Inspired by early grotesque typefaces such as Akzidenz Grotesk and Venus, Werksatz is our contemporary interpretation of this beloved genre. Some things are timeless. These are the things that only get better with use. The aforementioned typefaces certainly belong into this category. Rediscovered by designers from every generation again and again, they are here to stay. However, as tools evolve and technology moves on, even a well-tried design has to adapt to this evolution continuously in order to stand the test of time. Werksatz is such an adaptation, taking the best from the invincible classics and infusing them with the warm blood of today’s tech. With 10 weights from Thin to Black, each with painstakingly fine-tuned obliques, and more than 940 characters per style, this font family is ready for the future. Its Extended Latin support ensures you won’t miss a letter in any of hundreds of languages. Special glyphs like three variations of arrows and additional shapes will make your design work so much easier—for well-structured forms as well as radical editorial layouts. Among a treasure trove of OpenType features, you’ll find essentials such as Capital Spacing, Case-Sensitive Forms, and Ligatures, but also advanced functions like Small Caps, Subscript and Inferior figures and letters, plenty figure sets (Lining Figures, Tabular Figures, Old-Style Figures, circled and squared figures, figures for small caps … you get the idea), Slashed Zero, and more. You’ll discover that Werksatz is less formalistic and rigid than your average neogrotesk typeface. Sure, you can use it for serious business—whether in corporate design, branding, editorial design, publication design, or web design for industries and topics ranging from politics, government, management, or law to technology, entrepreneurship, commerce, or finance. However, Werksatz is much more versatile than that. Its more human appearance also allows for effective use in culture, fashion, art, entertainment, sports, exhibitions, leisure, and luxury. It’s an excellent choice for wayfinding applications, apps, packaging, and all kinds of nonfiction books. Other Grotesks with big names are left behind outdated by their proprietors, but Werksatz is here to stay. The classic industrial warmth of these letterforms will age like fine wine.

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 "Subhanahu Wa Ta'ala" because we have added "Subhanahu Wa Ta'ala" to each and every name. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "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). The calligraphy is rectangular shaped, and the "fatha" is big and covers almost the entire name, in most of the names. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Ta, Kaf & 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.

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 "Kids" because it looks as if a child is writing the names. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "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). Some of the letters in the calligraphy are unusually big, they look as a child is writing them. No decorative letters are used in this calligraphy. 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.

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 "Handwriting" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-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 very easy to read, no letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Saad & Ta". 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

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Eclectotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.

We designed this Glogalex font inspired by today's rapid digital technology, where the art of typography is very much needed to support various digital needs, both for software and for other print media needs. Glogalex is a display font designed with the main focus aimed at the needs of various brands of digital products or other technology products, but not limited to the use of various kinds of printing, both mass media or for the needs of various titles of books, magazines, newspapers, and various other kinds of tabloids, the wealth of Glyph Alternate and Ligature can add to the creation of typography art, you can be creative in using various letters that we have designed by combining ordinary letters with alternative letters and also ligatures, we have combined several ligatures to make it easier for you to use, but if If you have difficulty using Alternate letters and ligatures, we recommend you to manually combine each Alternate and ligature you want to use. We highly recommend the use of this Glogalex font for the needs of displaying company brands, trademarks, logo designs, use in digital media, such as movie titles, online game names, and for various vehicle brands, if you can maximize its use it will be very interesting. for each display that has been designed, pleasing to the eye and easy to read. we are very happy if you are satisfied in using our products, and if there are problems in using our products you can tell us via email zulfikarzul80@yahoo.co.id, we will respond as soon as possible, thank you.

Here in the heart of Santa Monica, in the disused 1940s aircraft hangar we like to call the Comicraft Studios, we know that times are tough. As we were driving to “work” in the back of our chauffeur driven Humvee limo, sipping martinis out of the navels of Playboy bunnies and wondering what font we should release next, we decided it was time to reach out to the poor people. Yes, we felt it was time to create a font for the huddled masses yearning to breathe free, for the wretched refuse of our teeming shores. A font, if you will, for the tempest-tossed. It’s a little skinny and might be described as pinched and starved, but it’s guaranteed to see you through this current economic crisis as only the 26 letters of the alphabet can. It was a tall order, but Jazzy JG Roshell created this one while he was in line at the bank, waiting for his personal bailout. Meticulously crafted using one of those ballpoint pens attached to the cashier’s station by elastic, Credit Crunch is the Hamburger Helper of comic book fonts. It’s kind of a hybrid -- just like the Priuses our trophy wives drive to their personal plastic surgeons -- and it’s solar powered and also comes with a tank full of good old fashioned Biro ink. The Recession, Climate Change AND Global Hunger will probably end mere minutes after you crack open your life’s savings to buy this font. How can you afford NOT to...? See the families related to Credit Crunch: Credit Extension.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

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

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 "Spiral" because of the spiral like design. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce the names both ways, "AR-RAHMAAN" or "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). The "Ye" doesn't have 2 dots at the end of a name, instead we chose to include a small "ye" on the letter "ye". Also, we used the traditional "soukoun" instead of the Quranic "soukoun". Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef & Ye". 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 ---------------------------------------------------------------------------------------------------------------------------

Picture it: a bustling city street in the 1920s, when the world was changing and women were fighting for their place in it. Billboards line the road, but one catches your eye—it’s Skygirls, a typeface that takes you back to a time when advertising was an art form. This typeface is no ordinary script. It’s a tightly wound, joined design that exudes elegance and urgency. Its steep angle draws the eye up, making your message impossible to miss. Skygirls is inspired by classic metal scripts like Herald, Signal, Hauser, Penflow, Veltro, Kurier, and Bison, so it’s no wonder it feels so timeless. With Skygirls, you’re not just writing a message—you’re making a statement. It’s the perfect typeface to convey the frantic, fast-paced style of the roaring twenties. Your words will flow seamlessly together, creating a sense of movement and momentum. And when you set it on an upward slope, it’s like your message is soaring to new heights. If you want to make an impression that lasts, Skygirls is the typeface for you. It’s a perfect fit for any project that requires a touch of vintage charm, and it will leave your audience with a lasting sense of style. So why settle for the ordinary when you can have something truly extraordinary? Choose Skygirls and let your message take flight. 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.

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

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 "Clear" because of how clear and easy to read the design is. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce it as both "AR-RAHMAAN" or "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 "Ye" in this calligraphy doesn't have the two dots, nor does it have a decorative "Ye", just like the Holy Quran. Also, we went for the traditional "soukoun" instead of the Quranic "soukoun" & decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Tah & 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 USED THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR, 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 "Attached" because the "alef" and "lam" are attached together. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation & spelling according to the Holy Quran). You will also notice that the decorative letters in this font are bigger than usual, we also used the traditional "soukoun" instead of the "Quranic soukoun" & we were a little bit more generous than usual with the decorative symbols. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef, Tah & 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 ---------------------------------------------------------------------------------------------------------------------------

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

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

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

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

Introducing Guyon Gazebo, the luxurious display font that will elevate your designs to new heights. Get ready to make a bold statement with its unique style, perfect for captivating headlines, branding that stands out, eye-catching promotional materials, or adding a touch of elegance as a stylish text overlay to any background image. With its high contrast strokes, slender stem, and pointed terminals, Guyon Gazebo exudes sophistication and charm. Let your creativity flow as you explore the extensive collection of standard and discretionary ligatures, ensuring your designs are irresistibly attractive and visually stunning. Embrace the jovial spirit of "Guyonan" as this font's name suggests, originating from the Javanese language. Inspired by the traditional rural gazebo, where locals gather to exchange jokes, Guyon Gazebo infuses a sense of lightheartedness into your designs. Included in the package are Guyon Gazebo Regular and Italic styles, along with a full set of basic Latin characters, ligatures, numerals, and punctuation marks, providing you with all the tools you need to bring your vision to life. Don't miss out on this opportunity to enhance your design projects with Guyon Gazebo. Take your typography to the next level and let your creativity shine. Get Guyon Gazebo today and unlock a world of endless possibilities. Ready to make a statement? Purchase Guyon Gazebo now and let your designs speak volumes! What’s included: Guyon Gazebo Regular & Italic Full set of basic Latin+ Ligatures Numeral & punctuation Multilingual Support: Afrikaans, Albanian, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Typeface Story: The name "Guyon" derives from the Javanese language and is often associated with humor or joking. In rural areas, there is a traditional gazebo called "Cakruk" where locals gather in the afternoon or evening to exchange jokes (known as "guyonan"). This font's name pays homage to the jovial atmosphere found in these communal spaces. Thank you for choosing Guyon Gazebo! If you have any questions or need assistance, feel free to reach out to us. ------------------------------ Alifinart Studio alifinart@gmail.com www.alifinart.com Instagram | Behance

MarshmallowPopHeart is a cute font that imagined a sweet marshmallow. Since hearts are mingled in various places such as voiced points and parts of kanji(chinese characters), it may be fun to look for it. Because the heart is missing, it is recommended for when you want to designing cute. I think whether it's good for contents for young ladies. Because it is a thick font, it may be good to use it for headlines and where you want to make it stand out. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think it's better to become a font that makes people who use or watch them fluffy and feel happy like when eating a pastel colorful sweet marshmallow. ＜「ましゅまろポップ　ハート」紹介文＞ ぷにぷにの丸っこい甘いマシュマロをイメージしたかわいいフォントです。 濁点や漢字の一部など、色んな場所にハートが紛れ込んでいるので、探してみるのも楽しいかもしれません。 ハートが紛れ込んでいるので、かわいくデザインしたい場合などにオススメです。 若い女性向けコンテンツにもいいかと思います。 太めのフォントなので、見出しや目立たせたい所に使うのも良いかも知れません。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字を収録、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）してますので、使い勝手も良いかと思います。 パステルカラーのカラフルな甘いマシュマロを食べる時みたいに、使ったり見てくださる方がふわふわ幸せな気持ちになれるフォントになればいいなぁ…と思います。 ＜スタイルカテゴリー＞ ファンシー、装飾

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

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.

Aldero™ strives to be as useful to any design environment as Alder trees are to the forest. Wildlife and insects feed on Alder leaves and seeds. The tree also provides shelter for animals in winter while its shades keep streams from getting too hot in summer. The trunks and branches are excellent habitats for lichens and mosses. The nitrogen-rich leaves help fertilize the soil where they landed. Alder’s utilitarian nature inspires us to create Aldero™, a handy, versatile, go-to type family for all professional designers. To achieve what we set out to do, we gave Aldero™ the two-in-one looks, doubled the sets of ligatures, and loaded it with plenty more of Opentype features. We put in long hours, months after months, until we are proud of the outcome. And we truly believe that you will enjoy working with this typeface as much as we do. With five weights, ten styles, and 1,100+ glyphs per style, this versatile typeface comes with virtually two looks. The standard glyph set is perfect for formal, corporate design, while the stylistic alternate set elicits a fun, friendly, and casual feel. You can use each style separately or mix and match them to achieve your design aesthetic. Thanks to these options, a wide range of design possibilities are at your fingertips. In addition to the two large sets of ligatures (for both the standard and the stylistic glyph sets), we also pack tons of Opentype features into Aldero™ to improve your user experience while working with this typeface. To activate the case-sensitive features, for example, highlight the phrase with the type tool, then hit the “All Caps” button; or select each mark, punctuations, or symbols with the type tool, then choose the case-sensitive option from the Opentype popup window. Hope you enjoy working with Aldero™ as much as we do! To find out more about Aldero™ Opentype features and type specimen, please visit https://r9typedesign.com/aldero-features

DT PaperType has evolved and morphed over time from quite distant origins. I previously created DT Paperside. It was neither Papyrus nor SSI Countryside, but was inspired in some ways by the Papyrus form, although untextured and smoother, and had the more open dimensions and proportions, similar to that of Countryside SSi, with its larger easily readable lowercase body, and more consistent, shorter stems. DT Paperside had an open scripted feel which was pleasing to the eye and easy to read. DT PaperType has since been crafted from of the original Paperside font. The Organic flow and comfortable form of Paperside has been retained, but it has been shifted very much from the feel of a script font, into a quality, extremely readable, organic and friendly, serif font, retaining its clarity, while adding a great deal of pose and class. This font is primarily suited to body text, and as such is extremely readable. It does however also make an excellent Display font, and comes with a full set of over sized Caps that drop below the line to stand out on a headline when required. Paperside can also automatically enhance the first letter of most sentences, and changes other letters to suit their position within words, and the letters they appear beside. Now comes with an italic that curves and softens various letters. For best results, use this ‘smart font’ with Contextual Ligatures turned on. Mulitiple Stylistic Alternatives are included. Inspiration for this fonts predecessor (Paperside) came from two other fonts. Papyrus: designed by Chris Costello and created in 1982, it is a hand-drawn textured typeface, emulating texts written in biblical times. One of the most used (and misused) fonts of all times. Owned by Letraset, and currently published by the Internation Typeface Corporating (ITC). Countryside SSi: The serif font of an unknown designer, currently licensed by Southern Software Inc. Feel free to preview some other Dragon Tongue fonts that are yet to be released, at https://www.dragon-tongue.com/fonts

Hollywood Stars (Volume 1) is a unique collection of signatures of 92 famous Hollywood stars in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of the arts, history, movie buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Hollywood celebrities. This font includes signatures from the following Hollywood personalities: Michael Jackson, Farrah Fawcett, Elvis Presley, Marilyn Monroe, Ben Stiller, Kate Beckinsale, Steve Buscemi, Mel Gibson, Helen Hunt, Paul Reiser, Angelina Jolie, George Kennedy, Larry King, Edward Norton, Mira Sorvino, Steven Spielberg, Kate Winslet, Daniel Day Lewis, Laura San Giacomo, Holly Hunter, Jane Fonda, Alan Alda, Robbin, Williams, Alan Rickman, Al Pacino, Drew Barrymore, Bob Newhart, Brooke Shields, Burt Reynolds, Keira Knightley, Cheryl Ladd, Basil Rathbone, Minnie Driver, Debra Messing, David Schwimmer, Clint Eastwood, David Hyde Pierce, Burgess Meredith, Donald Trump, Linda Evans, Tony Danza, Gene Wilder, Cameron Diaz, Judi Dench, George Clooney, Nicolas Cage, Timothy Hutton, Jennifer Garner, Jay Leno, Tony Curtis, Suzanne Somers, Connie Selleca, Donald Sutherland, Jack Klugman, Tony Randall, Matthew Perry, Jenna Elfman, Morgan Fairchild, Jack Nicholson, Chazz Palminteri, Dustin Hoffman, Anthony Hopkins, Walter Matthau, Larry Hagman, Lisa Kudrow, Bill Cosby, John Mahoney, Ray Liotta, Jon Voight, Christian Slater, Chris Cooper, Dwayne "The Rock" Johnson, Drew Carey, Eli Wallach, Douglas Fairbanks Jr., Amanda Seyfried, Danny DeVito, Gary Sinise, Mary Tyler Moore, Edward Asner, Will Rogers, Cuba Gooding Jr., Bela Lugosi, Charles Grodin, Victoria Principal, Winona Ryder, Tea Leoni, Matt Damon, Loni Anderson, Emma Thompson, Ed O'Neill, Karl Malden. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.