ITC Christoph's Quill is just about everything you could want in a typeface: it's distinctive, beautiful, and exceptionally versatile. According to designer Russell Bean, ITC Christoph's Quill is the culmination of experimentation with a graphics tablet that spanned several years. Then one day, as if by magic, it all just fell into place. The design seemed to flow from my pen." Bean was born in Australia and, except for a brief stint with a photo-lettering firm in Southern California, has spent most of his career working down under. "I can recall a deep fascination for the written word," he says. "Even before learning to spell, read or write, I think I recognized that this was a means of visual communication." Bean's first job was in a small ad agency as a trainee in the production department, where he learned art techniques and how to handle print, as well as "the value of visual impressions," he says. His career path meandered from one design job to another, but always in the general direction of fonts and typefaces. Today, his workload consists of logo design commissions, font editing, typography and print production consultation to a select group of loyal clients - still leaving time, notes Bean, "to pursue my type design ambitions." ITC Christoph's Quill began life as a simple, visually striking font of caps, lowercase, punctuation and numerals. To this Bean added a bold weight, for when a little more strength is desirable. Next came a flock of alternate characters. Finally, Bean drew a set of decorative caps, a suite of logos, and a sprinkling of beginning and ending swashes. The net result is a type family that can add a signature flourish to a vast range of projects: from invitations and menus to logos, signage, packaging and more."

A chunky dressing may not sound very delicate, but I remember my grandmother used make a very chunky dressing for the mashed potatoes. I really loved it - actually I wish I had the recipe so that I could reproduce that particular consistency. But instead I made this font in memory of that lovely chunky dressing! :) Chunky Dressing has got a little Garamond in it, Baskerville as well - and even a touch of Times... Each lowercase letter has 5 different versions and they magically cycles as you type, leaving your text very lively with a natural twist of energetic and organic look

We cannot imagine anyone not liking beer. Especially on a warm summer night there is simply little that can top an ice cold brewski. And with the current wave of home-brewed ales and lagers, Vette Letters decided to not stay behind and brew its own brand. Just so we can design our own beer bottle label using our own font. VLNL Thueringer comes from the drawing board of Jacques Le Bailly (a.k.a. Baron von Fonthausen), the German-French specialist in the fields of both beer and type design. One day Jacques got inspired by Albrecht Dürers 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. Although the historic context is clearly visible, Thueringer definitely stands its own ground. It's a modern techno-style blackletter with a (beer)truckload of interesting design details. Thueringer contains a number of ligatures and an alternate set of numbers. Apart from the regular uses like logos, posters, flyers and headlines we definitely would like to see our Thueringer used on beer bottle labels and crates, but also cafés and hipster bars would do well with this modern-day blackletter. Hell, even wine or liquor labels, football team jerseys, Oktoberfest flyers, it's just too much to mention. As long as it is accompanied by a cold beer.

Alfarn is based on capital letters that Bauhaus student Alfred Arndt (1898?1976) drew for a poster in 1923, designed to advertise a bakery in Jena, Thuringia. The poster is an example for what we call today ?Bauhaus features?: yellow circle, red square, black bars and an indication of geometric lettering that became so popular in the following years. C�line Hurka carefully analysed Arndt?s lettering and derived two weights in different widths: wide and condensed. She took on the characteristic bars and transformed them into an underlined weight of its own. Hurka also drew perfectly balanced small caps, which make up for a missing lower case. Alfarn captures the spirit of 1920s Bauhaus-influenced posters ? a timeless style quite suitable for contemporary designs.

Funkboy looks like something that was made 20 years ago. You know, when Grandmaster Flash was scratching to the beat and graffiti was totally underground. Funkboy was made to look 100% oldschool, and now you can make your own bad-boy oldschool graffiti, using your computer! Comes with two hard knock alternate letters: the peace 'o' + the heart dotted 'i' You will need to use OpenType supporting applications to use the autoligatures.

The typeface Brush Poster Grotesk is designed in 2017 for the children exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk, Mascha Wansart (illustrations)). Manuel Viergutz extended the font with some further glyphs & extras. The rough sans serif display typeface is created analogous by hand and brush. 875 glyphs incl. 150+ decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for or SMILE for as OpenType-Feature dlig) and stylistic alternates (3+ stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Name: Brush Poster Grotesk Font Weights: Regu­lar + Misprint + EXTRAS (Illustration) + DEMO (with reduced glyph-set) Font Cate­gory: Dis­play for head­line size Glyph Set: 875 glyphs Lan­guage Sup­port: 28+ for extended Latin. Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Spe­cials: 150+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­me­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺ as OpenType-Feature dlig ) and stylistic alternates (3+ stylistic sets), German Capital Eszett Design Date: 2017 Type Desi­gner: Annette Wüsthoff, Manuel Vier­gutz, Alexander Branczyk, Mascha Wansart (Illustration)

Nyctophobia - a pathological fear of the dark. Hopefully no fear for this font, as it will add that bit of horror to your projects. Comes with kerning and the most used accents.

Get some beach holiday vibe so needed during a crazy year in the city! BEACHCLUB fonts are inspired by tropical islands hand-painted signs. Bring the summer beach parties feeling with sunshine, music and strong cocktails. We crafted digital versions of woodcrafted letters as if it was made for a beach bar in Hawaii. Then the time, sea and sand did the rest. Use our fonts to bring this fun and relaxed energy to your graphics! Key Features: BEACHCLUB fonts will be a great help and perfect fit for various posters, banners, typography and illustrations. Fonts can be used for both personal and commercial projects. Credits: BEACHCLUB clean and BEACHCLUB grunge are designed by Royalclub. For purchasing the full kit (brushes/frames) proceed to www.royalclub.sh/royalclub-supplies

Two years ago I went on a camping holiday in England with my wife and (then two) small children. The first stop was a nature campsite near the village of Bodiam in East Sussex. My son wanted to see a real castle, so I figured Bodiam Castle was the 'realest' of them all! He loved it, as the castle had a moat, crenellated walls, a bunch of towers and a guy dressed up as a knight. Bodiam font is a rough didone-ish affair. It is all caps, but you can freely mix upper and lower case. It would be ideal for book covers, posters and maybe even for castles. Comes with a treasure chest of diacritics.

Wisdom Teeth is the fifth typeface released by DM Founts. It's a modern and personal take on the original Baby Teeth font by Milton Glaser, and inspired by the lettering used for the Pac-Man series of games (and its clones). This typeface was around 25 years in the making, and was made in response to the large number of hideously bad clones of Baby Teeth circulating around the Internet. Version 1.0 Included in Version 1.0 are a number of accent characters, and alternate characters for A and Y, along with the usual ASCII characters. For the time being this is an all caps typeface. Please let me know your thoughts and suggestions, and I may add some more characters in the near future.

GAME OVER, MAN, GAME OVER! Time to grab your joystick, turn to channel 3 and level up, Player One, or you'll never beat the high score on your new game cartridge. Or bring a stack of quarters and a couple of friends to the mall, and we'll play some Rick Astley and Kajagoogoo over the PA while you scope out hotties near the food court. Either way, eight bit lettering has never looked more eighties than it does in our new PIXELARCADE font!

I don’t live in the mountains, so when we go on holiday and visit the mountains, we always like to hear the echo! A bit childish, I know, but that’s how it is. Background Echo is a very nice, handmade, all caps font. It’s not exactly a laser-cut design; glyphs are a bit uneven, wobbly in places and have their own idea of what they should look like. That, my dear potential customers, is the charm of a hand made font! Background Echo comes with a vast array of diacritics, regular and bold styles and a selection of interesting swashes for the upper case glyphs

The Navigator family is inspired by the early explorers, the early sailors with their old-style tattoos and the cowboys in the old west. I mashed up these to styles to create the Navigator display family. It has a vintage feel with a more modern day approach. Use the regular styles to give your artwork a more clean look and feel or the rough styles to take on the more vintage old-style. This family is great for display use on posters, packaging, editorial and logos. It is created with the designer in mind to have some fun and mix up some great looking Upper / Lower case combinations. The Navigator hand font is an informal, rounded sans-serif that works perfectly with the Navigator display fonts to create beautiful logo and type lockups.

In the year 1528 Pierre Attaignant led a revolution in music printing. His method of once-press moveable type, greatly simplifying the original 3 impression process developed by Petrucci, remained in use till near the end of the 17th century. The method could only realize one line of music per staff, and the introduction of barlines as a common means of aligning multiple staves brought this method to a close after nearly two centuries of use. This font is meant to allow the printing of music using that method with the notation of that era. It is largely based on an exemplar printed by Snodham of London.

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

The pattern for this typeface was suggested by a poster for beer, designed by German artist Ludwig Hohlwein around 1920. The plump curvy serifs suggested a great complement to beer, hot dogs, and thus the name translates roughly to “weiner wagon.” Prosit! Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Sardines is a project by Jacques Le Bailly aka Baron von Fonthausen. It first saw the light as a student project for a monospaced font and eventually grew into Vette Letters’ largest font family. We saw its potential and expect it to be a million seller, just like our other typefaces. VLNL Sardines comes in 42 different variations, like rough and clean cuts, regular and condensed widths (condensed is the exactly half of the regular width). Sardines is an eclectic mash of classic curves and mathematical measurements, leaving a very distinct typographic flavor. While most of our type is market-fresh, this one comes out of the can, but it’s delicious nonetheless. And it’s great for adventurous BBQ-ing!

Captain Tall Ship is the clean version of Captain Tall Shipwreck. The font can be used in many project themes, from birthday party invitations to beer labels. The font could be potentially used is a number of design themes including bars, pubs, pirate, navy, seafarer, alcohol products, western/cowboy, card game/gambling, biker gang, tattoos, emblems and crests, old military & hunting to name a few.

A cute and funny kid-friendly typeface inspired from bears and handmade with passion and joy. Will you believe if we say, HollaBear is made by bear cubs. The typeface is essentially simple but very uniquely expressive when it comes to the design of posters, flyers, cartoons graphics, logotype, web and display usage. Please see the examples shown above to get an idea about the capability of this typeface. HollaBear comes with Extended Latin character sets including Western European, Central European and South Eastern European character sets. The typeface comes in 6 variants (Regular, Italic, Outline, Outline Italic, 3D and 3D Italic).

Henri Abraham Chatelain was a cartographer and publisher of the famous Atlas Historique, ou Nouvelle Introduction a L'Histoire, a world atlas released between 1705 and 1732 in Amsterdam. A few years ago, at an antique book shop in London, I bought a page from Chatelain's atlas—a page covering the Near East, India, the Indian Ocean—that had a particularly alluring, oblique handlettering style. The text is in French, which gave me plenty of samples of diacritics and accented characters. The overall effect is neat and legible, with a distinctly historical flair.

Sunshine Bridge is a retro modern font family, featuring a retro brush script with an artistic modern bold sans serif. They complement each other perfectly. You can use the Sans as main and Script as additional, or vice versa. This family gives you a modern look with a vintage mood. So, you can use it both as in vintage-look projects - Beer bar or Brewery logo etc, or as Modern magazine headline or any modern print. It includes a lot of OpenType Features in Script with Swashes and Alternates to give you a little more hand-touch look. The family includes: Clean and Pressed versions Well Kerned Multilingual Support OpenType Features Modern / Vintage look

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

It's just downed a Cortado in one gulp, it's shaved the sides of its head and its grown a magnificent beard groomed with the very best beard oils. Turn around and you'll find that it has illustrated today's specials in chalk on the wall sized blackboard behind the espresso machines it's Quigglesmith! Penned by Comicraft's very own Chattanooga Barista, Sarah Hedrick, with a foam art finale by Swell John Roshell, it's sure to dye its hair purple by the weekend. Quigglesmith is as variable in its weights as your soy/almond/oat/hazelnut milk choices at the coffee bar, and is sure to bring customers back for more. Have a Biscotti on us. Quigglesmith contains an alternate version of each upper and lowercase letter which automatically cycle for a natural, hand-drawn appearance. Each weight contains 538 glyphs and supports 220 languages.

At the very least, you'll need this for the Chinese New Year celebration. This was designed in the year of the monkey, and includes all the usual accents for Western European languages. Caps have tassels, lowercase have no tassels.

Amazing Font of THARWAT which is similar to calligraphy of THULUTH of a real calligrapher. I added many glyphs to get this feature and it becomes easier to a graphic designer to write with Arabic THULUTH font without real calligrapher. Golden2 is beautiful in Headlines of Arabic books and photos. Thuluth font (THARWAT EMARA THULUTH GOLDEN 2) distinguished by its beautiful artistic structures and ready-made sentences to help you design the designer designs and paintings easily. It also retains the beauty of its original Arabic calligraphy. This font can be used in titles of books, magazines and Quranic verses. Also for printing on clothes, Najaf and antiques. It is the first font that you can write complete sentences and Ayat of Quran with beautiful artistic structure like those written by the calligrapher. It also simulates the handwriting and no need to calligraphy it when you have this font.

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish CLASSIC

It is known as the Hafs Quraan2 Font for its extensive use in the copying and transmission of books because it helps the writer to write more quickly than any other font since the Islamic times and then Alnaskh Quraan font wrote the "Quran"And the advantages of Alnaskh Quraan font are clarifying the letters and show their beauty and splendor. Naskh Font for writing the Holy Qur’an by Raweya Hafs, for the first time, the possibility of coloring all its letters to learn Tajweed - The possibility of coloring letters, various forms of one letter

TE Mona Tharwat Emara," a masterpiece of Arabic calligraphy crafted by the renowned Egyptian calligrapher, Tharwat Emara. This exquisite Ruqaa font seamlessly blends tradition with innovation, offering a timeless elegance that captures the essence of Arabic script. Tharwat Emara, a distinguished figure in the world of calligraphy, has lent his artistic prowess to create a font that is not merely a collection of characters but an embodiment of cultural richness. Each stroke of the pen reflects the heritage of Egyptian calligraphy, echoing the historical echoes of an ancient civilization. "TE Mona Tharwat Emara" stands as a testament to Emara's dedication to perfection. The font's graceful curves and meticulously designed letterforms pay homage to the classical Ruqaa style, while subtle contemporary touches infuse it with a modern flair. It is a harmonious blend of tradition and innovation, making it an ideal choice for projects that demand sophistication and cultural resonance. Designed with precision and passion, this font is not just a typographic tool; it's a work of art that brings the beauty of Arabic calligraphy to the forefront. Each character is a brushstroke of inspiration, contributing to a seamless flow that captures the eye and mesmerizes the reader. Whether you are working on a branding project, publication, or artistic endeavor, "TE Mona Tharwat Emara" adds a touch of timeless class. Embrace the elegance of Arabic script with this font, where every detail reflects the expertise of a master calligrapher. As you embark on your creative journey, let "TE Mona Tharwat Emara" be your muse. Elevate your designs, captivate your audience, and embrace the heritage of Arabic calligraphy with this exceptional font. Embrace the legacy, embrace the art – TE Mona Tharwat Emara awaits, a font that transcends time and tradition

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

Introducing "TE Warsh Tharwat Emara," an exquisite Naskh font designed to elevate your typography to the next level. Our font features intricate calligraphic strokes, elegant curves, and graceful flourishes that bring a touch of sophistication and elegance to your text. Designed with the utmost attention to detail, every character in "TE Warsh Tharwat Emara" is beautifully crafted and easy to read. "TE Warsh Tharwat Emara" is perfect for typesetting the Holy Quran, with its beautifully crafted curves and strokes. The Naskh script is one of the most popular calligraphic styles used in Arabic typography and is known for its clarity, making it perfect for Quranic typesetting. With "TE Warsh Tharwat Emara," you can create stunning, high-quality typography that is perfect for publishing the Quran, as well as other religious texts. In addition to its suitability for Quranic typesetting, "TE Warsh Tharwat Emara" is versatile and can be used in a variety of contexts. Its elegant and sophisticated design makes it perfect for book covers, posters, branding, and web design. "TE Warsh Tharwat Emara" supports a wide range of languages, including Arabic, Persian, Urdu, and many others, making it ideal for multi-lingual projects. "TE Warsh Tharwat Emara" includes a range of special features that take your typography to the next level. The font includes ligatures and alternate characters, which allow you to create more natural and fluid connections between characters. The alternate characters provide a variety of stylistic choices, giving you even more control over the typography. "TE Warsh Tharwat Emara" is compatible with a wide range of platforms and software, including Adobe Creative Suite, Microsoft Office, and many others. This means that you can use "TE Warsh Tharwat Emara" in your favorite design software, without worrying about compatibility issues. "TE Warsh Tharwat Emara" comes with a multi-user perpetual license, which allows you to use it for commercial and personal projects. The perpetual license means that you can use the font indefinitely, without having to worry about renewing your license. We also offer a range of licensing options, including a single-user license, to suit your needs. In conclusion, "TE Warsh Tharwat Emara" is a must-have for designers and typographers who are looking to create stunning, high-quality typography that is perfect for publishing the Holy Quran, as well as other religious texts. With its intricate calligraphic strokes, elegant curves, and graceful flourishes, "TE Warsh Tharwat Emara" will elevate your typography to the next level. It's versatile, easy to use, and comes with a range of special features that make it perfect for all kinds of projects. So, whether you're designing book covers, posters, or websites, don't miss out on "TE Warsh Tharwat Emara." Purchase now and experience the beauty of our Naskh font for yourself.

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

Preview Text Moghel Display More information about this Font Moghel display is a modern serif font with a unique ligature style, a high contrast and light font perfect for feminine logo signs, fashion heads & editorial designs, branding projects, Clothing Branding, packaging, magazine headings, advertising, T-shirts, postcards and much more. Moghel display is also included full set of: Uppercase and lowercase letters Automatic ligatures Multilingual characters Numerals Punctuation What will you get? Moghel display Regular.otf Moghel display Italic.otf If you have any questions, don't hesitate to contact me. Thank you, Masa Type

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

Aylea a modern and relaxed display font. It embodies playfulness and authenticity and is the perfect choice for any children activity, school project, Christmas, New Year, Birthday and many more. Add this playful font to your designs and notice how it makes them come alive!