Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

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 "Linear" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is very clear and no letters overlap. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Ta & 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.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Introducing Movatif, the typeface that effortlessly combines the best of 20th Century sans-serif typefaces into one irresistible mash-up. With seven different weights to choose from, this font has the versatility to make any design stand out. But Movatif isn’t just any ordinary font—it’s packed with OpenType features that will leave your audience in awe. By simply pairing certain letters together, you can create a captivating visual effect that will absolutely freak folks out. Take the letters M and A, for example—they snap together in a way that is both cool and slightly fascinating. But what really sets Movatif apart is the way familiar pieces interact in unexpected ways. With every letter, your design takes on a personalized style that captures the dreary 1970s malaise in a fashionable way. So if you want to create something truly unique, give Movatif a try. With its versatile weights and captivating features, it’s the typeface that will take your design to the next level. 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.

Mayence is the French name of Mainz, German city where Johannes Gutenberg was born. It's a manuscript font inspired in the author's calligraphy, with an angular structure, marked by a certain impulsiveness. Besides being a continuous-line font, Mayence explores some deviations and imperfections in the calligraphy practice, as accumulations of paint and anomalies in the thickness variation, characteristics which gives it more naturality. Its main difference is the set of over 430 ligatures (Premium version), based on the research and selection of important character sequences, rather frequent in several languages. For this, a study was done about the diphthongs, triphthongs and di-tri-tetra-pentagraphs more common in languages such as English, Spanish, French, German, Italian, Portuguese, Dutch, Hungarian, Croatian, among others. Ligatures with up to 2 characters are enabled by default and with more than 2 characters are enabled by the Discretionary Ligatures option. Mayence also contains several ligatures based on common words in English and Spanish, exclusive ligatures with numbers and another standard, discretionary, historic and Unicode ligatures. It has 9 different ampersands (&), which can be chosen by the user according to the application context. When you enable the Titling Alternates (in OpenType-savvy programs), these 9 ampersand styles are converted to their forms of seal, with different purposes of use. To enrich your graphic applications, Mayence brings the Ornaments Version, for construction of impressive lines, borders, textures and the geometric shapes that you want, according to your creativity! To see the features available in each version, open or download the User Guide pdf, in the Gallery section. All text fonts are available in OpenType PS format and have extended character set to support CE, Baltic, Turkish, as well as Western European languages and additional Celtic characters.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

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 "Minimal" because of the minimal decoration and simplistic design. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is not only minimal in its design but easy to read, very few letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & 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 ---------------------------------------------------------------------------------------------------------------------------

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 "Random" because we don't follow any one principle to write the names, some overlap some don't, some letters are big and some are small. All the letters, harakat, decorative letters and symbols may differ from one name to another.(in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). Decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf". 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

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

Introducing Hackensack—a rugged and reliable typeface that embodies the spirit of the past with its vintage charm and commanding presence. This Clarendon-inspired narrow slab serif design is perfect for anyone looking to make a bold statement with their typography. With Hackensack, your message will be delivered with a sure-footed confidence that demands attention. This compact display typeface has an old-fashioned feel that hearkens back to a bygone era, giving your design a touch of timeless elegance. But don’t let its vintage charm fool you—Hackensack is as rugged and durable as they come. Its strong, sturdy lines and slab serifs make it perfect for headlines, logos, and other display uses where you need your message to stand out. And if you’re looking for even more vintage flair, Hackensack includes old-style numerals which can be accessed in applications that support OpenType features. So whether you’re creating a vintage-inspired poster, a classic logo, or any other design that requires a touch of old-world charm, Hackensack is the font you need. Most Latin-based European, Vietnamese, and some Cyrillic-based 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, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Sheaff—the perfect display typeface to add a touch of retro sophistication to your graphic designs. This unique typeface merges the iconic, interlocking styles of the early 1970s with the soft, plastic forms of the Y2K era, resulting in a font that is both nostalgic and contemporary. Sheaff’s interlocking characters are truly something to behold. When certain letters combine, they create an exquisite and intricate interlock that is guaranteed to catch the eye of any viewer. You can fully experience this effect in all its glory by turning on your application’s “standard ligatures” function. With its delicate curves and playful shapes, Sheaff is the perfect choice for any display project that requires a touch of elegance and flair. Whether you’re designing a logo, creating a poster, or even working on a book cover, Sheaff’s unicase style will add a unique and sophisticated touch to your work. So why wait? Try out Sheaff today and experience the beauty of interlocking characters in all their glory. Whether you’re a seasoned designer or just starting out, this font is sure to impress and elevate your design projects to the next level. 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.

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

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 "Straight" because of the straight like design. Everything is clear, symmetric and straight. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-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). We went for the traditional "soukoun" instead of the Quranic "soukoun" & the decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Kaf". 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 type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Pekin is an unusual design with an oriental flavor. It was originally designed by Ernst Lauschke and released by The Great Western Type Foundry of Chicago as “Dormer,” which is similar to the French verb ‘to sleep,’ not exactly a marketing triumph. Barnhart Bros. And Spindler (independently-operated subsidiary of ATF since 1911) bought Great Western in 1918. According to McGrew, AMERICAN METAL TYPEFACES of the TWENTIETH CENTURY, BB&S renamed the typeface prior printing their 1925 specimen book — guess they wanted something just a tad more exciting. Quirky, distinctive and fun. Pekin ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 415 glyphs (compared to 218 glyphs in the original release). 2. 652 Kerning Pairs. Note: Ag, Aj and gj will cross unless kerned. Alternative A may also be used. 3. Added OpenType GSUB layout features: onum, salt, liga, dlig, hist, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines, based on improved scans. 6. Added set of Tabular Numbers at cap height, based on original design; added Old-Style Numbers based on default design. 7. Added a bunch of alternative characters: 18 upper case letters, 10 lower case letters, 1 ampersand and 1 bullet. The alternate c is actually the original design, but I don't like it - easily confused with e. Alt E H M h m n r t are from the original design. I added the rest. 8. 7 Ligatures, 4 Ornaments, 18 Geometric Shapes, 6 Arrows and 12 Misc. Symbols. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

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 "Elegant" because we thought this is the most elegant one we have designed. Everything is so clear, nothing overlaps, decorative symbols are not too much nor too little. 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 and spelling according to the Holy Quran). The "Ye" at the end of names doesn't have the two dots, and we used a decorative small letter "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 ---------------------------------------------------------------------------------------------------------------------------

English description Karela is a humanist slab serif family. Karela is also the Basque word for gunwale, this is, the widened edge at the top of the side of a boat, where the edge is reinforced with wood or other material and to which the thwarts are attached. Gunwales resemble the way slab serifs reinforce vertical stems giving a more robust appearance to the letters. The sturdy, solid and often mechanical structure that is customary in slab serif or mechanistic typefaces is softened in Karela applying subtle tweaks as: humanist proportions, slightly curved endings in ascenders, and curved edges in serifs. The influence of calligraphy is noticeable all over the character set, especially in counters and letters with instrokes like “m”, “n” and “r”, and it becomes explicit in the italics. On the other hand, its low contrast, generous x-height and the constant width of characters across weights makes it very convenient for editorial uses when low resolution is a concern. Karela pursues to give a human touch to a strong and highly functional structure. It seeks for the ideal combination of strength, precision and warmth of the wooden parts painstackingly handcrafted by ancient boat builders. Besides its 12 standard styles, Karela offers also four additional fonts called "grades". Grades are subtle changes in stroke weight in order to compensate for differences in printing media or display conditions of text layouts. To minimize these subtle changes without a reflow of the text they have to be designed with the same character width of the base style. Karela offers 4 grades for its Regular weight: Grade Minus 5, Grade Minus 5 Italic, Grade Plus 5 and Grade Plus 5 Italic. This makes possible to counteract the effect of changes in paper, temperature, paper, background color… In addition, Karela takes this no‑reflowing idea from grades and extends it to the whole range of styles, allowing to play with any of its weights without undesirable text reflows. Enjoy the layout stability while you experiment and play with variations! Karela presents also a wide range of Opentype features for a professional text layout.

Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society's usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design. To those adventurous types (pun intended), Canada Type presents this new face called Go. It is very much a child of the new millennium, inspired by the unmistakable minimalist style of modern 21st century corporate logos, recent design shifts in electronic music and club-marketing collateral, and disc jockeys who have enthusiasm, energy, precision and total control of each and every vibration traveling from mixer to speakers. Go is an original modern techno-lounge face that offers the eyes pleasing collages of friendly minimal forms that give the words an impression of simplicity and depth at once. This is a font that prides itself on its precise grouping of elements and just enough original creativity in combining those elements. The precision builds the sharp edge sought for modern statements, while the creativity keeps the message rejuvenated, clear and interesting. Go's character set consists of a versatile and unexpected, yet mild mix of the uppercase and lowercase forms, with multiple variations on the majority of the letters. The e being a vertical mirror of G is only the first of the pleasant surprises. More than 30 alternates are inside the font. All the accented characters in Go have been meticulously (perhaps obsessively) drawn to be unusual for logos and short statements. Take a look at the character map and be ready for a space-age surprise. To borrow a Star Trek cliché, this font can Go where no font has gone before.