Abdo Joody is a straight style. This is an OpenType Font supporting Arabic, Persian and Urdu and compatible with the various operation systems and modern software.
The combination of square Kufi and modern styles made it a beautiful typeface, appropriate to titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.
I will add more weights of this font with Allah willing.
Abdo Joody is a straight style. This is an OpenType Font supporting Arabic, Persian and Urdu and compatible with the various operation systems and modern software.
The combination of square Kufi and modern styles made it a beautiful typeface, appropriate to titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.
I will add more weights of this font with Allah willing.
Abdo Egypt is a geometrical style. This is an OpenType Font supporting Arabic, Persian and Urdu and is compatible with the various operation systems and modern software.
The combination of modern Kufi and Geometrical styles and the variation between straight and curved parts made it a beautiful typeface appropriate to titles and text and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.
Abdo Egypt is a geometrical style. This is an OpenType Font supporting Arabic, Persian and Urdu and is compatible with the various operation systems and modern software.
The combination of modern Kufi and Geometrical styles and the variation between straight and curved parts made it a beautiful typeface appropriate to titles and text and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.
A source of hand signals. This alphabet is presented in two forms with one and two hands.
A source of hand signals. This alphabet is presented in two forms with one and two hands.
The Abby family are simple blackletter faces and can be used in any application calling for a gothic style type. The more complex weights: HiLite, Lowlite, Open, Split, Etched and Etched5 are best used sparingly.
By using a regular face and a cut face in most drawing packages it is easy to create 2 coloured or even three colured text quite easily.
family of 2 fonts from Haiku Monkey
Abbott is skinny, tall, and loves to be the straight-man in your comedy sketches.
family of 2 fonts from Haiku Monkey
Abbott is skinny, tall, and loves to be the straight-man in your comedy sketches.
Here’s a fresh take on an old favorite, originally named Abbott Old Style, which exudes antique charm, and also suggests exotic locales.
Here’s a fresh take on an old favorite, originally named Abbott Old Style, which exudes antique charm, and also suggests exotic locales.
font family from Suomi, added yesterday
A Sans font family of five weight for headline and text use, with old style numerals and small caps, and extensive kerning.
font family from Suomi, added yesterday
A Sans font family of five weight for headline and text use, with old style numerals and small caps, and extensive kerning.
The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design.
Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. More…
The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design.
Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. More…
family of 8 fonts from T-26
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
This is the definitive standard African font. It combines wonderful readability with tremendous panache. The fact that it has a full character set (UPPER and lower case), all punctuation and all special characters, means that it can be used in just about any African design context.
If you had only one African font in your arsenal, it would have to be Aarde Black.
The name “Aarde” means “earth” and refers to the gutsy, earthy character of the letterforms.
It includes a full character set: characters for English, French, Italian, German, and Portuguese.
More…
family of 6 fonts from A2-TYPE
Beckett, 6 Weights. Designed for the Faber & Faber series of book covers: Samuel Beckett Complete Works', published in 2009/10. This face originates from machine-cut era wood type characterized by a hard edge that creates immediate impact on any surface, print or screen!
