from there. Although this is a single-weight typeface it has a younger sibling, Agatized Formal, a neater, more dapper brother, smoother round the chops and smartly dressed – certainly no less fun though.

Check out Mr Gabe in motion! Mr Gabe is a typeface designed to dance. Not that it’s a flamboyant display face, but that it has a liveliness, especially in its heavier weights, that dances across the page. And the letters include a selection of exuberant flourishes that can be used to kick up a ruckus or make a sweeping gesture. Mr Gabe is a high-contrast serif typeface with vertical stress, a “modern” face in traditional type terms. Even in the regular weight, the contrast between thick and thin strokes is very obvious. Designer Andrea Leksen has given many of the lowercase letters ball terminals, teardrop shapes that make Mr Gabe seem decorated even when most of its letter forms are conservative. If you need more bells and whistles, or perhaps revolving mirror balls and dancing shoes, you can explore the font’s collection of ornaments and decorative borders. Mr Gabe comes in four weights, from Regular to Black, with italics for each. Each font includes over 57 ligatures, 31 illustrations and borders, small caps and proportional oldstyle 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 "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