The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Handasi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Mehdi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Mehdi employs variable x-height values. Its design uses full curves with variable distributed weights. Mehdi family includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. The family employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Mehdi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

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

Sabine is an Arabetic type design with a calligraphic flavor. It follows the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Sabine employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. In Sabine Kashidah, Irsal, and Tasmim keying Tatweel (shift J) after certain glyphs will replace it with a long stroke glyph. In Sabine Tasmim, keying it a second time will replace glyph with a final form swash (Irsal) glyph. In Sabine Irsal all final forms are swash glyphs. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. Sabine family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to standard English keyboard punctuations and major currency symbols. Fonts are available in regular and italic styles.

The Yasmine type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Yasmine employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Yasmine family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Yasmine family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Amudi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Amudi employs four fixed x-height values, two above and two below the x-axis.. Values are high to give a slight vertical overall look. Amudi family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. it Amudi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Kufi Mutamathil is an Arabetic (extended Arabic) typeface design with heavy Arabic Kufi calligraphy accent, both on a single letter level and in an overall text look and feel. Although Kufi, the earliest Arabic calligraphy style, is often described as “stiff”, it is in fact a very flexible style. The Kufi Mutamathil typeface design underlines this calligraphy style flexibility and openness through visualizing a very legible Mutamathil design with Kufi shapes. The Mutamathil type style utilizes only one isolated glyph per Arabic Unicode character or letter, as defined in Unicode Standards. It is a very light style which does not require any standard glyph substitution or the shaping engine. The Kufi Mutamathil font family employs variable, unrestricted, x-height values. It comes in regular and left-slanted italic styles. Kufi Mutamathil includes all required Lam-Alif ligatures. Soft-vowel diacritic marks, or harakat, are selectively positioned with the majority of them appearing on the same level, over or below, following a letter, to ensure that they would not interfere with individual glyphs appearance. Kashida, or tatweel, (shft-j) is a zero-width character. Keying it before Alif-Lam-Lam-Ha will display the Allah ligature. Kufi Mutamathil includes both Arabic and Arabic-Indic numerals, in addition to all Standard English keyboard punctuations and major currency symbols.

Fruit and Veggie Doodles is a 33-picture clipart font. Use them as dingbats or enlarge the small pictures and use them as clipart. Lots to choose from potatoes, tomatoes, avocado, eggplant, fig, watermelon, radish, peppers, broccoli, asparagus, corn on the cob, green onions, carrots, peas, lettuce, mushrooms, onion, olives, garlic, okra, beans, lemon, pear, pineapple, grapefruit or orange, pumpkin, apple, strawberry, grapes, cherry and banana. This is the companion font to Food Doodles Too. Also works nicely with Coffee & Tea Doodles. And if you need some fancy cakes check out Party Doodles. All in the same line drawing style to mix and match.

Are you hungry for a font design that will blow you away? Do you want to invoke the rustic smell of wood smoke, the mouth-watering thought of antipasti, olive-oil, open French doors in the summer? Well before you book your ticket to Rome, check out the new font from Thinkdust, Rustick. Four weights (and italics) of indulgent, home cooked comfort, warm, earthen and familial. Before making its point, Rustick gives you a cup of deep, rich coffee and double checks you're warm enough. Just one look will start your stomach rumbling. Ideal for food packaging and warm, homey branding, Rustick will never let you go home hungry.

Olivetta—an ironic sans. Its name is inspired by Antique Olive typeface. These two fonts share a few common design features but Olivetta is more in tune with the spontaneous, ironic style of today's typefaces. Olivetta illustrates the power of words as images. The high contrast between thick and thin strokes of the lowercase letterforms gives visual strength to the font. The stroke contrast increases as the weights get heavier. Olivetta comes in 10 weights with matching italics and each style contains more than 400 glyphs which include alternates. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, branding and editorial design. The intermediate weights are ideal for continuous reading.

Aksen is a humanist sans-serif typeface that draws influence from Roger Excoffon’s Antique Olive. Its design is formed by the rounded, curving letters found in ancient Greek and Roman inscriptions but is implemented with a contemporary and pragmatic approach. This typeface comes in 56 styles consisting of four widths and seven weights, each with matching italics. Also available in variable font format, Aksen Variable boasts three variable axes: width, weight and italic. These axes open up a plethora of stylistic choices making this typeface highly adaptable. Aksen is a versatile typeface that seamlessly blends contemporary humanistic aesthetics with a touch of historical sophistication, making it a perfect fit for a wide range of design applications.

The Mehdi Mutamathil type family follows the guidelines of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. The Mehdi Mutamathil family includes all required Lam-Alif ligatures and selected marks positioning so it does use limited glyph substitutions or forming. Mehdi Mutamathil employs variable x-height values. Text strings composed using typefaces of this family are non-cursive with stand-alone isolated glyphs. The Mehdi Mutamathil family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Kensington Runestone is a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898. Olof Öhman, a Swedish immigrant, reported that he dug it out of a field in the largely rural town of Solem in Douglas County. It was then named after the nearest settlement, Kensington. The inscription claims to be a record left behind by Scandinavian explorers in the 14th century (internally dated to 1362). There has been a long-standing debate as to the stone's authenticity, but since the first scientific review in 1910, scientific consensus has classified it as a 19th-century hoax, and some critics have directly accused Öhman of fabricating it. there is community.

We popped the Doohickey into the Framistat and out popped this Whatchamacallit! Is it fat? is it thin? Is it tall? Is it short? Is it light? Is it heavy? Is it condensed?! is it expanded?! Yes, yes, yes and yes -- It’s all of the above and more! Our resident mad scientist John “Mr. Fontastic” Roshell has developed a single contraption that can handle any design emergency, from crimelords to supervillain team-ups to alien invasions. Whatchamacallit is a friendly and readable sans-serif, inspired by some of our all-time favorites -- Gill Sans, Futura, Venus and Antique Olive. But, like its machinery-contraption namesakes Doohickey and Framistat, Whatchamacallit has a lively personality -- the strokes are a little wavy, the ends a bit bulbous, and the circles are like little loaves of bread, rising in the Whatchamacallit's oven... delicious!

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

The Mutamathil type family is the mid-size member of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. With each glyph being semi-symmetrical around its vertical axis, this family is mainly suitable for right to left ordering. The Mutamathil family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand alone isolated glyphs. The Mutamathil Taqlidi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Yasmine Mutamathil type family follows the guidelines of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. The Yasmine Mutamathil family includes all required Lam-Alif ligatures and selected marks positioning so it does use limited glyph substitutions or forming. Yasmine Mutamathil employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Text strings composed using types of this family are non-cursive with stand- alone isolated glyphs. The Yasmine Mutamathil family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. It is available in regular, italic, bold, and bold italic styles.

Raqmi Monoshape is a simplified version of the Raqmi font family with unified (non-varying) shapes. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil style utilizing varying x-heights. The Mutamathil type style utilizes only one glyph per Arabic Unicode character or letter, as defined by the Unicode Standards. Raqmi Monoshape includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

A straightforward sanserif in 20 fonts, 4 widths Ardoise met the needs of publications. By extension, it met the needs of a newpapers typeface featuring a low contrast, straightforward forms, as Franklin Gothic. The verticals metrics and proportions of Ardoise are calibrated to match perfectly others Typofonderie families. Four widths to answer all situations Ardoise, inspired by the needs of today’s fine newspapers offers simple and tense shapes designed to renew and revitalize. Ardoise could be considered as an homage to Antique Olive, but quite indirectly and as an organic result of the designer’s longstanding admiration of the work of Roger Excoffon. Ardoise shares a purity and dynamics with Excoffon’s designs giving it a unique elegance and excellent readability. Its sturdiness means it is virtually immune it to distortion. In addition, a few alternates glyphs (a, c, g) can be used to alter the overall tone of a text setting.

The Mutamathil Taqlidi type family is the largest size member of the Mutamathil type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. With each glyph being slightly symmetrical around its vertical axis, this family is only suitable for right to left ordering. The Mutamathil Taqlidi family includes all required Lam-Alif ligatures and uses final position glyph substitutions, ligature substitutions, and marks positioning. Text strings composed using types of this family are non-cursive with stand alone isolated glyphs. The Mutamathil Taqlidi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Arabetics Detroit is a monoshape font family with a fixed single shape per each Arabic Unicode character. This font family supports all Arabetic scripts covered by Unicode Standards 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes three weights: regular, bold, and light, each of which has normal and left-slanted (Italic) versions. The design of this font family follows the Arabetics Mutamathil style design principles utilizing varying x-heights and no glyph substitutions. The Mutamathil type style was introduced by the designer more than 15 years ago. The Arabetics Detroit font family includes all required Lam-Alif ligatures in addition to all soft vowel diacritics (harakat), which are selectively positioned with most of them appearing on similar high and low levels—top left corner—to clearly distinguish them from the letters. The Tatweel or Kashida lengthening character is a zero-width glyph.

Arabetics Symphony is a Sans Serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. It is designed with a uniform glyph thickness and weight throughout, using a combination of simplified and clear open lines and curves and plenty of spikes and visual hints to compensate for the missing Latin serifs or traditional cursive Arabic calligraphic influence. This type family is suitable for both text and display applications. Additional Latin spacing is added to match an overall open-looking Arabic and is further maintained by a careful implementation of a typical Latin font kerning process. The design of this font family, including metrics and dimensions, was intended to make its Latin harmonize with other Arabetics foundry fonts. Arabetics Symphony fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Symphony includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the “tatweel” key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Symphony includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

With Antipol Variable, the reversed stress font was supplemented with Wide and Extended cuts in the Hairline weight. The ability to stretch single letters extremely wide is an exclusive goodie of the Variable version. Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

A playfull fancy sanserif typeface in 16 fonts Parisine Plus was designed in 1999 as an informal version of Parisine. A reaction to the subjective functionalism of Parisine. In fact, when Parisine try to express neutrality (a typeface is never neutral), Parisine Plus has fun with contrasts and not-so-obvious additions for a sans family. Parisine Plus is a precursor in the way it offers many ligatures and strange forms we generally find more in serif typefaces families that express historical connotations. The various Parisine Plus typeface subfamilies Parisine Plus is organised in various weight subsets, from the original family Parisine Plus (4 compatible fonts), Parisine Plus Gris featuring lighter versions of the usual Regular and Bold (4 compatible fonts), Parisine Plus Claire featuring extra light weights (4 compatible fonts), to Parisine Plus Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord (4 compatible fonts). About Parisine Parisine helps Parisians catch the right bus Parisine Plus and its fancy type effects Observateur du design star of 2007

Raqmi was designed as a serif like font with relatively uniform glyph thicknesses, perfect simplified straight lines and curves, and emphasized isolated letters. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Raqmi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Chercán is a spirited typeface created with a delicate sense of how readability doesn't need to be dull. Chercán wears a uniquely friendly voice, and its mature design makes it highly legible in small bodies as well as in the distance. Its balanced rhythm is the result of a slow pairing of qualities found in old classics admired by Gálvez, such as Copperplate by Frederic Goudy (1905) and Antique Olive by Roger Excoffon (1962). Chercán occupies a unique place in the contemporary type design shelf, by exquisitely combining versatility and elegance. Due to the delicate grey colors it gains within long texts, Chercán is good for immersive reading, where one wants to avoid readers’ eyes fatigue. It can be a great choice for setting texts that require a slightly informal atmosphere without losing authority. Chercán is the Chilean name for the melodious little bird Troglodytes aedon usually found all across the Americas. Available in Std and Pro versions with all the usual OT features, Chercán addresses all modern needs of the demanding typographer.

Arabetics Aladdin is a monoshape font family with a fixed single shape per each Arabic Unicode character. Glyphs are designed to incorporate the traditional Arabetic visual characteristics found in all four varying shapes, isolated, initial, medial, and final, for each letter. The overall design also emphasizes the line-like (khat) horizontal look and feel of the Arabetic scripts without sacrificing legibility. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and bold, each of which has normal and left-slanted (Italic) versions. The design of this font family follows the Arabetics Mutamathil style design principles utilizing varying x-heights and no glyph substitutions. The Mutamathil type style was introduced by the designer more than 18 years ago. The Arabetics Aladdin font family includes all required Lam-Alif ligatures in addition to all soft vowel diacritics (harakat), which are selectively positioned with most of them appearing on similar high and low levels—top left corner—to clearly distinguish them from the letters. The Tatweel or Kashida lengthening character is a zero-width glyph.

Khatt tries to mimic the concept behind the meaning of the Arabic word Khatt: a straight horizontal line. The word Khatt is also the word for calligraphy in the Arabic language. Even though Khatt is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Khatt supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with five weights, regular, medium, bold, light, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Khatt includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Katts’s soft-vowel diacritic marks (harakat) are positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

Nagham was designed using uniform glyph thickness throughout and exaggerated letter heights to offer a vertical look and feel. It supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two flavors come with two weights, regular and bold, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Nagham includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Karim is a traditional-style Arabic text face, designed in response to a demand for a traditional text face adapted to setting Quranic commentaries. Within the constraints of the standard character set and typesetting program, Karim’s design aims to recall the style and fluency of manuscript Naskh without, however, reproducing the idiosyncrasies of any particular calligrapher. The line weight chosen is heavier than usual for a traditional light face in order to benefit the reproduction of small size Tafsir text. A tall kaf, deep descenders and slightly inclined alifs and lams all help to suggest the cursiveness of manuscript. The type-style that emerges is characterized by restraint and clarity; qualities suited to Karim’s original purpose, and ones that recommend it for wider use. Karim ships includes Latin glyphs from Janson Text Roman, allowing the single font to set text in both most Western European and Arabic languages. Karim’s code pages incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The font includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

Camille was designed with exaggerated emphasis on letter vertical characteristic, by virtually eliminating the typical Arabic horizontal line look. This font glyph weights and look and feel are heavily influenced by early Kufic Quranic calligraphy style. Camille supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two spacing flavors have one weight each with a normal and a left-slanted Italic version. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Camille includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.