Aga Arabesque Font
Vinnie Breidenthal
Hamilton Wood Type Collection, established in 2012, is a joint venture between P22 Type Foundry and the Hamilton Wood Type & Printing Museum. The founding goal was to safeguard a typographic era and make classic wood type designs available as digital fonts for modern audiences. This historical collection of serif revivals, sans reinterpretations, decorative embellishments, script reclamations, and original chromatic designs is stunningly relevant and usable for any imaginative design practice.
In 2013, Terry Wdenbachs made a digital interpretation. His HWT Arabesque is primarily based on proofs from an 8 line font in the collection of the Hamilton Wood Type and Printing Museum, with most of the lowercase sourced from a 6 line font from the collection at the WNY Book Arts Center. Other references were sourced from Page and Morgans & Wilcox specimen books found in the collection of the Cary Library at RIT, the Newberry Library in Chicago and the archive of the Hamilton Wood Type Museum. [P22]
The zenith script is a homemade typeface that mixes normal and alternate characters for a completely unique result. Create the best brand with formidable, brush letters that appear as crisp as the real element.
Arabic font is a condensed modern-day sans-serif with a futuristic and feminine style. The design has a modular and minimum look with some alternates that play with poor areas by way of taking away components of the letters.
Tiempos textual content is best for body reproduction, with its shorter cap-peak, ascenders, and descenders taking into consideration tighter line spacing without sacrificing legibility. It really works splendid paired with a simple sans font as well.
This brief and stout fashionable graffiti font, Athene, became designed by Matt Ellis. Athene is high-quality for titles and headings in magazines or elegant invites. This download consists of a full set of upper and lowercase letters as well as fun swash alternates.
Din next is an easy and widespread current calligraphy font fashion perfect for signage and print font arts. It includes engraved letters, printing kinds and stencil lettering with numerous font weights.
It has the hand-drawn and human characteristics of a serif, and nevertheless retains the clarity and efficiency of a sans serif font. It combines the fine of each world. Make your next emblem with the splendid sierra font.
Aga Arabesque font was created as a collaboration between Artimasa studio and free layout assets. This calligraphy font screams elegance and fashion. The experience gets admission to a full set of letters, numbers, and punctuation.
The style of the font may vary depending on the letters you choose. Some fonts do not support special characters or were created for a specific purpose. You can see the concept of each letter in the image below. You can also check the typography of all the letters below or take the online test before downloading the font.
The fonts presented on this website are their authors' property, and are either freeware, shareware, demo versions or public domain. The licence mentioned above the download button is just an indication. Please look at the readme-files in the archives or check the indicated author's website for details, and contact him/her if in doubt. If no author/licence is indicated that's because we don't have information, that doesn't mean it's free.
Yes! I do all of my names and initials in Monogram Wizard Plus and then save that as a file. I then open them in Sew What Pro to merge w/ a design (open design first, then merge name or initials). You can also use SWP to merge those bought fonts you are seeing!
They are fully installable font files, able to be used in any software program for testing and comping purposes. They are not allowed to be used in a final project (whether personal or commercial) without purchasing a license.
A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618.
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Alef magazine is a new type of fashion-lifestyle-culture magazine that focuses on the contemporary and hip aspects of life in the Arab world and thus changing in subtle but effective ways the image of the Arab youth/visual culture. It provides in an accessible and attractive manner another reality that hardly makes it into the news. 'Yes there are rich sophisticated Arabs who are very trendy and design-conscious' seems to be one of their visual statements. To this effect they are also visually bridging Arab and western trendiness and trying to commission work and writing that supports this vision. To this end they have started by bringing an arabesque look to their typography (and hopefully this essentially English language magazine will also start to have an Arabic language translation that will also feature contemporary Arabic fonts).
Alef Caps is a mono-spaced (all the letters have the same width) pixel font with seven pixels in width and eight pixels in height. Three fonts are present in the type-family.
1. Alef Caps A: the pixel letters are reversed out of an eight-star shape (that serves as a background frame for the letters)
2. Alef Caps B: the letters are created from an eight-star pixel matrix
3. Alef Caps C: same as Alef Caps B but the negative space is filled with the dots the size of the inner circle of the eight-star pixel
Although based on the same concept, each one of the three fonts gives a slightly different feel when typeset. The fonts are intended for use as drop initial caps and not for titling. However, some words with specific letter combinations could look nice when typeset with Alef Caps.
You can read more about the design process on Pascal Zoghbi's website 29letters.com
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The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines,[1] often combined with other elements. Another definition is "Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes, which were combined with spiralling stems".[2] It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired.[3] Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns.
Arabesques are a fundamental element of Islamic art. The past and current usage of the term in respect of European art is confused and inconsistent. Some Western arabesques derive from Islamic art, however others are closely based on ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art, arabesque decoration is often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.
Claims are often made regarding the theological significance of the arabesque and its origin in a specifically Islamic view of the world; however, these are without support from written historical sources since, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At the popular level such theories often appear uninformed as to the wider context of the arabesque.[4] In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such a connection did exist.[5] The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles that somewhat resemble curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers.[6]
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