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 ---------------------------------------------------------------------------------------------------------------------------

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

The Wavetable typeface is not your ordinary run-of-the-mill typeface. Its unique rectangular letterforms and sophisticated techno look sets it apart from other fonts in its category. This ultramodern typeface has been designed with the utmost attention to detail, inspired by the sleek designs of electronic musical instruments. One cannot help but admire the intricate details of the Wavetable typeface. Its unorthodox letterforms are reminiscent of the precision and finesse of a well-tuned musical instrument. Each character is carefully crafted to create a harmonious balance between form and function. But the Wavetable typeface is not just about looks. Its OpenType fractions, primes, and all currency symbols make it a versatile font suitable for a wide range of design applications. Whether you’re designing a sleek and modern logo or a futuristic poster, Wavetable has got you covered. In summary, the Wavetable typeface is a masterpiece of modern design, inspired by the world of electronic music. Its sophisticated techno look and unique rectangular letterforms make it a standout headliner that is sure to capture the attention of any audience. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

This is an Experimental typeface, a direct descendant of the BD Gitalona font family, which has a supermassive family with Variable technology. However, this version is more on the aesthetic aspect, which is experimental and exploratory. It complements the beauty of the primary typeface that we released separately. If you are a fan of Effectiveness and flexibility, please learn more about BD Gitalona and BD Gitalona Variable! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

Introducing TT Lakes Neue in version 2.0! Please note that the TT Lakes font has been removed from platforms, but you can still order it by sending a request to the studio's commercial department: commercial@typetype.org We have released a continuation of the geometric sans serif inspired by Finnish functionalism. The new version provides more opportunities, because we not only increased the character set and improved the font technically, but also reworked its visual character. What changed? Font character. TT Lakes Neue 2.0 has become calmer, as we have removed the display details in the characters of the main set, making the font more versatile. New stylistic sets were created, thanks to which the nature of the font can be controlled, making it more expressive. Changed the forms of the characters "Кк", "ЖЖ", "Дд", "Лл", lowercase "b" and alternative "g". Added alternative forms for all types of the number "1", for the characters "Mm", "DD", "Ll". Added technological character sets, with which the font looks stylish and expressive. You may notice that in these sets, the forms of lowercase characters with arches (r, m, n) are changed, and there are gaps in the places of infusions and connections of all characters. Scope of application. The scope of TT Lakes Neue 2.0 have become even more diverse, because the sans serif has become more neutral in character and more functional. TT Lakes Neue 2.0 is the perfect font for the gaming industry. Suitable for game interfaces of different genres. Technological sets can be used in architectural projects, in the headlines of posters and magazines, on outdoor signs. The font is suitable for logo design, looks great in branding. Character set and technical characteristics. We have significantly improved the set of the font, increasing the number of characters from 736 to 921. The font has become more functional due to the updated technical stuffing and new features, of which there are now 36 instead of 24. Added characters of extended Latin, fractions, arrows. Created new kerning and hinting. Updated variable font. Added new OpenType features. The TT Lakes Neue font has 5 subfamilies: Compressed, Condensed, Regular, Extended, Expanded. In total, there are 91 styles in the font: 9 upright and 9 slanted in each subfamily and 1 variable font. Each style has 921 characters and 36 OpenType features.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Pakenham is a typeface that truly exemplifies the transformative power of typography. Inspired by the timeless elegance of Steile Futura, a work of art by the legendary Paul Renner, Pakenham has taken the world of typography by storm with its innovative and captivating design. At its core, Pakenham is a sans-serif typeface that exudes an aura of modernity and sophistication. Its gently curved corners and generously scaled loops give it an effortlessly chic and trendy look, while its clean and sharp lines keep it rooted in the world of minimalist design. But Pakenham is not just a pretty face. It is a typeface that is brimming with oddities and anomalies that will add a unique and personal touch to your creations. Its superelliptical design is unlike anything you’ve seen before, making it perfect for designers who are looking to break free from the shackles of conventionality and embrace their creative freedom. With four different weights, two widths, italics, and special effect styles, Pakenham is a typeface that offers an unprecedented level of versatility. It is a true workhorse, capable of adapting to a wide range of design projects and styles. Overall, Pakenham is a typeface that is a must-have for any serious designer. Its combination of elegance, modernity, and versatility make it a true gem in the world of typography. So if you’re looking to take your design game to the next level, look no further than Pakenham. 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.

TT Ricordi Marmo useful links: Specimen | Graphic presentation | Customization options TT Ricordi Marmo extends the series of experimental projects within the TT Ricordi fonts collection. The main goal of the TT Ricordi project is to look for gems in old signs and on stone and bringing those inscriptions back to life in the form of contemporary fonts with the umbrella name TT Ricordi. TT Ricordi Marmo is an original experimental project by Eugene Tantsurin inspired by inscriptions at Basilica di Santa Croce in Florence. Working on it, we wanted to create a contemporary typeface that would unite the elements of a Florentine sans-serif mixed with more traditional visual solutions typical for the period's serifs. As a result, we got a bright and somewhat provocative typeface with irregular serif distribution, some unusual contours and a free spirit. In small body size TT Ricordi Marmo makes a neutral impression, but as the size gets bigger, the user is taken on a playful quest to search for interesting moves, graphic peculiarities and unusual solutions. TT Ricordi Marmo is great for poster design, packaging, and setting large and medium-sized inscriptions. Thanks to its idiosyncrasy, the typeface may look nice both at a poster in a grand academic theater and at an acid rave party. You can find a set of icon patterns that can be used in several ways. First, you can substitute letters with these patterns, thus getting an inscription with a visible graphic element. Then you can also construct borders and interval marks, or just use them as icons. All patterns are perfectly adapted to the design of letters in the font. TT Ricordi Marmo consists of 2 styles and one variable font. Each of the styles contains over 630 glyphs and 18 OpenType features. As we have conceived TT Ricordi Marmo as a poster typeface from the very beginning, it features small capitals instead of lowercase characters. In addition, the typeface has a set of interesting ligatures, stylistic alternates, pointers, hands, and pattern icons. TT Ricordi Marmo OpenType features list: AALT, CCMP, LOCL, NUMR, ORDN, TNUM, PNUM, CASE, SS01 (Alternative latin E), SS02 (Alternative Eszett), SS03 (Alternative Cyrillic I), SS04 ( Alternative Amper- sand), SS05 (Romanian Comma Accent), SS06 (Dutch IJ), SS07 (Catalan Ldot), DLIG, CALT, SALT.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

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 ---------------------------------------------------------------------------------------------------------------------------

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

Rev up your design game with Expressway Soft, the sans-serif font family that brings a touch of automotive style to your projects. Inspired by the U.S. Department of Transportation’s FHWA Series of Standard Alphabets, this font has been the go-to choice for road signs across the world, from the sweeping highways of Australia to the bustling streets of India. With its soft, rounded corners, Expressway Soft captures the feeling of cruising down an open road, while its twelve styles—including six weights and italics—offer versatility and flexibility for any design project. Old-style and monospaced numerals make it easy to create eye-catching price lists and other tabular data, while the font’s focus on design over regulation allows you to truly unleash your creativity. Whether you’re designing a bold, attention-grabbing billboard or a sleek, modern website, Expressway Soft has the style and functionality you need. So why settle for a font that’s strictly by the book when you can hit the road in style with Expressway Soft? And if you’re looking for a more angular variant, be sure to check out Typodermic Fonts’ Expressway with squared-off corners. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

The Snasm typeface is a versatile and futuristic typeface that incorporates modular letter shapes from the late twentieth century, with a focus on wide letterforms. This typeface draws inspiration from the instrumental typeface designs of Donald Handel, known for their clean lines and sharp angles. But that’s not all—Snasm also pays homage to the sleek, high-tech design strategy of the late 1970s through the early 1990s, as seen in logos for Pepsi and the Nintendo Super Famicom. The Snasm font is not just visually appealing, but it also includes a range of weights and meticulously constructed obliques, making it a valuable asset in any design project. With its stable, sparse caps and roomy lowercase, Snasm is perfect for conveying concepts of science, technology, and high-tech accuracy. This font keeps pace with the latest digital gadgetry and user interface trends, making it an excellent choice for designers who want to stay ahead of the curve. Using Snasm in your designs can add a futuristic and modern touch to any project, whether you’re creating a new website, designing a mobile app, or working on a digital marketing campaign. Overall, Snasm is a typeface that is as functional as it is aesthetically pleasing, making it a must-have for any designer looking to create high-tech designs that stand out from the crowd. 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.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.

Why do we need another typeface? This is a prickly question often asked of typeface designers. Depending on who you ask, the answer in simplified form is usually one of two: 1. As the basis of written communication, type design carries social responsibility, so we must continue to improve legibility. 2. Type design is a form of artistic expression. Without art, life is not worth living. The best work, of course, accomplishes both. Xavier Dupré, the designer of the Malaga typeface family, has at least one leg securely planted in the latter notion. He believes, like others, that within typeface design most legibility needs have been worked out and that today we are satisfying aesthetic desires. We design typefaces to differentiate our communications. Type design is primarily a formal exercise reflecting our personal quirks, technological obsessions, and cultural heritage. In case of Dupré’s work, issues of cultural heritage and personal quirks are of particular consequence. An incessant traveler, he visited the following countries during the development of the Malaga type family: Thailand, Malaysia, Indonesia, Myanmar, Cambodia, Vietnam, France, Belgium, and finally, Spain, where his choice for the name Malaga originates (Malaga is a port city in southern Spain). Dupré’s home is where his laptop is. He travels with a 12- or 15 inch PowerBook, without a printer, and with sporadic access to his reference books and other historical documents. All he needs is a table and chair. He even learned to design without a mouse since hotel and cafe tables are often too small to also fit a mousepad. Dupré is the new global designer who can take disparate influences and fluidly process the information into a coherent whole. Malaga is a case in point. It is inspired by ideas ranging from blackletter to Latin fonts, and from the Quattrocento’s first Venetian antiquas to brush stroke types. This makes Malaga a richly animated font saturated with unorthodox detail. Its black and bold weights are particularly suited for headlines and short texts, while the subtle modulation and moderate contrast in the regular and medium weights makes it perfectly readable in extended text settings. While Malaga doesn’t claim to resolve any particular legibility issues, it is nonetheless perfectly readable and will impart any design with a healthy dose of visual character.

Hey there, so you want to look like a walking throwback to the 1980s? Well, lucky for you, Teeshirt is here to help you achieve that coveted slovenly appearance. If you’re looking for a typeface that screams, “I don’t care” then Teeshirt is your new best friend. It’s designed to mimic vintage t-shirt lettering, so you can rock that “I just rolled out of bed and put on the first thing I found on my floor” look. And if you’re worried about being too uniform with your letters, fear not! Teeshirt has got you covered with letter pair ligatures. Because who wants to look like they put any effort into their appearance, right? And if you’re feeling adventurous and want to shake things up a bit, you can always disable the “standard ligatures” feature in your application. Teeshirt comes in two styles: Regular and Pressed. The bouncy Regular style will make it look like your letters are ready to jump right off your shirt, while the orderly Pressed style will give you that crisp, just-ironed look (although let’s be real, who has time for ironing?). So what are you waiting for? Embrace your inner sloth and give Teeshirt a try. Because who needs effort and a polished appearance when you can look like a hot mess instead? 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.

Looking for a typeface that brings retro flair to your designs? Look no further than Pricedown! This typeface is a modern interpretation of Pinto Flare, a display typeface from the early 1970s. Pricedown has a boxy, retro design that’s perfect for adding a touch of nostalgia to your work. It’s been used in a variety of applications over the years, including as the logotype for the US game show, The Price is Right, and Technos Japan’s Tag Team Wrestling video game in 1986. In addition to its eye-catching design, Pricedown also features some fun interlocking character combinations when used in OpenType savvy applications. For example, when the letter “H” is followed by the letter “I”, a swash tail will tuck under the “I”, adding an extra flourish to your text. And if you prefer a more streamlined look, you can easily turn off this feature in your application. With nine different weights to choose from, Pricedown is a versatile typeface that allows you to skillfully attenuate its impact, making it perfect for a wide range of graphic design projects. So whether you’re designing a logo, a poster, or anything in between, Pricedown is sure to add a touch of retro style to your work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

This best selling series has now been extended to include a new member, Blue Goblet Drawn. Blue Goblet is hand-drawn by the artist, Cory Godbey, and is organic, charming and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Drawn a excellent choice, it also is also a versatile member of a wide family of different fonts. You can use it side by side with the original Blue Goblet fonts, and there are a wide range of ornaments available in the supplemental ornament sets--over 370 illustrations! These illustrations include doodley frames, lovely florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system for a very unique and consistent look. The Blue Goblet series also continues to expand, making any of these family members a valuable investment for the future. Blue Goblet Drawn comes in three weights and three widths in each weight, with complementary italics for maximum impact for a total of eighteen pro fonts. The compact thin weights are delicate and tall, while the Regular has just enough heft for those situations where subtlety doesn't work. If you don't need the professional features, there are three stripped down fonts that include only the basic character set! Blue Goblet Drawn also includes auto-replacing ligatures that make it appear that the script was drawn by the artistís own hand--just for you! Blue Goblet Drawn also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 190 additional glyphs and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Drawn is a great choice for friendly display type in children's books, packaging, organic packaging or other unique applications. Use Blue Goblet whenever you want to inject a handmade sense of fun and whimsy to your designs. Give the Blue Goblet series a whirl today!

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Introducing Remissis—the sans-serif typeface that’s the perfect balance of casual and refined. With its off-grid letterforms, Remissis has a natural and organic feel that’s hard to come by in other typefaces. It’s not too laid-back to be dismissed as whimsical, but it’s not too rigid either. It strikes the perfect balance of being approachable yet professional. If you’re looking for a typeface that can convey the idea of softness and naturalness without coming off as too playful or zany, then Remissis is the perfect choice. Its delicate horizontal angles add a touch of elegance, making it ideal for projects that require a refined and sophisticated aesthetic. Designed for high-resolution displays and print, Remissis’s unique “lining old-style” numerals are available in OpenType-capable apps, giving you even more design flexibility. And with numerous mathematical symbols, monetary symbols, and diacritical marks, Remissis is versatile and functional. Available in seven weights and italics, Remissis is a typeface that’s sure to elevate any project. So if you’re looking for a typeface that’s both approachable and refined, choose Remissis. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

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 ---------------------------------------------------------------------------------------------------------------------------

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

Turnkey is a modern grotesque typeface, it could be described as a neo-grotesque with hints of geometric shapes. A workhorse typeface designed to be versatile for both small and large sizes, ink traps have been used as a design feature above 26pt and a technical feature when printing small body text. The combination of 36 weights and styles allows you the freedom to create. Each weight includes extended support for over 90 languages (Including Cyrillic), fractions, tabular figures, arrows, ligatures, alternate glyphs, and more. Demo licenses are available from colttypeco.com In addition to a standard style set, the Turnkey family also has an italic set plus soft versions of both. Turnkey Soft is a slightly rounded version of the standard and italic, which looks more friendly, warm, and soft. It's corporate but with a personality. Current instances are: Turnkey Standard - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic. Turnkey Soft - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic When used as body type, Turnkey pairs well with: Take Note, Stroom and Markout. Turnkey is perfect for; headings, titles, body copy, logos, magazines, editorial design, corporate branding, brand identity, websites, blogs, apps, games, ebooks, publications, and signage. Turnkey can be found in the Typodarium 2024 OpenType features: Access All Alternates, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Proportional Figures, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Tabular Figures. Support for 95 languages: Belarusian, Russian, Ukrainian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, 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, Welsh, Western Frisian, Zulu

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

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.

The Joanna® Sans Nova family is the only typeface in the Eric Gill Series that was not initially designed by Gill. Created by Monotype Studio designer Terrance Weinzierl over a three-year period with digital applications at the forefront of the design criteria, Joanna Sans Nova is a humanist sans serif based primarily on Gill’s original Joanna. The design comprises 16 fonts, from thin to black, each with a complementary italic. Joanna Sans Nova has a larger x-height to ensure high levels of legibility – even on small digital screens. Due to its inherent humanist proportions, Joanna Sans Nova is surprisingly comfortable for longer form reading. Its low contrast in character stroke weights also improves imaging in a variety of environments. In addition, the calligraphic and fluid details enable the roman and italic designs to shine in headlines and other display uses. Joanna Sans features a robust range of OpenType features for fine typography, including small caps, old style figures, proportional figures, ligatures, superscript and subscript figures and support for fractions. With over 1000 glyphs per font, Joanna Sans supports more than 50 languages – in Latin, Greek and Cyrillic scripts. “I've always been a fan of Gill’s work, explains Weinzierl, and found the simple, humanist qualities of Joanna really fitting for a sans serif design. I wanted to make something with Gill flavor, but with more harmony in the extreme weights than Gill Sans – and with my twist on it. I went through six or seven different italic designs before landing on the current direction.” “The original Joanna had a very distinct italic, Weinzierl continues. “It’s very condensed, and has a very shallow angle. I wanted to have an italic that stood out, but in a different way. I took a cursive direction for the italic details, which are wider and slanted more, both improving character legibility.” The Joanna Sans Nova typeface family is part of the new Eric Gill series, drawing on Monotype’s heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.