In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

Yorklyn Stencil includes three fonts, each optimized for use at different size ranges. Grande has greater contrast and more delicate breaks designed to be used at larger sizes where finer details are more conspicuous. Medium and Petite are intended for smaller sizes where the breaks and contours must be more resilient. We embedded several OpenType layout features, including traditional fractions and nut fractions. We extensively tested Yorklyn Stencil in what might be the broadest range of media and conditions in the annals of Northwestern Delaware typefounding history. From the ceramic kilns of Heath Ceramics to our studio’s stucco facade, Yorklyn Stencil’s robust curves and deceptively delicate breaks will withstand a wide variety of harsh conditions with unprecedented aplomb. Whether you’re hand cutting a stencil to buzz your bespoke restaurant bar stools or simply looking for a practical yet illustrative display font, Yorklyn Stencil’s elegant efficacy will enhance any creative composition. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Is it necessary to tell the Gutenberg story? 1456 Gutenberg Pro is the second Gutenberg typeface produced by GLC foundry (look at our 1456 Gutenberg). This font was created from the so called "B42" character set used for the two Gutenberg Latin Bibles (42 and 36 lines), but with a better and finer design than in our first version, more faithful to the finest original printed books appearance. We offer also now a larger choice of the original ligatures and Latin abbreviations, as complete as possible to be usable with OTF specifications. The complete basic alphabet (with "long s" naturally)is strictly looking like the real one (including the curious twisted "X"). We have only recreated the capitals W and J, who was not existing in the time. The numerals, no more existing in the original type set, were inspired from those in use a few years later by early following printers, but matching with the Gutenberg font's pattern. The font includes West (including Celtic), East, Central European, Baltic and Turkish glyphs.

Step into a world of magic and enchantment with Hedgerow, the phenomenal calligraphic typeface. Inspired by the liner notes of Led Zeppelin IV, Hedgerow captures the mysticism and wonder of a bygone era. With its Art Nouveau tone and intricate interlocking letters, Hedgerow adds a touch of elegance and sophistication to any design. But it’s not just beautiful; in OpenType savvy applications, Hedgerow’s capricious character pairs will surprise and delight you, taking your words to the next level. Hedgerow is more than just a typeface; it’s a journey through time. Let it add a touch of magic to your designs and captivate your audience with its bewitching voice. 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.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Fatface takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Fatface is a combination of its traditional upper- and lowercase forms, in an extra-bold style. Its inventive, hybrid forms are a bolder take on those of its 2010 sibling typeface, Ambicase Modern. Ambicase Fatface stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Fatface offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Fatface can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Fatface is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Modern takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Modern is a combination of its traditional upper- and lowercase forms, in a modern (didone) style. The inventive, hybrid forms that result are intriguing and handsome. Ambicase Modern stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Modern offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Modern can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Modern is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended. For an extra bold variant, see its sibling typeface, Ambicase Fatface.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Full Sans is a geometric sans in the tradition of Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Full Sans is the younger brother of original Full Neue, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Sans LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Sans LC comes 5 weights and italics also Full Sans SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Sans is the perfect font for web use. You can enjoy using it. UPDATE: 08 March 2019 - Fixed extension of glyhps "y" and "g". - "LineGap" error has been fixed. - Fixed bug in "onum", "pnum", "tnum" and "tnum" software in OpenType feature.

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

Introducing the incredible, multicolored Colarino family. They are a unique family with perfect color transitions. Modern color combination was used. Letters do not just have a banal linear gradient, here the colors are randomly mixed in a different order, which resembles a watercolor paint or a complex vector mesh. Some variants resemble a sunset, others a sea wave and a cote d'azur. Color in the letters is complemented by transparency, which allows them to perfectly fit into both light and dark backgrounds - the letters take on the background color and do not look superfluous. Unique multi-colored design. Perfect for trending covers and headlines. Looks great in advertising and attracts attention. Very original and versatile family. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Colarino Color" on: ld.luxfont@gmail.com Features: · Free Demo font to check it works. · Uppercase and lowercase the same size but different colors. · Transparency in letters. · Mega high-quality coloring of letters. · Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the other classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

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.