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The Google Pixel 11 has appeared in new leaks ahead of its expected launch. The reports reveal possible pricing, storage options, color choices, and release dates. Although Google has not confirmed these details, the latest information offers an early look at the upcoming smartphone lineup.

Essenkia is a beautifully crafted curvy display font from Favowrite Studios, designed to add a distinctive and luxurious touch to any creative project. Whether you need a stylish font for branding, editorial work, or digital designs, Essenkia is the perfect choice for a premium and eye-catching appearance.

What’s Included in the Essenkia Font Pack?

The Essenkia font bundle offers versatility with multiple formats and styles, ensuring compatibility across different platforms and design software. The package includes:

• Essenkia Regular (OTF, TTF, WOFF)

• Essenkia Italic (OTF, TTF, WOFF)

• Web Font Compatibility

• Ligatures & Alternates

• Multilingual Support

Key Features of Essenkia Font

• Easy Installation: Works effortlessly on both PC & Mac.

• Compatible with Popular Design Software: Essenkia is accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even Microsoft Word.

• PUA Encoded Characters: No need for additional design software to access all characters and glyphs.

• Web Font Ready: Ideal for use in digital projects and websites.

Multilingual Support

Essenkia includes support for 65 languages, covering diverse linguistic needs. Some of the supported languages are English, French, German, Spanish, Italian, Dutch, Swedish, Portuguese, Norwegian, and many more.

Ideal Uses for Essenkia Font

Essenkia’s curvy and elegant style makes it perfect for:

• Branding & Logos

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• Website Typography

• Posters & Advertising

Why Choose Essenkia?

Essenkia is a high-quality typeface designed for creatives who want to make a bold and stylish statement. Its premium look, ease of use, and extensive language support make it a must-have font for designers worldwide.

Elevate your projects with Essenkia – the ultimate curvy display font for a luxurious design experience!

BEKLON is a modern stencil font designed to bring a contemporary and stylish look to various design projects. This versatile font is perfect for display, banners, cover designs, and other creative works. The BEKLON typeface bundle includes a complete set of uppercase and lowercase letters, multilingual and currency support, numbers, punctuation, alternative styles, titling, and additional glyphs.

BEKLON Typeface Bundle (OTF & TTF Formats)

The BEKLON font bundle comes in multiple variations, making it a great choice for designers looking for flexibility. The font styles included in this bundle are:

• BEKLON A STANDHOLLOW 1 (OTF & TTF format)

• BEKLON A STANDHOLLOW 2 (OTF & TTF format)

• BEKLON A VRHOLLOW STENCIL (OTF & TTF format)

• BEKLON STENCIL STR 1 (OTF & TTF format)

• BEKLON STENCIL STR 2 (OTF & TTF format)

• BEKLON STENCIL VR (OTF & TTF format)

Key Features of BEKLON Font

• Complete A-Z Character Set (Uppercase & Lowercase)

• Numbers & Punctuation

• Multilingual Character Support

• Alternative Styles & Titling Options

Ideal Uses for BEKLON Font

BEKLON is a font that enhances any creative project with its unique stencil design. It is best suited for:

• Display typography

• Banner design

• Book and magazine covers

• Graphic design projects

• Branding and logo design

• Advertising materials

Why Choose BEKLON?

BEKLON is a powerful font for creating visually stunning designs. Its modern stencil style makes it stand out while maintaining readability and elegance. Whether you are working on digital or print media, BEKLON ensures your designs capture attention and make a lasting impact.

Upgrade your typography today with BEKLON and bring a fresh, stylish look to your creative projects!

According to Prof. Dr. Abdur Rehman, nothing is known about the ethnological background of the Shahis. The local sources known so far do not provide us enough clues and whatever is known from foreign sources is too little to give a reliably true picture. The extant literature dealing with the historical geography of the lands of the Shahis is very meager. The Shahi dynasty, governed the Kabul valley and the old province of Gandhara from the decline of the Kushan Empire in the 3rd century AD. 

The dynasty probably descended from the Kushans, or Turks (Tarushkas). Nothing is recorded until the last king, Lagaturman, who reigned at the end of the 9th century and who was thrown in prison by his minister, named Kallar. Kallar then assumed the throne and founded a new dynasty, the Hindu Shahi. Which ruled the area till the time of Mahmud's invasion of India from Ghazna in 1001 AD. The Shahis maintained a hopeless resistance against Mahmud's forces but fell in 1021 AD. Their kingdom was known as Kabul-Shahan or Ratbel-Shahan, when they had their capital in Kapisa and Kabul, later, Udabhandapura (modern Hund in Swabi district of Khyber Pakhton Khwa) for its new capital.

In ancient time, the title Shahi appears to be a quite popular royal title in Afghanistan and North-Western province of Indo-Pakistan. It has been used by Achaemenids, Sakas, Kushanas, Huns, Bactrians, as also by the rulers of Kabul as well as of Gilgit etc. However, the title has been used by several rulers irrespective of any racial connection and this may refute the above speculation. When the boundaries of the Turki Shahi kingdom of Kabul were extended from the border of Sistan to northern Punjab, in the middle of the 7th century AD, the Turkey Shahi kingdom of Kabul was overthrown by Yaqub bin Lais in 870 AD. The Hindu Shahi dynasty established its rule after the downfall of the Turk Shahis, and with the passage of time extended boundaries of its kingdom. 

According to Al-Biruni, the Turk Shahis were succeeded by a dynasty known as the Hindu Shahis. The term 'Hindu Shahis' was first coined by Al-Biruni for the purpose of distinguishing the two dynasties.' Al-Biruni gives the names of few kings, of whom the last three are known to have covered 25 years of that period. The exact date of the origin of this dynasty is not recorded however; the duration of this dynasty was about 183 years. Al-Biruni viewed origin of the Hindu Shahis about 843 AD, and end of their rule in 1026 AD.

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 CHARACTERISTIC OF THE INDUS VALLEY CIVILIZATION 

Hallmark of the Indus was town planning, fortification wall and a well-designed system of drains. The Indus cities were marked by a remarkable planning unheard of elsewhere in 3rd millennium BC. The streets were laid at right angles to each other. The settlement was divided into a citadel, on higher ground and lower town. The layout of either town was a gridiron pattern of streets about 30 feet wide, running in North South and East West directions. The most important aspect of the Indus civilization is the urban life style apparently maintained in the cites. These were built according to grid plans, and contained efficient sewerage systems; public edifices, such as baths and granaries, that required considerable building technique; and living quarters that suggest strongly structured social groups. All this helped to confirm the city as the center of power. Among the other features of Indus Civilization is the artifact of stone, copper & bronze equipments, ornaments and pottery.

CAUSES AND DOWN FALL OF THE INDUS VALLEY CIVILIZATION 

The great urban civilization of Indus endured for centuries of peaceful life unaffected by the outside world. But how this metropolis came to an end? Attempts have been made to explain this enigmatic phenomenon by accusing Indra, the mightiest god of the Rig-Veda, and the warrior exalting tribes of from the north, but with little convincing results. Among the causes for desertion of the ancient cities of the Indus after 1800 BC, progressive aridness of the Valley may have been one. Another possibility may be the growing danger of floods which compelled the inhabitants to evacuate these cities. The floods, however, could not have accounted entirely for the desertion of these cities, though possibly climatic changes and gradual decline in the material prosperity of the Harappa could have been the contributory causes. There is a remarkable dearth of weapons of defense and war and it is probable that those rich cities with their un-warlike mercantile population, were either ransacked by the invading tribes from the neighboring hilly regions or that the inhabitant were compelled to migrate to more fertile valleys when dry and arid climatic conditions started prevailing of the Indus Valley.

Such distorted imagery reinforces sexist attitudes and exacerbate discriminatory conditions and behavior. For instance, hundreds of studies exploring the impact of television have found a correlation between heavy TV viewing in children and teens and stereotyping of occupational roles and domestic chores; increased agreement with statements such as "women are happiest at home raising children" and "men are born with more ambition than women"; and the exhibition of greater sex- typing behavior for gender related qualities and activities e.g. independence and an affinity for sports in boys; warmth and an interest in cooking for girls (Signorelli, 1992) 

Teenagers are especially targeted by advertisers and therefore by the media they support. And the dominant messages embodied in the media most popular with kids — video games, movies; magazines — are often the most profoundly anti-social. This is doubly disturbing considering that teenagers are at an unusually vulnerable stage in their developmental process, making them more sensitive than ever to messages about physical appearance, identity and peer acceptance. For girls, in particular, these trends appear to have increasingly significant consequences. Appreciating what is known about the self-esteem issues faced by girls as they move through their teens to young adulthood, the preponderance of messages about the impossible-to-attain feminine ideal (constructed through the use of exceptionally thin models that have invariably been graphically enhanced), expected sexual availability, and limiting career opportunities need to be challenged and counteracted. And although the precise extent to which mainstream advertising and entertainment products exert a negative influence on young women's self-esteem and body image is difficult to determine (and complicated by many other variables), health professionals, educators and parents readily recite the consequences observed anecdotally.

The media are one among many influences that contribute to gender role acquisition. Researchers studying the effects of stereotyping in the media typically begin with some general assumptions of gender role acquisition and apply it to the issue of media. Three approaches to gender role acquisition predominate in the literature on the effects of media on gender learning. These are the Psychoanalytic theory, Social learning theory and Cognitive developmental theory.

Opinion Making and Attitudinal Change 

Media resources shape our understandings, which guide our individual actions and activities, and also influence collective decision-making processes and policy formation in the public and political spheres. Thus, the media can play a role in bringing about social change. 

Pervez (1986), a renowned psychologist articulates that media is a cultural force, which not only reflects the social reality, but also modifies it according to the demands of the age. The contents of the media serve as a model and source of identification and gratification of certain psychological needs. 

Whereas Rider in her book "Our Voices" (2000) articulate that media images are powerful tools of socialization, shaping and reinforcing both positive and negative attitudes.

The relationship of media and reality is of a vicious cycle; media affects in constructing reality and thus the constructed reality provides content for media as it is said that "media mirrors reality". The stereotypical portrayal of genders restricts the potential of humans and limits their capabilities because the media influences them to conform to the prevailing culture.

Although it is an issue that is often neglected, the media play a significant role in providing many of the resources which we use to think about gender and gender related issues: about what it means to be a woman or a man, about gender roles in the public and private spheres, sexuality, parenthood, and what we consider to be (or not to be), natural, normal, acceptable, desirable and possible in relation to these aspects of our lives. 

The media are also sites, or spaces, where gender and gender issues can be discussed and debated, both in news and in fiction, and they can play a significant role in determining whether or not gender issues will widely be considered important and legitimate social, political and cultural issues in a particular society.

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