TYPE DESIGN INFORMATION PAGE last updated on Fri Sep 24 22:14:06 EDT 2021
FONT RECOGNITION VIA FONT MOOSE
Typefaces and type design for Arabic
Madrid (and before that, Lebanon)-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.
At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:
Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:
Designer in Aleppo, Syria, who made these fonts for Arabic: A-Badie-Shahba (1990, Agfa), Joude, ABH-Ogaret-Light, Badie-Dimah-Normal, Badie-Falcon, Badiefont-Dima, Badiefont-Sabeel, SAHBA-NEW. All were done between 1993 and 2003. [Google] [More] ⦿
Aamir Wali obtained his BS degree in Computer Sciences from National University of Computer and Emerging Sciences, Lahore, in 2002 and MS in Computer Science from the same university 2004. He is a lecturer and faculty member in Center for Research in Urdu Language Processing at National University of Computer and Emerging Sciences, Lahore, Pakistan. Since then he has been doing R&D in script processing of Urdu. His has incorporated OpenType GSUB Table 8 into Linux's rendering engine Pango and has worked on OpenType fonts for Urdu such as Nafees Nastaliq, Nafees Naskh and Nafees Pakistani Naskh. At Typotechnica 2005 he spoke on "Contextual Substitution in Nafees Nastaliq Script". [Google] [More] ⦿
Iraqi type designer who created the traditional Kufi Arabic typeface Firas (2005), which won the second prize for calligraphic Arabic type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype.
Contributor to the GNU Freefont project, where he was responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
Creator of the free font FreeFarsi Monospace about which he writes: This release is first release of this sets that contain one font, FPUF-nakhost, that is based on the Nazli fonts from www.farsiweb.info. FPUF fixed some Unicode problems. The rest of this project's fonts is Copyright 2004 2005 2006 2007 GNUIran.org. [Google] [More] ⦿
Aka Abody Ammar. Damanhar, Egypt-based designer. Co-designer with Yousuf Gamal of the fun fluid Arabic typeface Marshmallow (2017). Free download for personal use.
In 2017, Abd Al Raoof (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Raoof. Still in 2017, Yousuf Gamal (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Caramel.
Abdo Fonts (was: Future Soft Egypt)
Abdulsamie Rajab Salem (b. 1968), the founder of Abdo Fonts, published many typefaces from 1998 until 2000 under the name Future Soft. In 2000 he created these Arabic fonts: FS_Abdo, FS_Africa, FS_Ahram, FS_Alex, FS_Alex142, FS_Alex7471, FS_Arabic, FS_Bold, FS_Egypt, FS_Free, FS_Graphic, FS_India, FS_Japan (oriental simulation face), FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Wood. They can be downloaded here and here. Here we have FS_Africa, FS_Ahram, FS_Alex, FS_Arabic, FS_Black, FS_Bold, FS_Egypt, FS_Free, FS_Future, FS_Graphic, FS_India, FS_Japan, FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Pincel, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Strip, FS_Wood, all made in 2000. See also here. Other fonts by him include FS_Cairo, FS_Diwany, FS_Modern1, and FS_Modern2.
Based in Tanta, Egypt, he designed these typefaces at his own foundry, Abdo Fonts: Abdo Misr (2013: rounded Kufi / geometric style), Abdo Screen (2013), Abdo Naskh (2013), Abdo Rajab (2013, which grew out of FS Rajab, 1998-2000), Aldo Salem (2013, a revival of his own FSSalem, 1998-2000), Abdo Joody (2013) and Abdo Egypt (2013) Abdo Line (2012) is an elegant text typeface in a simple Naskh style, designed for books and magazines. See also Abdo Title (2013), Abdo Free (2013) and Abdo Logo (2013).
Typefaces from 2014: Abdo Master (+Outline).
Port Said, Egypt-based designer of the free Arabic typeface Air Strip Arabic (2012, together with Ibrahim Hamdi). For Zakariya Saleh (Palestine), he programmed the Ara Ahrar font in 2011. For Abdullah Naser Alharbi (Saudi Arabia), he programmed the Arabic typeface Ara Alharbi Alhanoof in 2012. For Ibrahim Hamdi and Zakariya Saleh, he programmed the extensive Kufyan Arabic typeface mfamily, also in 2012. In 2011, he designed Aref Menna and Aref Graffiti.
In 2016, he designed the gorgeous Aref Kufi typeface, the free Aref Ruqaa (with the help of Khaled Hosny, Kalapi Gajjar and Nzar Design for Kurdish support), and the advertizing typeface Aref Albasel. [Google] [More] ⦿
A number of free Arabic script fonts by Abdul Aziz Mangrio: Mangrio-Aziz_Herodep, Mangrio-Aziz_Hindi, Mangrio-Aziz_I-Chini, Mangrio-Aziz-Outline-PJG, Mangrio-Aziz_Point-PJG, Mangrio_Aziz_Aftab_Talpur_Styli, Mangrio-Aziz_Bashir_bhand_Wow, Mangrio_Aziz_Dharejo_Dedar_Wood, Mangrio_Aziz_Hizbullah_junejo_S, Mangrio_Aziz_Voiceofsindh.net_Love. In addition, we find free Sindhi style Arabic fonts by these designers:
Born in 1945 in Kayseri, Turkey, Abdullah Tasci entered the Fine Arts Academy in 1967 and graduated from the Graphic Department in 1972. In 1982 he became Assistant Professor at Mimar Sinan University, and retired in 2000. In retirement, he designed font families such as Tasci Kursiv (2000, calligraphic), Tasci Kufi, Tasci Calligraphy and Nokta. Kufiz (2000, Latin) was influenced by the engravings of the Ottoman art and Rumi ornamentations. Tasci Kufi (2009) is constructivist. In 2010, he created the Tasci Sans, Serif and Tasci Condensed families. Tascinorm was published in 2014. [Google] [MyFonts] [More] ⦿
Abdulsamie Rajab Salem
Ali Almasri is the Zarqa and Amman, Jordan-based designer (b. 1986, Zarqa) of the experimental typefaces X-Fire (2006), Relaxic (2005) and Graphiro (2005). He set up the type foundry Abjad in 2014. His typefaces include a fun inline custom typeface for the Wisam barber shop in Zaqra (in 2013), Swissra (2014, a Swiss sans-styled Arabic typeface), Swissra Condensed (2015), Molsaq Pro (2015: a rounded poster font family that features a modern Arabic Naskh with very short descenders and ascenders, and an all-caps Latin counterpart), Allabbad (2017, inspired by the fun hand lettering of Arab graphic design icon Mohieddine Allabbad), Afeesh (2017), Nogoom (2017: inspired by the titles of Egyptian Magazine Alostudio, which used to be published during the 50s-60s), Molsaq Arabic (2015), Molsaq Latin (2015), and Gerlaneu (2006, a 6-style octagonal and geometric family).
In 2020, he co-designed Palsam Pro (Abjad) with Alja Herlah. This rounded sans typeface covers Latin and Arabic. Regarding Palsam Arabic, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.
Adien Gunarta is an Indonesian type designer (b. 1995) who is based in Probolinggo, East Java, and who is studying at Airlangga University, Surabaya, class of 2014. His typefaces can be found under his name or under Teras Grafika (set up in 2015) and Fontastic Indonesia. Adien Gunarta's typefaces are brimming with Indonesian cultural heritage symbols and shapes.
Typefaces from 2010, mostly made with FontStruct: the pixel typeface Benci Malaysia, the hand-printed Nyonya Gendut, the squarish typeface Hutan and the irrgularly sized Madura Regular. He also made the texture / knitting typeface Batik, FoOleD bY GaYUs, Probolinggo (organic), Smasasinema (display face), the texture typeface Serangkaian Pattern, Indo-Malay Confrontation (pixelish), Koruptor and the Bitches (gothic), Qurban Feast, and the curly native pattern typeface Mlungker.
In 2011, he made Kabupaten (a sketch font), Social Monster, Buka Pusa Bersama, Ceria Lebaran, Pajarakan Studs, Batik Gangster, Maharani (hand-printed), Lovely Eunike Hans (hand-printed), the texture typeface Kawung Textile, Wildan Izzur Gunarta, Genius Jempolan Royal (scanbats), Pray For Japan, Quantum of Bali, X-Code from East (Javanese script), Hangeul (Korean simulation face), Halidians Blockserif, Moanday Earn Bored, the paper cut typeface Malingsia, Awesome Java, Mesin Hitung (an LCD face), Eenvoudige Batik (stitching face), Antique Paleoindonesia (patterned face), Kebencian (scratchy face), Kemasyuran Jawa (a display face with an Indonesian look), Probolinggo Sans, Londo Chino, Urban (paper cut face), Bikang Struck, Chana Remedy, Indonesian Woman (pixel dings), People Diverse (pixel dings), DBA Muslim (pixel dings), Turk and Nusa (ball terminal face), Jakarta Recycle (paper fold octagonal face), Halida Sans (a swirly version of Ubuntu), Buka Puasa Bersama (Arabic simulation face), Social Monster (grunge), Ceria Lebaran Normal (lava lamp typeface), Dukungan, Dukungan, Sanjaya Epoch, and Jakarta Sunken (angular face).
In 2012, he created Halidians Blockserif, Penakut, Agoestoesan, Siti Maesaroh (Arabic simulation face), Turk and Nusa, Rest in Phuket (Thai simulation typeface), Chana Remedy, Bunaken Underwater, New Madura, Moro Seneng, Endutt Normal, Antibalon, Hayyu Kaget, Damai Kpk Polri, Damai Pelajar, Jangan Bersedih (hand-printed), Ikan Besar, Senyum (hand-printed), Catatan Perjalanan (fat finger face), Wizzta, and Quick Argani.
Typefaces from 2013: Emilio 19 (athletic lettering font), Bangkit, Faishal Bakeries, Soerjaputera (avant-garde), Soerjaputera Doea (art deco), Sang Fatchurrohmah (lava lamp face), Aceh Darusalam (Arabic simulation face), Revolusi Timur Tengah (Arabic simulation face), Nurkholis (Arabic simulation), Kopleng (alchemic), Menjelajah Halmahera (a ronde font), Jakarta Highends, Smasasinema, Sanjaya Epoch, Mlungker, Dukungan, Thohir Ke Badreah (all caps sans face), Serangkaian Pattern, Endutt (fat finger face), Boutiques of Merauke (a curly typeface), Balinese Family, Zamrud & Khatulistiwa (curly font), Awesome South Korea (great oriental-look font), Freeport Go Away (poster font), Senang Banyol, Don Aquarel, Jawadwipa Adisastra, Si Kancil (fat finger font), Wortellina, Don Butique (hand-printed), Did You See That, Bimasakti.
Typefaces from 2014: Rampung, Prabowo, Larasukma (an abstract shape font), Tafakur (Arabic simulation typeface), Syawal Khidmat (Arabic simulation face), Kurnia (curly script), Kota Surabaya (dingbats of buildings), Hutan Lestari, Kobarapi (spurred typeface), Mukadimah (Arabic simulation, based on ae Cortoba by Arabeyes), Huruf Maranti (upright connected script), Emilio 20 (athletic lettering).
Typefaces from 2015: Gurindam (Dutch art deco), Upakarti, Tyree Friendly Face (rounded sans), Berantas Korupsi, Kanisah (Hebrew simulation font).
Typefaces from 2016: Belacu, Cemong, Bungasai, Semringah, Binarung (masks), Surabanglus (beatnik style).
Typefaces from 2019: Kembang (dingbats).
Type foundry, aka Adlertype, from the middle part of the 20th century, located in Pavona, Italy. Their 1978 catalog includes these typefaces: Forma (sans), Impressum, Times, Modulario, Sirio (sans), Esperia (sans), Victoria, Ionic, Excelso, Bodoni, Aulico, some dingbats, and Akkad (simplified Arabic). [Google] [More] ⦿
Adriana Perez Conesa is a Spanish graphic and typeface designer, currently based in Barcelona. She studied art and graphic design at the University of the Basque Country. Graduate of the MATD program at the University of Reading, class of 2020. Her typefaces:
Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).
Fonts made in 2010: The ETH family (art deco sans).
Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).
At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).
In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.
In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).
In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.
Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).
Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).
Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).
Typefaces from 2021: Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).
The "ae" file [ae stands for Arabeyes] contains these free Arabic truetype fonts: ae_AlArabiya, ae_AlBattar, ae_AlHor, ae_AlManzomah, ae_AlMateen-Bold, ae_AlMohanad, ae_AlMothnna-Bold, ae_AlYermook, ae_Arab, ae_Cortoba, ae_Dimnah, ae_Electron, ae_Furat, ae_Granada, ae_Graph, ae_Hani, ae_Haramain, ae_Hor, ae_Japan, ae_Jet, ae_Kayrawan, ae_Khalid, ae_Mashq, ae_Mashq-Bold, ae_Metal, ae_Nada, ae_Nagham, ae_Nice, ae_Ostorah, ae_Ouhod-Bold, ae_Petra, ae_Rasheeq-Bold, ae_Rehan, ae_Salem, ae_Shado, ae_Sharjah, ae_Sindibad, ae_Tarablus, ae_Tholoth. Elsewhere, we can download these 37 Arabic fonts: AlArabiya, AlBattar, AlHor, AlManzomah, AlMateen-Bold, AlMohanad, AlMothnna-Bold, AlYarmook, Arab, Cortoba, Dimnah, Electron, Furat, Granada, Graph, Hani, Haramain, Hor, Japan, Jet, Kayrawan, Khalid, Mashq-Bold, Mashq, Metal, Nada, Nagham, Nice, Ostorah, Ouhod-Bold, Petra, Rasheeq-Bold, Rehan, Salem, Shado, Sharjah, Sindbad, Tarablus, Tholoth. [Google] [More] ⦿
Free Arabic fonts: AL-mohtrefen-2, Andalus, FS_Abdo, FS_Point, FS_Rajab, MCS-Abha-S_I-curve, MCS-Abha-S_I-normal, MCS-Abha-S_U-curve, MCS-Abha-S_U-normal, MCS-Abha-S_U-round, MCS-Alhada-S_I-normal, MCS-Alhada-S_U-normal, MCS-Alsalam-E_U-3d, MCS-Alsalam-E_U-normal, MCS-Alsalam-S_I-normal, MCS-Alsalam-S_U-normal, MCS-Andalos-E_I-3D, MCS-Andalos-E_I-normal, MCS-Andalos-E_U-3D, MCS-Andalos-E_U-normal, MCS-Andalos-S_I-normal, MCS-Andalos-S_U-fissured, MCS-Arafat-E_I-3d, MCS-Arafat-E_I-normal, MCS-Kofy5-S_U-normal, MCS-Kufy-E_U-3D, MCS-Kufy-Madany-E_U-3D, MCS-Kufy-madany-E_U-normal, MCS-Kufy-madany-S_U-normal, MCS-Madina-E_U-3D, MCS-Madinah-E_U-normal, MCS-Madinah-S_U-normal, MCS-Makkah-E_U-3D, MCS-Makkah-E_U-normal, MCS-Makkah-S_U-normal, MCS-Makkah-S_U-slim, MCS-Mamloky-E_I-3D, MCS-Mamloky-S_U-adorned, MCS-Mamloky-S_U-normal, MCS-Modern-E_U-3d, MCS-Modern-E_U-normal, MCS-Modern-S_U-normal, MCS-Mosque-S_U-normal, MCS-Mozdalifa-S_U-honey, MCS-Mozdalifa-S_U-normal, MCS-Nask-E_U-3d, MCS-Nask-E_U-normal, MCS-Nask-S_U-normal, MCS-Omalgora-E_U-normal, MCS-Omalgora-S_I-adorned, MCS-Omalgora-S_U-normal, MCS-Ophor-S_U-normal, MCS-Quds-S_U-normal, MCS-RedSea-S_U-normal, MCS-Rika-S_U-normal, MCS-Rikaa-E_U-3D, MCS-Rikaa-E_U-normal, MCS-Shafa-E_U-3D, MCS-Shafa-E_U-normal, MCS-Shafa-S_U-normal, MCS-Shafa-S_U-round, MCS-Slim-S_U-normal, MCS-Taif-E_U-3d, MCS-Taif-E_U-normal, MCS-Taif-S_U-normal, MCS-Talayea-S_U-normal, MCS-Taybah-E_U-3d, MCS-Taybah-E_U-normal, MCS-Taybah-H_I-normal, MCS-Tholoth-E_U-3D, MCS-Tholoth-S_U-normal, MCS-Wadiy-E_U-normal, MCS-Wadiy-S_U-normal, MCS-Zamzam-S_U-normal, MCS-mamloky-E_U-normal, MCSALMAALIMHIGH, MCSALSALAAMHIGH, MCSTOPAZ3D, faisal-free, onaizah-ayman. [Google] [More] ⦿
Designers of these Pashto fonts: PashtoAryob, PashtoBreshna, PashtoGhani, PashtoGharghakht, PashtoGorbat, PashtoHamza, PashtoHotak, PashtoNazo, PashtoPasarlai, PashtoReshtin, PashtoRishad, PashtoZazi. The company is also known as Watan Afghanistan. [Google] [More] ⦿
Dammam, Saudi Arabia-based designer of the Arabic typeface Nadher (2017). In 2017, Ahlam Alsaqrah, Maryam Almohanna, Ashwag Madkhli, and Faten Almogeem co-designed the Book of Life font. [Google] [More] ⦿
In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. Behance link. [Google] [More] ⦿
Designer of ASV Codar (1995, Linotype), about which Linotype writes: ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts include Latin glyphs (Palatino Roman and Palatino Bold), allowing a single font to set text in both most Western European and Arabic languages. The two ASV Codar fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. Klingspor link. [Google] [MyFonts] [More] ⦿
Pakistani calligrapher who developed the calligraphic Urdu script Noori Nastaliq in the 1970s. It was sold by (Agfa) Monotype but since 2009, copyright and trademark of the font has returned to Tariq Jamil Mirza / Ahmed Mirza Jamil. He has been awarded with TAMGHA-I-IMTIAZ by the government of Pakistan in 1982. [Google] [More] ⦿
Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:
Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.
Iraq-based type designer whose typefaces are hosted on our site. All his fonts are free for personal use. For non-personal use, please send an email to email@example.com. The list of his typefaces:
Saudi graphic and type designer. Creator of the (Arabic) Chams font family made for the redesign of the Shams Newspaper in Saudi Arabia. The font was digitized by Hasan Abu Afash from Palestine. Al Mohtaraf is his graphic design house with branches and affiliated offices in the Arabian Peninsula and the Middle East. AlMohtaraf has developed complete families of Arabic fonts named AlMohtaraf, AlDarah (for the magazine), AlYawm (for the magazine), Modern, Cortas (or Qurtas: for the Qurtas food company), Mizan, Watad, Basit, SHB (or Saudi Hollandi Bank Font) and Metro. Midan Regular (Linotype) is free at OFL. [Google] [More] ⦿
Dammam, Saudi Arabia-based co-designer (with Sara A. Al Suwaiygh, Al Khobar, Saudi Arabia, and Fayzah Alghamdi, Dammam, Saudi Arabia) of the Arabic typeface Fulad (2017). In 2016, she designed another Arabic typeface. [Google] [More] ⦿
Designer (?) in 2000 of the Arabic fonts AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam, Bader, Othmani, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, Zokrofi. They can be downloaded here. [Google] [More] ⦿
Alan M. Stanier from Essex University (UK) has created the following metafonts: ams1, cherokee, cypriote, dancers (the "Dancing Men" code of Conan Doyle), estrangelo (ancient Syriac language), georgian, goblin, iching, itgeorgian, ogham (found on ancient Irish and pictish carvings), osmanian (twentieth-century font used in Somalia), roughogham, shavian, southarabian (for various languages circa 1500BC), ugaritic (ancient cuneiform alphabet). More direct access. [Google] [More] ⦿
Alan M. Stanier
Great Unicode jump page. Has a page showing all fonts that support the various Unicode ranges. Check, for example, his Shavian Unicode sub-page. Unicode font utilities. Some font downloads, including the Unicode font MPH Damase (2005, Mark Williamson). [Google] [More] ⦿
Alawi Hashim (Islamic Art Tools) made the free Arabic fonts MCS-Hor-1-S_I-Abrade-2000, MCS-Hor-1-S_I-Flag-2000, MCS-Hor-1-S_I-Normal-2000, MCS-Hor-1-S_I-Snail-2000, MCS-Hor-1-S_I-Wave-2000, MCS-Hor-1-S_U-Normal-2000, MCS-Hor-1-S_U-Snail-2000, MCS-Hor-2-S_I-Normal-2000, MCS-Hor-4-S_U-Bite-2000 and MCS-Hor-8-S_I-Normal-2000 in 2005. These can be downloaded here. [Google] [More] ⦿
Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:
Sudanese type designer who created the Arabic display typeface Isra (2005), which won the first prize for Arabic display type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [MyFonts] [More] ⦿
Mohammad Alagha is Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts), an Arabic font producer active since 1994. The (beautiful!) AGA Fonts for Arabic are exclusively sold by Almedia Interactive Limited, which is based in the UK. His fonts include AGA-AbasanRegular, AGA-AladdinRegular, AGA-BattoutaRegular, AGA-DimnahRegular, AGA-FuratRegular, AGA-GranadaRegular, AGA-JuhynaRegular, AGA-KayrawanRegular, AGA-MashqBold, AGA-MashqRegular, AGA-NadaRegular, AGA-PetraRegular, AGA-RasheeqBold, AGA-SindibadRegular.
Another URL. Free font sublink. Fontspae link. Dafont link. Download here. The beautiful dingbat fonts AGA Arabesque and AGA Arabesque Desktop (1994-1996) are here and here. OFL link. [Google] [More] ⦿
Amanat Ali Goher
Tabriz, Iran-based designer (b. 1990) of these typefaces:
Amin Ebrahim Kamal
Amjad Hussain Alvi
Andreu Balius Planelles
Free downnloads of Ahem, Clockopia, DroidSans-Bold, DroidSans, DroidSansFallback, DroidSansFallback, DroidSansHebrew, DroidSansJapanese, DroidSansMono, DroidSansThai, DroidSerif-Bold, DroidSerif-BoldItalic, DroidSerif-Italic, DroidSerif, MotoyaLCedar-W3-90ms-RKSJ-H, MotoyaLMaru-W3-90ms-RKSJ-H. Droid (2007) and Clockopia (2009) are by by Google (2007) and Motoya is by Motoya Corporation (2010). Ahem (2010, Todd Fahrner) is for the CSS Samurai's browser testing. Motoya was created for mobile machines. [Google] [More] ⦿
Angel's Chinese name is Tsz Yan Kwong. Graduate of the MATD program at the University of Reading, class of 2019, who lives in Hong Kong.
Winner of an award at the Type Directors Club's Type Design Competition 2019 for Chek Lap Sans, which won an award at the Type Directors Club's Type Design Competition 2019. Chek Lap sans was developed at the School of Design of The Hong Kong Polytechnic University. Angel wrote: Chek Lap Sans is a Traditional Chinese typeface designed specifically for signage of the Hong Kong International Airport in Chek Lap Kok, aiming for both functionality and personality. The typeface is designed with considerations of legibility under negative polarity display, to suit the need of the current blue light-box signs with white text. It has generous negative spaces within character, optical adjustments to compensate the glowing effect, and subtle features that contribute to its visual identity. It also includes relevant icons with references to the local context. Several design decisions were informed by the findings from user tests.
Her graduation typeface at the University of Reading was Tabloid (2019), which was designed for reading online material on screens. There are five styles covering three scripts (Latin, Traditional Chinese, Arabic). [Google] [More] ⦿
Anton van de Repe
Pathetic quality from an aging company. Lots of choice though: Arabic fonts AlBayan (TrueType and Postscript), Baghdad (TrueType and Postscript), Cairo (bitmap), Geeza (TrueType and Postscript), Kufi (TrueType and Postscript), Nadeem (TrueType and Postscript), Thuluth (Postscript), Persian fonts Amir (TrueType and Postscript), Ashfahan (TrueType and Postscript), Kamran (TrueType and Postscript), Mashad (TrueType and Postscript), NadeemFarsi (TrueType and Postscript), Tehran (bitmap). [Google] [More] ⦿
Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer Saad Dean Abulhab (b. 1958, sacramento, CA), who in 2000 patented the Mutamathil (unified and symmetric) type style for Arabic. He grew up in Karbala and Baghdad, Iraq, but was born in Sacramento, CA. He attended the University of Baghdad, and holds a Bachelors degree in electrical engineering from Polytechnic University and a masters degree in library and information science from Pratt Institute, both in New York. He resides in the USA since 1979. In 2004, he set up Arabetics.
His type design work covers Arabic, Urdu, Persian, Kurdish, and Pashtu.
His typefaces include Zena (2009), Layal (2007), Mehdi (2005: follows the guidelines of the Mutamathil Taqlidi type style), Sabine (2008: it too follows the guidelines of the Mutamathil Taqlidi type style), Fallujah (2005), Mutamathil Falujah, Yasmine Mutamathil, Mutamathil Taqlidi, Arabic Mutamathil, Arabic Mutamathil Mutlaq (2004), Arabic Mutamathil Tibaah, Arabic Mutamathil Mutlaq Tibaah, Arabic Mutamathil Muttasil and Arabic Mutamathil Tibbaah Muttasil. Mutamathil and Mutamathil Taqlidi include optional Lam-Alif ligatures. See also Kufa Mutamathil (2011). Other font families: Nasrallah, Silsilah, Yasmani, Mutamathil, Yasmine Mutamathil, Amudi, Amudi Mutamathil, Anbar (2008), Handasi, Yasmine Mutlaq, Jazm (2010), Jalil (2011).
In 2005, he created Handasi, about which he writes: The idea behind Handasi, Arabic word for engineered, was to design a font without a single curve that would at the same time resembles traditional curves-rich Nask style. The font strictly uses straight lines. The design of Handasi is based on the Mutamathil Taqlidi design style where each letter is represented by one normal glyph assigned the basic Unicode number and an additional final shape glyph to letters capable of dual connection within traditional Arabic text. No initial, medial, or standalone shapes are provided.
Arabetics Symphony (2012) is a sans serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts.
Typefaces from 2016 include Mashq, possibly the first typeface implementation ever of the early Quranic scripts of the Early Mashq, Mashq Kufi, and Mashq Ma'il. The font family design is primarily based on the scripts of the Quran manuscripts of the Topkapi Museum, the Bergstraesser Archive, and other scattered samples.
Typefaces from 2018: Arabetics Detroit.
Typefaces from 2020: Arabetics Aladdin.
Free GNU license package of Arab truetype fonts developed by the Arabeyes.org project in 2003, and maintained by Khaled Hosny:
Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More] ⦿
Arabian Company for Advanced Computer Systems
Egyptian designer in 1992-1994 of these Arabic fonts: ACS-Akeek-Bold, ACS-Akeek-Extra-Bold, ACS-Akeek, ACS-Almass-Bold, ACS-Almass-Extra-Bold, ACS-Almass, ACS-Bassmalah, ACS-Fayrouz-Bold, ACS-Fayrouz-Extra-Bold, ACS-Fayrouz, ACS-Hieroglyphic, ACS-Islamy, ACS-Koraan, ACS-Morgan-Bold, ACS-Morgan-Extra-Bold, ACS-Morgan, ACS-Symbols, ACS-Topazz-Bold, ACS-Topazz-Extra-Bold, ACS-Topazz, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod. They can be downloaded here, here and here. [Google] [More] ⦿
Quoting passages from Monotype on the Arabic scripts. Derived from Nabatean, an ancient Semitic script, Arabic script is an alphabet of 28 basic letters of which 25 are consonants, while three letters double as semi-vowels and long vowels. The overwhelmingly consonantal nature of the Arabic alphabet is well suited to the Semitic roots of the Arabic language. In fact, the writing systems of most Semitic languages (see also Hebrew&Syriac) follow the same basic model which can be traced back to Phoenician script. Written from right to left, Arabic is a cursive script in which most letters connect with their neighbors. Arabic script has no block letters, nor does it distinguish letters as upper or lower case. Instead, each letter can have up to four contextual forms: initial, medial, final and separate. When necessary, short vowels and consonant lengthening (gemination) can be indicated by means of small, unattached diacritic marks above and below the basic letters. However, it should be noted that the use of diacritics is usually restricted to Koranic, educational, poetic and unusually complex texts. For instance, diacritics almost never appear in newspapers. Although Arabic text flows in general from right to left, numbers, which are referred to as 'Indian numbers', are written from left to right. For this reason, Arabic script is sometimes described as bidirectional. Since the Nabatean language had fewer sounds than Arabic, the first forms of Arabic script suffered some deficiencies. The Arabic alphabet in its earliest stages consisted of only 15 consonant letters, many of which stood for more than one sound. With time, the sound represented by each letter was made unambiguous through the addition of dots, a distinctive feature borrowed from Syriac script. Also of great importance was the use of some letters to represent both consonants and long vowels. For instance, alef, originally used only for the glottal stop, began to be used also for the long vowel [a:]. Similarly, waw was used as both [w] and [u:]. At a later stage, small diacritics were added to represent short vowels as needed. As the repertoire of Arabic literary texts grew, these developments gained momentum. Even though Arabic script is best suited to Semitic languages, it is, or has been at one time, used to write the following languages which belong to other language families: Farsi, Turkish, Urdu, Pashto, Kashmiri, Sindhi, Malay, Uighur, Hausa, Swahili, etc. In order to accommodate the non-Arabic sounds of these languages, new letters were formed through new combinations of dot diacritics and small appendages with basic Arabic symbols. While it is commonly known that the Latin script has been used for writing more languages than any other script, few recognize that Arabic script follows in second place. The global spread of Islam has been instrumental in the simultaneous spread of Arabic script. Because of the dominant role of calligraphy in Islamic arts, many diverse styles of Arabic script have flourished over the centuries. Among the best known of these calligraphic styles are Naskh, Kufi, Ruqaa, Nastaliq, Maghribi, Diwani and Thuluth. [Google] [More] ⦿
Knut S. Vikor's Arabic Macintosh page explains about the use of Arabic on Macs. He points out that Macs come with six Arabic fonts already installed, Geeza Pro (the system font), Al-Bayan, Baghdad, DecoType Naskh, Kufi Standard and Nadeem. [Google] [More] ⦿
Arabic fonts in one zip file: ACS-Almass-Bold, ACS-Almass-Extra-Bold, ACS-Almass, ACS-Bassmalah, ACS-Fayrouz-Bold, ACS-Fayrouz-Extra-Bold, ACS-Fayrouz, ACS-Hieroglyphic, ACS-Islamy, ACS-Koraan, ACS-Morgan-Bold, ACS-Morgan-Extra-Bold, ACS-Morgan, ACS-Symbols, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod, AF_Abha-Normal, Hesham-AlSharq-Normal-Traditional, Hesham-Kashkool-Normal-Traditional, AF_Al-Ahsa-Normal, AF_Al-Hada-Simplified, AF_Aseer-Normal, AF_Buryidah-Normal, AF_Diwani-Normal, AF_Ed-Dammam-Normal, AF_El-Kharj-Normal, AF_El-Khobar-Normal, AF_Hijaz-Normal, AF_Jizan-Normal, AF_Najed-Normal, AF_Quseem-Normal, AF_Riyadh-Normal, AF_Tabook-Normal, Hesham-Cortoba-Normal-Traditional, Hesham-Ghorn-Italic, Hesham-Gornata-Normal, AF_Taif-Normal, Hesham-Free-Normal-Traditional, AF_Unizah-Normal, AF_Unizah-Normal, AF_jeddah-Normal, AGA-Abasan-Regular, AGA-Aladdin-Regular, AGA-Battouta-Regular, AGA-Dimnah-Regular, AGA-Furat-Regular, AGA-Granada-Regular, AGA-Juhyna-Regular, AGA-Kayrawan-Regular, AGA-Mashq-Bold, AGA-Mashq-Regular, AGA-Nada-Regular, AGA-Petra-Regular, AGA-Rasheeq-Bold, AGA-Sindibad-Regular, AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, AdvertisingBold, AdvertisingExtraBold, AdvertisingLight, AdvertisingMedium, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam, MCS-Haramain.-Band-2000, MCS-Haramain.-2000, MCS-Hor-1-S_I-Abrade-2000, Astute-Regular, Bader, Bassam-Ostorah, Borderbats-Filligree-Regular, Compass-Regular, Cut-n-Paste-Regular, Dahrlin-Regular, Daniela-Regular, DropCaps-Regular, FS_Future, FS_Africa, FS_Ahram, FS_Alex, FS_Pincel, FS_Strip, FS_Arabic, FS_Arabic_Kidnap, FS_Arabic_Kidnap_Dots, FS_Arabic_Kidnap_Points, FS_Arabic_Kidnap_Border, FS_Arabic_Kidnap_Shatter, FS_Black, FS_Bold, FS_Cairo, FS_Diwany, FS_Egypt, FS_Fantazia, FS_Fantazia_Thin, FS_Free, FS_Graphic, FS_Hand_Style, FS_Hand_Style_Thin, FS_Hilal, FS_Hilal_Border, FS_Hilal_St, FS_Hilal_St_Dots, FS_India, FS_Japan, FS_Jet, FS_Kofi_Modern, FS_Lotas, FS_Metal, FS_Modern1, FS_Modern2, FS_Modern3, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Shehab, FS_Shehab_Stripe, FS_Wood, FirstGrader-Italic, Funstuff-Bold, Garnet-Bold, Gymnastics-Regular, Hesham-Bold, Hesham-Nagham-Normal-Traditional, HandScriptLefty-Bold, HandStroke-Italic, Hesham-Fostat-Normal-Traditional, Hesham-Normal, HighNoon-Italic, Julius-Regular, Keycaps-Regular, M-Unicode-Abeer, M-Unicode-Dawlat, M-Unicode-Diala, M-Unicode-Hadeel, M-Unicode-Noora, M-Unicode-Sara, M-Unicode-Sima, M-Unicode-Susan, M-Unicode-Wafa, MCS-Aljalalah., MCS-Badr-E_I-normal., MCS-Badr-E_U-normal., MCS-Badr-S_I-normal., MCS-Badr-S_U-normal., MCS-Basmalah-italic., MCS-Basmalah-normal., MCS-Hor-1-S_I-Flag-2000, MCS-Hor-1-S_I-Normal-2000, MCS-Hor-1-S_I-Snail-2000, MCS-Hor-1-S_I-Wave-2000, MCS-Hor-1-S_U-Normal-2000, MCS-Hor-1-S_U-Snail-2000, MCS-Hor-2-S_I-Normal-2000, MCS-Hor-4-S_U-Bite-2000, MCS-Hor-8-S_I-Normal-2000, MCS-Hor-8-S_U-Normal-2000, MCS-Masahif-S_I-normal., MCS-Masahif-S_U-normal., MCS-P_Mohammad., MCS-Taybah-S_U-rose., MCS-Tholoth-1-S_U-Normal-2000, MCS-ARAFAT-HIGH-DEC-OUT, MCS-CLOCK-FAT, MCS-CLOCK-HIGH, MCS-CLOCK-SPINED, MCS-FREEDOM, MCS-TOPAZ, MCS-WADIY-HIGH-BROK-OUT, Mcs-Book-Title-1, Mcs-Book-Title-2, Mcs-Book-Title-3, Mcs-Book-Title-4, Mcs-Book-Title-5, Mcs-Book-Title-6, Mcs-Hadeith-1, Mcs-Hadeith-2, Mcs-Honor, Mcs-Letter-Word-1, Mcs-Letter-Word-2, Mcs-Letter-Word-3, Mcs-Letter-Word-4, Mcs-Letter-Word-5, Mcs-Quran, Mcs-School-1, Mcs-School-2, Mcs-Swer-Al_Quran-1, Mcs-Swer-Al_Quran-2, Mcs-Swer-Al_Quran-3, Mcs-Swer-Al_Quran-4, Mohammad-Dawlat, Motken-noqta-ii, Motken-noqta, Othmani, PageClips-Italic, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, RubyScriptExtrabold-Regular, SC_ALYERMOOK, SC_AMEEN, SC_DUBAI, SC_GULF, SC_HANI, SC_KHALID, SC_LUJAYN, SC_OUHOD, SC_REHAN, SC_SHARJAH, SC_SHMOOKH-01, SC_TARABLUS, ACS-Akeek-Bold, ACS-Akeek, ACS-Akeek-Extra-Bold, ACS-Topazz-Bold, ACS-Topazz, ACS-Topazz-Extra-Bold, Zokrofi. [Google] [More] ⦿
The Arabic script is used for the following languages: Arabic, Farsi (the official language of Iran), Jawi (the Arabic alphabet for Malay used until the 17th century), Kurdish, Pashto (the official language of Afghanistan), Sindhi (an Indo-Aryan language with about 9 million speakers in the south-eastern province of Sind in Pakistan and in India) and Urdu (the official language of Pakistan); it can also be used for Punjabi (which is spoken in Pakistan and the Indian state of Panjab, but only in Pakistan is it written using Arabic script). It is cursive, caseless, and written right-to-left. [Google] [More] ⦿
Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿
This site has a number of free Arabic fonts: AF_Abha-Normal-Traditional, AF_Ed-Dammam-Normal-Traditional, AF_El-Khobar-Normal-Traditional, AF_Hijaz-Normal, AF_Jeddah-Normal-Traditional, AF_Najed-Normal-Traditional, AF_Quseem-Normal-Traditional, AF_Tabook-Normal-Traditional, AF_Tholoth-Normal-Traditional, AF_Unizah-Normal-Traditional, Andalus, FS_Alex, FS_Arabic, FS_Bold, FS_Cairo, FS_Diwany, FS_Fantazia, FS_Free, FS_Future, FS_Graphic, FS_Hilal, FS_Japan, FS_Jet, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rope, MCS-Electron-S_U-normal, MCS-Hijon-S_U-normal, MCS-Hor-1-S_U-Normal-2000, MD_Farsi_1, MD_Farsi_2, Ousbouh. [Google] [More] ⦿
29 New Arabic truetype fonts: AbadiMT, AF_Abha, AF_Ahsa, AF_Aseer, AF_Buryidah, AF_Ed-Dammam, AF_Diwani, AF_El-Hada, AF_Hijaz, AF_Jeddah, AF_Jizan, AF_El-Kharj, AF_El-Khobar, AF_Najed, AF_Quseem, AF_Riyadh, AF_Tabook, AF_Tholoth, AF_Unizah, AkhbarMT, AkhbarMT-Bold, AlexeiCopperplateITC, Algerian, Al_KhatNormal (Al_Khat family by Hisham Diab and Hassan Loutfy), Al_KhatItalic, AGA-Arabesque, AGA-ArabesqueDesktop. [Google] [More] ⦿
If you use LaTeX and want the top of the line in Arabic fonts (and free too!), get the metafont that comes with ArabTex: From the University of Stuttgart, Professor Klaus Lagally's ArabTeX is a LaTeX extension for high-quality Arabic writing. It is free. Lagally is also responsible for the xnsh package for ArabTeX. CTAN archive. He published ArabTEX - Typesetting Arabic with Vowels and Ligatures, EuroTEX'92 (Prague), 1992. [Google] [More] ⦿
Free Arabic fonts: ArabicnewsLight (M. Alkazaz, 1994), MCS-mamloky-E_U-normal., MCS-Jeddah-S_U-fissured., Traditional-Arabic (Glyph Systems, 1993), MCS-Jeddah-S_I-3d., Andalus (Mohammed Alagha, 1993), MCS-Jeddah-S_U-baloon., MCS-Modern-E_U-normal., MCS-Hijon-S_U-3d., MCS-Diwany1-S_U-adorned., MCS-Hijon-E_U-normal. [Google] [More] ⦿
AramediA Group (Boston and Beirut)
George Hallak's outfit specializing in Arabic Fonts for Microsoft Arabic Windows 95 and Sakhr Windows. Glyph's Arabic Fonts (16) for Arabic Win 95, 3 in 1 package 59.00. Sakkal's Arabic&Islamic Calligraphic Designs (PC or Mac) $49.95. Sakhr's Modern Arabic True Type Font is $30.00. Sakhr's Al-Jawaher Fonts Scalable (Khuttout Tajmiliah) is $50.00. ASC's True Type Font Pack one for Ar. Win 3.x is $30.00. Programmers/Localizers/Consultants Arabization&Software Center, Arabic Educational Multimedia. Jawaher Al Horof 4.0 (Editor): Arabic Editor for Design Applications. Arabic Fonts. Arabic Keyboard Tutor. "The Jawaher Fonts Program provides more than fifty different font styles with all available effects, such as bold, italics, shading and molding. The Jawaher Fonts can be operated under the programs Ustaz 3.1 and Desktop Publishing 3.0 with no special operating requirements in working under Microsoft Arabic Windows and Sakhr Windows. 68USD. Other font families: Sakhr, Kofi, Naskh, Reqaa, Akhbar, Persian.
Al Rassam Al Arabi is the same as Kalimat but for Windows. Al Rassam AlArabi lets you add Arabic text into non Arabic photo retouching and illustration programs such as Adobe Photoshop, Illustrater, Freehand. Corel. Al Rassam Al Arabi comes bundled with 20 Arabic fonts. [Google] [More] ⦿
Peter R. Wilson's metafont code (2000-2005) for many archaic languages: Proto-Semitic (16bc), Phoenician (10bc), Greek (6bc), Greek (4bc), Etruscan (8bc), Futharc (Anglo-Saxon, 6ad), Hieroglyphics (30bc: the hieroglf provides a Metafont version of about 80 Egyptian hieroglyphs from Serge Rosmorduc's comprehensive hieroglyph package, see here for a type 1 version called Archaic-Poor-Mans-Hieroglyphs (2005)), Cypriot (9bc). Peter also developed metafont fonts for bookhands. The Archaic ollection contains fonts to represent Aramaic, Cypriot, Etruscan, Greek of the 6th and 4th centuries BCE, Egyptian hieroglyphics, Linear A, Linear B, Nabatean old Persian, the Phaistos disc, Phoenician, proto-Semitic, runic, South Arabian Ugaritic and Viking scripts. The bundle also includes a small font for use in phonetic transcription of the archaic writings. The bundle's own directory includes a font installation map file for the whole collection. The authors are Peter R. Wilson, Uwe Zimmermann and Apostolos Syropoulos. See here for the type 1 fonts Archaic-OandS (2005) and Archaic-OandS-Italic (2005). Here we find type 1 versions called Square-Capitals (2005) and Square-Capitals-Bold (2005). He also made the type 1 typefaces Archaic-Etruscan (2005), Archaic-Runic (2005) and Archaic-ProtoSemitic (2005). Further packages of type 1 and metafont fonts: Archaic-Aramaic (2005), South Arabian (2005, for the South Arabian script, in use for about 1000 years from roughly 600 BC; based on a metafont by Alan Stanier), Archaic-Linear-B (2005: a syllabary used in the Bronze Age (15bc) for writing Mycenaean Greek), Archaic-Nabatean (2005: the Nabatean script used in the Middle East between the fourth centuries BC and AD), Archaic-Old-Persian (2005: the Old Persian Cuneiform script in use between about 500 to 350 BC.), Archaic-Ugaritic-Cuneiform (2005: the Ugaritic Cuniform script in use about 1300 BC), Archaic-Cypriot (1999-2005). [Google] [More] ⦿
Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:
Lebanese type designer who runs the London-based Boutros Foundry with Mourad Boutros. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic. It contains Tanseek Modern and Tanseek traditional.
In 2017, Arlette Boutros designed Boutros Futura, or Futura Arabic, at URW to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. URW's Futura Arabic contains, of course, as a subset, the regular Latin Futura. Still in 2017, Boutros Fonts added URW Geometric Arabic to Joern Oelsner's URW Geometric.
ARP's free text utilities (MS-DOS) and TTF-fonts
Art and Fonts by Sean (aka The BlackBox)
Free fonts by Sean Moldenhauer of Michigan City, Indiana, a graduate of the Art institute of Chicago who apprenticed with Donna Karen. Sean has beautiful Japanese calligraphic prints (shodo style) as well as fonts based on carefully researched historical typefaces. Examples: JapaneseZenSampler1 (2001), TheTombwinterandspring1 (1997, "heavily inspired by the incised letters from the tomb of Henry III, Westminster Abbey, about 1272"), Thorns (1997), VampyresGarden (1997, initial caps inspired by a copy of the Romant de la Rose from the beginning of the 16th century), HoursintheRain (1997), SevenWavessighsSalome (1997, caps). Very nice gothic and medieval style creations. He showcases great Arab, Japanese and Chinese calligraphy. [Google] [More] ⦿
During her studies at German Jordanian University in Amman, Jordan, Arwa Damerji created an Arabic didone display typeface that was inspired by the Nabatean culture (2015). Babylon (2015) is influenced by the ancient city of Babylon. [Google] [More] ⦿
Graduate from the College of Fine Arts, University of Tehran, 2012, b. 1988, Tehran. He created the Farsi typefaces Arya and Paakize in 2013. He currently works as a graphic designer in Salt Lake City, UT. [Google] [More] ⦿
Ashfaq A. Niazi
About 60 free Arabic truetype fonts by Ashur Cherry at Ashurbanipal Software. These include the Arabic, Baghdad and Iraq families. See also here. The original link went dead in 2003. [Google] [More] ⦿
Vendor of Korean, Japanese and Chinese software, including font packs for Mac and PC. AsiaSoft Inc./AsiaTech Inc. is located in Vero Beach, FL. Their font Urdu Naskh Asiatype (2001) for Urdu can be found here and here. Pashto Kror Asiatype (1994-2002) is here. [Google] [More] ⦿
Bantul, Indonesia-based designer of several icon sets (Ecommerce, Football, Bathroom, Moslem Worship), and handcrafted typefaces sucxh as Kinley (2019: monoline script), Layla Script (2019), Star Medina (2019: an Arabic simulation typeface), Zamalek (2019: a script typeface), Seggo Jagung (2019: a minimalist monoline sans), Jaguar (2019: squarish), Sinau (2019: a script typeface) and Modaz (2019: an all caps brush typeface for horror applications).
Atlas Font Foundry
Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).
Type designer based in Yemen. In 2020, he designed the display typeface Sheba (5 styles), Alm Sanaa (for Arabic and Latin), and the sans family Atype Belqees Sans (9 styles, for Arabic, Latin and Persian) at AType.
Typefaces from 2021: Sheba (for Latin and Arabic), Atype Belqees Rounded, Atype Belqees Sharp, Toleen Pro (a 7-style Arabic typeface family that covers Urdu and Farsi as well). [Google] [MyFonts] [More] ⦿
Parisian designer who is part of Dépli, a design studio founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez. Her typefaces there include
Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA.
His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil.
His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998).
The original Avenir typeface was designed by Adrian Frutiger in 1988. Unlike Futura, which has partially colored Avenir, Avenir is not purely geometric---it has vertical strokes that are thicker than the horizontals and a lower case o that is not a perfect circle. And just as most fonts from the 1980s, Avenir has shortened ascenders. These nuances aid in legibility but the small x-height makes it less elegant.
In 2012, Akira Kobayashi worked alongside Adrian Frutiger on Avenir Next. Akira kept expanding Avenir to cover more languages. Avenir Next World family, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.
Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). See also Avenir Next Paneuropean (2021; 56 styles; by Akira Kobayashi). [Google] [MyFonts] [More] ⦿
In 2017, SIL International released version 1.000 and in 2019 version 2.000 of the free Awami Nastaliq font. They write: Awami is an Urdu word meaning "of the people". It is an Arabic script font specifically intended for a wide variety of languages using the Nastaliq style of southwest Asia. This font is specifically aimed at minority language support. Lesser-known languages often require more vowel diacritics than Urdu. They may use a different set of base characters and diacritics, and the base characters often include more nuqtas to represent sounds that are not present in Urdu or standard Arabic. This font includes all the vowel diacritics and base characters (that we are aware of) required for languages using the Nastaliq style of Arabic script. This makes it unique among Nastaliq fonts. Nastaliq is considered one of the most beautiful scripts on the planet. Nastaliq has been called "the bride of calligraphy" but its complexity also makes it one of the most difficult scripts to render using a computer font. Its right-to-left direction, vertical nature, and context-specific shaping provide a challenge to any font rendering engine and make it much more difficult to render than the flat (Naskh) Arabic script that it is based on. As a result, font developers have long struggled to produce a font with the correct shaping but at the same time avoid overlapping of dots and diacritics. In order to account for the seemingly infinite variations, SIL's Graphite rendering engine was extended just to handle these complexities properly. Awami Nastaliq uses the Graphite rendering technology. This is the only freely-available font to provide an authentic Nastaliq style with kerned calligraphic segments. Because of the complexities in supporting lesser known languages, we have not implemented OpenType support in Awami Nastaliq.
Palestinian designer based in Amman, Jordan. She created the Latin typeface Jerusalem in 2015, which is inspired by the architecture of the city. As a student at German Jordanian University, she also created the Arabic typeface Morocco (2015). [Google] [More] ⦿
Cairo, Egypt-based designer of the Arabic typeface Arabella (2014), a typeface based on mixing square Kufic and foliate Kufic. She also made an Arabic companion to Kino MT called Kino Arabic (2014), and created ekry (2015), which was designed with tablets and smart phones in mind, thus mixing the fluidity of Naskh and the modernity of a geometric Kufic. [Google] [More] ⦿
As a student in Jakarta, Azhim Ferdaus created the Latin / Arabic / Hebrew typeface family Ben Yehuda in 2013.
Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. A graduate of the Masters in Typeface Design progra of the University of Reading, she specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. In 2016, Azza joined TypeTogether as a type engineer and type designer.
The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016.
In 2017, she finished Adelle Sans Arabic at Type Together.
In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence. Catalpa was followed in 2021 by Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou. [Google] [More] ⦿
Moroccan computer scientist / typographer who works at the Department of Computer Sciences, Université Cadi Ayyad, Semlalia, Marrakech. He coauthored these papers: (1) Mohamed Elyaakoubi and Azzeddine Lazrek, Arabic scientific e-document typography, 5th International Conference on Human System Learning, ICHSL5, pp. 241-252, Marrakech, 2005. (2) Mostafa Banouni, Mohamed Elyaakoubi and Azzeddine Lazrek, Dynamic Arabic mathematical fonts, Lecture Notes in Computer Science (LNCS), Springer Verlag, Volume 3130, pp. 149-157, 2004. Abstract of the latter paper: This paper describes a font family designed to meet the requirements of typesetting mathematical documents in an Arabic presentation. Thus, not only is the text written in an Arabic alphabet-based script, but specific symbols are used and mathematical expressions also spread out from right to left. Actually, this font family consists of two components: an Arabic mathematical font and a dynamic font. The construction of this font family is a first step of a project aiming at providing a complete and homogeneous Arabic font family, in the OpenType format, respecting Arabic calligraphy rules. [Google] [More] ⦿
Babelfont is a design studio located in Paris and Casablanca that was co-founded by Gia Tran and Brahim Boucheikha. They were later joined by Salaheddine Bellizi. Their typefaces, mostly bespoke, include:
Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry Fontyou. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech.
Brahim Boucheikha (b. Morocco) studied graphic design at the ECV in Paris and was an apprentice of Arabic calligraphy expert Abdallah Akar. He joined the branding agencies Landor (Dubai) and Dragon Rouge (Paris). He has worked at the ESAV (School of Visual Arts) in Marrakech since 2009 as head of the Arabic typography laboratory.
Salaheddine Bellizi is a typographer and 3D designer at Babelfont Studio. He studied at the ESAV (School of Visual Arts) in Marrakech, Morocco, and specializes in Arabic calligraphy and typography. He also works intermittently as an assistant at ESAV Marrakech. [Google] [More] ⦿
Bagh-e Tafarroj Studio
Tehran, Iran-based designer of the Persian typeface Mirza (2017), who explains: Mirza is a contemporary Nastaliq typeface based on the hand of Mirza Gholam-Reza Esfahani, one of the most celebrated Persian calligraphers of Qajar era. This typeface is the result of an extensive study on the best specimens of Mirza Gholam-Reza's work during the last decade of his life. Mirza is a display typeface that fully supports Arabic, Persian and Urdu languages. The Nastaliq figures in this typeface are designed based on the traditional technique seen in Qajar seals. Mirza won an award at Granshan 2017 and at TDC Typeface Design 2018. [Google] [More] ⦿
Arabic font archive: Al-Mujahed-Classic, Al-Mujahed-Gift-5, Al-Mujahed-Untitled, MCS-Hijaz-S_U-adorn., MCS-Hijon-E_I-normal., MCS-Jeddah-S_I-Flay., MCS-Khaybar-E_I-shadow., MCS-Khaybar-S_I-striped., MCS-Modern-E_I-3d., MCS-Mosque-S_U-normal., MCS-Tabuk-S_I-normal., MCSALMAALIMHIGHBROK, MCSFREEDOM, MCSHIJAZHIGH. [Google] [More] ⦿
Bahia Shehab is associate professor of practice of design and founder of the graphic design program at The American University in Cairo where she has developed a full design curriculum mainly focused on visual culture of the Arab world. She obtained a PhD in 2017 from Leiden University, The Netherlands, and a Masters in Arts degree in 2009 from American University in Cairo, Egypt. Designer of Mothalath, which won an award at ProtoType in 2016. [Google] [More] ⦿
Type designer and kinetic graphic designer born in Tehran, Iran (1985). He holds a BA in graphic design with emphasis on typography from the University of Tehran. Since 2005 he has been working with advertising agencies and specializes in graphical animation. Winner at the Letter 2 competition with Harir (2010, Arabic typeface). This typeface was eventually published in 2013 by Typotheque. Peter Bilak blended Harir in with the Latin typeface Lava: Harir is a modern Arabic text typeface featuring three optical sizes, the first typeface of its kind. Harir is based on the Naskh calligraphy style, but is designed to work well with or without diacritics. Its letter proportions and stroke contrasts have been adjusted to create consistent word shapes, and dots have been carefully positioned to help balance the negative space between the letters. After Bahman Eslami completed Harir, Peter Bilak developed a special version of Lava to serve as Harir's Latin character set, perfectly matching its weight, rhythm and contrast. Designers of non-Latin typefaces are often forced to adapt Latin design principles when they want their fonts to work well in multilingual settings. This can result in distorted lettershapes that deviate from the script's tradition and heritage, impairing readability. Harir and Lava provide a unique combination that enables professional-quality multilingual (Arabic, Latin, Greek and Cyrillic) typesetting with no compromises.
In the TypeMedia program at KABK in Den Haag, Bahman designed the graduation typeface Tajrish (2015) for Latin and Arabic.
In 2016, he designed the low-contrast Naskh family Diodrum Arabic (Indian Type Foundry). The Latin letterforms in Diodrum are monolinear and of large x-height.
Type and graphic designr based in Saudi Arabia, who specializes in Latin and Arabic typefaces. Typefaces from 2021: Balaleen (a layerable chunky font for Latin and Arabic, perhaps with applications in children's books). [Google] [MyFonts] [More] ⦿
Designer of the free Urdu / Arabic fonts Jameel Khushkhat-LK (2018: for Arabic, Latin, Farsi, Kazakh, Pashto, Sindhi, Uighur, and Urdu), Qurran Arabic (2016), UrduKhushKhati (2016), KhushKhati (2016), KhushNuma (2016), and LFC Opensource (2016). In 2017, he designed the Nastaleeq typeface Jameel Khushkhat and the Urdu typefaces Noori Khush Khat and Dehalvi Khush Khat. [Google] [More] ⦿
Basim Salim Rashid El-Mahdi was born in 1973 in Alnassiriya, Iraq. He graduated from the Technology Institute / Electricity in Alnassiriya. Since 1998 he works as a graphic designer and calligraphic artist. He is now the head of the Society of Iraqi Calligraphists-Thi-Qar. Basim drew the Basim Marah in CorelDraw and then had it digitized by Hasan Abu Afash. In 2008, Basim Marah was upgraded by Mirjam Somers.
Bayo Suti XV
Imran Nasution [Bayo Suti XV] is the Medan, Indonesia-based designer (b. 1997) of the dingbat typeface Masjid Al Imran (2014), which consists of silhouettes of mosques. Other typefaces from 2014: Semaphore Pramuka, Kingsland Timur (2014, caps), Lake Toba (textured capitals), Ali Air (cursive script), Gang of Sipirok (outlined typeface). In 2015, he designed INF Simpang Ampek (a simple script) and Alphabet SNK (a hacker font).
American type designer who graduated from the MATD program at the University of Reading in 2015. Her graduation typeface was Etincelle, which was designed with long ascenders and descenders to better blend with the deep swashes of a specific style of Arabic used for Ajami languages in northern Nigeria and southern Niger. In addition to Arabic, Etincelle currently includes Greek, Cyrillic, and extended Latin characters. Etincelle Arabic Bold is the first attempt at a typeface design based on handwritten manuscripts from Nigeria, in a style of writing called Rubutun Kano by the speakers of the Hausa language.
Becca is affiliated with SIL International, where she was involved in the following projects:
In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.
Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.
Best 76 Free Arabic Typefaces
Free download of 76 Arabic typefaces, posted in 2016 by Ahmed Alahdal, founder of Wikoles in Alexandria, Egypt: 01 Dubai, 02 Taweel, 03 El-Messiri, 04 Lemonada, 05 Alnaqaa, 06 Cairo, 07 Lalezar, 08 Urkida, 09 Khallab, 10 Molhim, 11 Sbgh, 12 Bouya, 13 Sukar, 14 Hala, 15 Hakm, 16 TypoGraphic, 17 RawafedZainab, 18 Hekaya, 19 Sakhr, 20 Sheba, 21 Yaseer, 22 Halah, 23 JozoorFlat, 24 Hamah, 25 AirStrip, 26 Al-Bayan, 27 Baghdad, 28 Osama, 29 Wasm, 30 Dima, 31 Khaled, 32 Afsaneh, 33 Assaf, 34 Jozoor, 35 Taqniya, 36 Asmaa, 37 Bon, 38 Aqeeq, 39 Nawar, 40 Shekari, 41 DianaXtra, 42 Aban, 43 Diana, 44 AshgarEL-Kharef, 45 Amiri, 46 Mokhtar, 47 Hamat, 48 Yaraa, 49 Hend, 50 Neckar, 51 AlharbiAlhanoof, 52 Moga, 53 IsrarSyria, 54 Omar, 55 Maghribi, 56 Graffiti, 57 Hafs, 58 AlHurra, 59 Sara, 60 Kufyan, 61 Khayal, 62 Kufigraph, 63 Shahd, 64 Sane, 65 Ahrar, 66 Lamar, 67 Sarkha, 68 Shoroq, 69 Tachkili, 70 FiveFarisi, 71 SouriaFree, 72 GannaBirds, 73 ArabicAndroid, 74 Cocon, 75 Ibtisam, 76 Menna. [Google] [More] ⦿
Bigelow&Holmes was founded by Charles Bigelow and Kris Holmes. Charles Bigelow (b. 1945, Detroit) is a type designer and teacher, who runs his own studio, Bigelow&Holmes. Bigelow was a colleague of Donald Knuth at Stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:
From Bitstream's web page: "Bitstream Cyberbit is our award-winning international font. Based on one of our most popular and readable type designs (Dutch 801 BT [note: Bitstream's version of Times and Times New Roman]), it includes all the typographic characters for most of the world's major languages. Cyberbit is now available! The product release includes the roman weight of Dutch 801 BT, a "serif" font. (A serif font has small finishing strokes at the end of the main stems, arms, and tails of characters, while a sanserif font does not.) The font is in TrueType format for Windows 95 and Windows NT. Future releases will provide support for "sanserif" typefaces, other platforms, other font formats, and even more languages. Bitstream Cyberbit is a work in progress. Bitstream is now distributing the roman weight of Cyberbit, free of charge, over the Internet! Remember, this release is in TrueType format for Windows 95 and Windows NT". --- Well, Bitstream no longer offers the font. It is still out there however. Try here, here, here, or here. Has these unicode ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Spacing Modifier Letters, Greek, Cyrillic, Hebrew Extended (A and B blocks combined), Thai, Latin Extended Additional, General Punctuation, Currency Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Dingbats, Alphabetic Presentation Forms, Combining Diacritical Marks, Enclosed Alphanumerics, Arabic, Arabic Presentation Forms-A and -B, CJK (Chinese, Japanese, Korean) Symbols and Punctuation, Hiragana, Katakana, Bopomofo, Hangul Compatibility Jamo, Enclosed CJK Letters and Months, CJK Compatibility, Hangul, CJK Unified Ideographs, CJK Compatibility Ideographs, CJK Compatibility Forms, Small Form Variants, and Halfwidth and Fullwidth Forms. [Google] [More] ⦿
Type foundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:
Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.
For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness.
A list of his typefaces:
Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously. [Google] [MyFonts] [More] ⦿
At the London College of Communication in 2010, Borna Izadpanah (b. Iran) created a modular pair of typefaces, one for Latin and one for Farsi.
In 2015, he graduated from the MATD program at the University of Reading. His graduation typeface, Lida, blends Latin and Perso-Arabic in a multi-font family that includes Lida Sans, Lida Serif, Lida Avestan (for the Avestan script), and various styles of Lida Arabic that produce beautiful yet readable Naskh calligraphic texts. If Lida is any indication, Borna is destined for greatness.
In 2015, he designed the free Latin / Farsi typeface Lalezar: During the 1960s and 1970s a genre of filmmaking emerged in Iran, which was commonly known as FilmFarsi. The main focus of the films produced in this period was on popular subjects such as, sexual romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a Latin companion. Lalezar won an award at Granshan 2016 and in the TDC Typeface Design competition in 2017.
In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.
A company whose Arabic language fonts, all dated 2000-2001, can be freely downloaded: BArabicStyle, BArash, BAria, BArshia, BBadkonak, BChini, BCheshmeh, BCheshmehBold, BCompsetBold, BCompset, BDavat, BElham, BEsfehanBold, BFantezy, BFarnaz, BFerdosi, BHaleh, BHalehBold, BHoma, BJadidBold, BJalal, BJalalBold, BJohar, BKamran, BKamranOutline, BKamranBold, BKaveh, BKoodakOutline, BKoodakBold, BKourosh, BMahsa, BMajidShadow, BMasjed, BMedad, BMoj, BMorvarid, BNarm, BNasimBold, BPaatchBold, BPaatch, BRoya, BRoyaBold, BSahra, BSiavash, BSinaBold, BSooreh, BSoorehBold, BSorkhpust, BTabassom, BTanab, BTir, BTitrBold, BTrafficBold, BTraffic, BVahidBold, BVosta, BVostaItalic, BYagut, BYagutBold, BYas, BYasBold, BYekan, BZar, BZarBold, BZiba, IPTChini. Designer of B Mitra (2000; see also here), B Lotus (2000, see also here), B Titr (2000), and B Zar and B Nazanin (2001). RedleX carries these: B-Arabic-Style, B-Arash, B-Aria, B-Arshia, B-Badkonak, B-Badr, B-Badr-Bold, B-Compset-Bold, B-Davat, B-Elham, B-Esfehan-Bold, B-Fantezy, B-Farnaz, B-Ferdosi, B-Homa, B-Jadid-Bold, B-Jalal, B-Jalal-Bold, B-Johar, B-Kamran, B-Kamran-Bold, B-Kamran-Outline, B-Kaveh, B-Koodak-Bold, B-Koodak-Outline, B-Lotus, B-Lotus-Bold, B-Mahsa, B-Majid-Shadow, B-Masjed, B-Medad, B-Mitra, B-Mitra-Bold, B-Moj, B-Morvarid, B-Narm, B-Nasim-Bold, B-Nazanin, B-Nazanin-Bold, B-Nazanin-Outline, B-Paatch, B-Paatch-Bold, B-Roya, B-Roya-Bold, B-Roya-Bold, B-Sahra, B-Sina-Bold, B-Sorkhpust, B-Tabassom, B-Tanab, B-Tawfig-Outline, B-Tir, B-Titr-Bold, B-Traffic, B-Traffic-Bold, B-Vahid-Bold, B-Vosta, B-Vosta-Italic, B-Yagut, B-Yagut-Bold, B-Yas, B-Yas-Bold, B-Yekan, B-Zar, B-Zar-Bold, B-Ziba, IPT-Kaveh, Kamran-Bold, Kamran-Normal, Nazanin-Bold, Nazanin-Normal. Alternate file with Rayaneh's fonts. One more site. [Google] [More] ⦿
Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.
Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.
In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More] ⦿
From Boutros, these Arabic typefaces, mostly made ca. 2004: GE-Box-Bold, GE-Cap-Medium, GE-Contrast-Bold, GE-Curves-Medium, GE-Dinar-One-Light, GE-Dinar-One-Light-Italic, GE-Dinar-One-Medium, GE-Dinar-One-Medium-Italic, GE-Dinar-Two-Light, GE-Dinar-Two-Light-Italic, GE-Dinar-Two-Medium, GE-Dinar-Two-Medium-Italic, GE-East-ExtraBold, GE-East-Extrabold-Italic, GE-Elegant-Italic, GE-Elegant, GE-Elegant-Medium, GE-Flow-Bold, GE-Flow-Bold-Italic, GE-Flow-Italic, GE-Flow, GE-Hili-Book, GE-Hili-Light, GE-Jarida-Heavy-Italic, GE-Jarida-Heavy, GE-MB-Farah-Bold, GE-MB-Farasha-Light, GE-MB-Fares-Medium, GE-MB-MB-Bold-Condensed, GE-MB-Najm-Bold, GE-Modern-Bold, GE-Modern-Light, GE-Modern-Medium, GE-Narrow-Light, GE-SS-TV-Bold, GE-SS-Text-Bold, GE-SS-Text-Light-Italic, GE-SS-Text-Light, GE-SS-Text-Medium, GE-SS-Text-UltraLight, GE-SS-Three-Italic, GE-SS-Three-Light, GE-SS-Two-Bold, GE-SS-Two-Light, GE-SS-Two-Medium, GE-SS-Unique-Bold, GE-SS-Unique-Light, GE-Smooth-Light-Italic, GE-Smooth-Light, GE-Tasmeem-Medium, GE-Thameen-Book, GE-Thameen-Book-Italic, GE-Thameen-DemiBold, GE-Thameen-DemiBold-Italic, GE-Thameen-Light, GE-Thameen-Light-Italic, GE-Tye, GE-Unique-Expanded-Bold, GE-Wide-ExtraBold.
Boutros International (or: Boutros Arabic Typefaces)
Boutros calligraphic Arabic fonts (sold by Glyph Systems of Andover, MD) are fonts designed by "Boutros International" a group of experts headed by Lebanese designers Mourad and Arlette Boutros, who run Boutros Foundry out of London, UK. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.
Their fonts include Boutros Decorative Kufic, Boutros Display, Boutros Koufic, Boutros MB Naskh, Boutros Modern, Boutros New Koufic Modern, Boutros Simplified Naskh, Boutros Asifa, Boutros Farah, Boutros Farasha, Boutros Fares, Boutros Najm, Boutros Thuluth (2012, based on Arabic bamboo calligraphy), Boutros Advertisers Naskh, Boutros Advertising, Boutros BBC Arabic, Boutros GE Tasmeem, Boutros Latin (Serif, Sans Serif), Boutros Maghribi, Boutros Minaret. See also here.
Mourad Boutros is an experienced Arabic creative director, calligrapher and typographer. From his bio: Since 1978, he has been Arabic typographical consultant to many international companies including Letraset. Mourad has designed more than 50 Arabic typefaces, some of which are available on IBM printers as core fonts. Typeface commissions have included corporate typefaces for Mercedes-Benz and for Al Anba, the leading Kuwaiti Arabic newspaper.
The early ITC collection in the 1980s had six Arabic typefaces: ITC Latif, ITC Boutros Calligraphy, ITC Boutros Setting, ITC Boutros Kufic, ITC Boutros Modern Kufic, ITC Boutros Rokaa.
At Ascender, Mourad published Boutros Maghribi (2009, co-designed with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.
Here you can download these 2004 fonts by Boutros: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEDinarOne-LightItalic, GEDinarOne-Medium, GEDinarOne-MediumItalic, GEDinarTwo-Light, GEDinarTwo-LightItalic, GEDinarTwo-Medium, GEDinarTwo-MediumItalic, GEEast-ExtraBold, GEEast-ExtraboldItalic, GEElegant-Italic, GEElegantMedium-Medium, GEFlow-Bold, GEFlow-BoldItalic, GEFlow-Italic, GEFlow, GEHili-Book, GEHili-Light, GEJarida-HeavyItalic, GEJaridaHeavy-Heavy, GEMBFarahBold-Bold, GEMBFarashaLight-Light, GEMBFaresMedium-Medium, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSThree-Italic, GESSThree-Light, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GESmooth-LightItalic, GESmoothLight-Light, GETasmeem-Medium, GEThameen-Book, GEThameen-BookItalic, GEThameen-DemiBold, GEThameen-DemiBoldItalic, GEThameen-Light, GEThameen-LightItalic, GETye, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. Here one can find Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, and Boutros-Ads-Pro-Medium-Italic.
In 2018, Boutros Fonts published URW Geometric Arabic.
E.J.Brill is an academic publisher in Leiden, The Netherlands. In 1989, DecoType produced the first ever computer-typeset Persian and English dictionary for them. In 2009, Brill has resumed its 325 year old tradition of Arabo-Dutch typography by adapting Tasmeem for its Arabic texts. In 2008, Brill commissioned John Hudson to make a text face. Hudson's PDF explains how Brill had been working mostly with Baskerville, so the new Brill typeface is also transitional, but narrower, resulting in savings of paper. Greek and Cyrillic are covered by Brill as well.
In 2012, Brill was made available for free download for non-commercial use. While Brill is an original design by John Hudson, the blackletter range of characters was made by Karsten Lücke. Gerry Leonidas and Maxim Zhukov were consulted for Greek and Cyrillic, respectively. The fonts follow Unicode and contain nearly all symbols people in the humanities may ever need. [Google] [More] ⦿
Arabic font archivette: AF_Tabook-NormalTraditional, AF_Tholoth-NormalTraditional, DecoTypeNaskhVariants, DecoTypeThuluth, DiwaniLetter, FS_Diwany, FarsiSimpleBold, M-Unicode-Dawlat, M-Unicode-Sima, OldAnticBold. [Google] [More] ⦿
Indonesia-based designer of the soft serif typeface Aligarh (2020: by Nur Syamsi and Bustanul Arifin), Aligarh Arabic (2020: by Nur Syamsi and Bustanul Arifin), the comic book typeface Tufuli Arabic (2020, by Nur Syamsi and Bustanul Arifin) and the fat finger font families Childos and Childos Arabic (2020, by Nur Syamsi and Bustanul Arifin).
In 2021, Nur Syamsi and Bustanul Arifin designed Mahameru (a 20-style display typeface), Mahameru Arabic, Meila (a plump almost-bubblegum font family in seven styles), Meila Arabic, Kidzhood (a children's book font family), Naveid (an 18-style mini-serif typeface; and two variable fonts), Naveid Arabic (a ten-style Arabic typeface), and Gestura (an upright connected typeface in 14 styles, and two variable fonts). [Google] [MyFonts] [More] ⦿
Type designer from Hong Kong who graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Havil, a multiscript (Latin, Arabic and Chinese) typeface family for branding and business documents. This beautifully balanced typeface was inspired by 19th century British and French letterpress poster typefaces.
In 2016, Kwok worked with the Apple Inc. Type Team where he contributed to the design and development of Latin and East Asian scripts. In 2019, he joined Sharp Type specializing in multilingual type design, lettering, and typography.
In 2018, he published the slab serif Urushi at Future Fonts and wrote: Urushi is the first Future Fonts release aiming to support Japanese Kana and Kanji, and Chinese Hanzi. This charming and slabby, reverse contrast is inspired by old Hong Kong movie magazines.
(Slow but useful) Arabic font archive.
CAT Design Wolgast
Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:
The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.
His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.
A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel.), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).
Himalb: free Arabic truetype font. In this sub-directory, some Nepali fonts: GauriShanker (John P. Yangos), Himalb, FontasyHimali (Michael Frank and R. Josephson, 1993), FONTASYHIMALITTNORMAL (Michael Frank, 1992), Kanchan, Lakshmi, Preeti, Rukmini. [Google] [More] ⦿
CDAC is Pune's Center for Development of Advanced Computing. They sell typefaces for all Indic languages. They introduced the Indian Script FOnt Code (ISFOC) standards to enable composing Indian language text. Scripts covered include Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan. Useful type catalogs in PDF for Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan, PersoArabic (Urdu Open Type, Kashmiri Open Type, Sindhi Open Type, Nashir True Type fonts). Type subpages with catalogs. The Indian Script FOnt Code (ISFOC) standards were invented by CDAC for their software products, Most of their fonts follow this standard. Scans from 1996: Swastik, Zodiac signs, National heroes, Dashavtar. [Google] [More] ⦿
Dubai (and before that, Beirut Lebanon)-based designer of Celina (2015), a charming typeface with a hint of art nouveau warmth. In 2015, she created the Arabic kufi-style typeface Kanater. Behance link. [Google] [More] ⦿
Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More] ⦿
For a school project in 2012, Chantal Sherif (Cairo, Egypt) created an Arabic version of Otl Aicher's Rotis. She also made Kubic Kufic (2013), an Arabic version of Cube by Fontfabric. [Google] [More] ⦿
Parisian copperplate engraver, b. Paris, 1715, d. Paris, 1790. His work influenced the letter shapes of Baskerville, Didot and Bodoni. His engraved tall-ascendered letters have been preserved in many fonts bearing the Cochin name. One of the best revivals is by Georges Peignot in 1913. The irregularities of the metal are well preserved in the digital typeface Nicolas Cochin (+Italic) (P22/Lanston). Monotype made a Cochin Open face.
In 1977, Matthew Carter expanded Peignot's revival into the three style family Cochin---the digital versions are sold, e.g., by Linotype. Another family by Linotype is Nicolas Cochin LT (2004)---it is a variation that is taller, rounder, and less archaic than Cochin. Finally, we find a digital version by URW simply called Nicolas Cochin.
For an Arabic extension, see Badr (1970, Osman Husseini, Linotype).
Cochin is now one of the standard Apple fonts---it is in the basic font set on the iPad and elsewhere on Apple computers.
A project by Stefan Hagel at the Austrian Academy of Sciences in Vienna, CTE is a universal (Windows, Mac) text editor for many languages. It has a battery of fonts for various languages, such as Hebrew and Arab. [Google] [More] ⦿
Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.
Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.
Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.
The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.
The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.
Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More] ⦿
Art director, designer and consultant who grew up in Colorado and is now based in Park City (was: Salt Lake City), UT. He created the commercial Latin / Cyrillic geometric sans font family Venti CF in 2014---Venti can be purchased here. His second typeface is the geometric / techno typeface Filter CF (2014).
In 2015, he created Waverly (avant garde caps), Articulat CF (an 18-style Swiss sans typeface), Argent CF (a 13-style display serif family), Ironfield (bold husky brutalist display font), Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face), and Manifold CF (a cold utilitarian sans extended to the corporate typeface Manifold DSA in 2017).
Typefaces from 2016: Vanguard CF (a strong ultra-compressed sans in 16 styles), Addington CF (a 14-style text typeface family), Cartograph CF (monospaced sans), Greycliff CF (sans), Turismo CF (a wide rounfded open sans inspired by midcentury motorsports, technology, and business).
Typefaces from 2017: Gryffith (angular), Visby Slab CF, Filter v2 CF (hipster style), Couplet CF (humanist sans), Integral CF (an all caps titling font).
Typefaces from 2018: Argent Pixel (free), Artifex CF (a 9-weight serif family), Artifex Hand CF (a flared version of Artifex), Criteria CF (a geometric sans with horizontal and vertical terminal endings), Roxborough CF (a sharp-edged roman typeface).
Typefaces from 2019: Wayfinder CF (a sharp-edged display typeface).
Gumroad site, where one can download free trial versions of many of his fonts, and purchase licenses for the other ones.
Cosmorama (or: Laser Printing Solutions)
Esoteric fonts and special symbols by Kenneth Hirst. Includes shareware and full version ($$) fonts such as Astro (1993), Alchemy, American Indian (2001, dingbats), Arabic, Flowchart, SpecialPi, Sequoyah (for Cherokee), CircleBullets, ArrowBullets, GD Enochian (2011, Enochian and Astrology symbols based on the Golden Dawn system), Siddiqua (Arabic: Laser Printing Solutions. P.O. Box 5362, Irvine, CA 92616), Starfisher Uni (2014, an astrological & sans font originally designed by Laser Printing Solutions).
CRULP: Center for Research in Urdu Language Processing
Free Arabic fonts available here:
D. Paul Alecsandri
Based in Tanger, Morocco, Dahass Yassir designed the Arabic typeface Salim (2012).
Designer in Cairo, Egypt. In 2016, she designed the Arabic poster typeface Methali, which is based on Naskh and Diwani scripts. In 2015, she designed the decorative Latin didone typeface Couturier. [Google] [More] ⦿
Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.
Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).
Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.
In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.
In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.
Dalton Maag created the custom typeface family Facebook Sans in 2017.
ATT Aleck is a large custom typeface family designed in 2016.
Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.
In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.
In 2019, Dalton Maag produced a corporate typeface for Air Arabia.
Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.
Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).
Interview in 2012 in which he stresses that typefaces should above all be functional.
View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿
A 2011 graduate of École supérieure d'art et de design (2011) in Amiens, France, where he was supervised by Titus Nemeth. His type family, called Milosz, won the Type Design International Student Competition Milosz 2011. His thesis on the origins of italic script.
In 2013, he joined Dalton Maag in London to work as a junior font designer. At Dalton Maag, he worked on Intel Clear Arabic, which won an award at Granshan 2014. He also published Lemance (2016) there. [Google] [More] ⦿
Born in 1985, Daniel Grumer studied at the Bezalel Academy of Arts and Design in Jerusalem. In 2015-2016, he studied type designat in the TypeMedia program at KABK in Den Haag.
At Haaretz, we read: As can be seen in the road signs for Arab communities, to mention just one example, in Israel the Arabic language has been marginalized at the expense of Hebrew. This is further emphasized by the contrast between the square and aggressive Hebrew typefaces of official Israel and the softer and more rounded letters of typical Arabic typefaces, a difference that in fact reflects the balance of powers between the country's Jewish and Arab communities. To achieve visual coordination, equal visibility and presence and peaceful coexistence between these two languages that share a same space while taking a small step for peace, Grumer created Avraham-Ibrahim as his final project as a visual communications major at Jerusalem's Bezalel Academy of Arts and Design in 2014. Grumer, who learned Arabic in the army, got help (over the Internet) from a Jordanian calligraphy designer of Syrian descent. He found another source of inspiration for his typeface in the Hebrew signs written by Arab merchants that "simply make the Hebrew language dance and liberate it from the geometric pressure," he says.
His graduation typeface at KABK in 2016 is the perfectly balanced tri-lingual (Latin / Arabic / Hebrew) typeface Abraham.
In 2016, he fine-tuned Peter Bilak's November Hebrew: November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. It covers Hebrew script, but also Arabic, Cyrillic, Greek and Latin, and is accompanied by a set of wayfinding symbols. Daniel designed the Condensed and Compressed styles. [Google] [More] ⦿
Czech designer (b. Brno) who graduated with a Masters in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari. Later David founded Rosetta Type.
From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.
His typefaces include
Medium-sized truetype font archive run by the Government of Dubai. It has Thai fonts by Unity Progress, Farsi fonts, fonts for Arabic, many Microsoft fonts, and a basic starter set of Monotype fonts. [Google] [More] ⦿
Design and type design studio in Paris founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez (who is the main type designer in this group). Their typefaces are mostly commissioned, but include a few retail typefaces as well:
Thomas Milo founded DecoType in Amsterdam in 1985, together with Peter Somers and Mirjam Somers. They introduced the notion of dynamic fonts, and developed Ruqaa (1987), licensed by Microsoft. They also developed the DecoTypeSetter, which was included in Adobe PageMaker MiddleEast. Deco Type is perhaps best known for its extensive DTP Naskh family, which has hundreds of variations of all letterforms, and permitted people to typeset calligraphic Arabic, as it is in a style emulating the hand of the Ottoman calligrapher Mustafa Izzet Efendi. Part of that package is the DecoType Authentic Naskh typeface. DecoType donated a custom version of Naskh to the Unicode Consortium for printing the Arabic parts of their manuals. Other fonts include DTP Nastaaliq. Thomas Milo is also a specialist of Turkic and Slavic linguistics. His company's beautiful fonts sell for 125 USD: P.O. Box 55518, 1007 NA Amsterdam, The Netherlands. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.
In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.
In 2017, he developed the new electronic Mus'haf Muscat at the behest of the Ministry of Endowments and Religious Affairs of the Sultanate of Oman.
Saudi designer in Jeddah who obtained an MA in typeface design from The University of Reading (2009), based on her monoline comic book script typeface Squiggly. It was designed in several styles for children's story books.
The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.
Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.
Diana Hamdallah (Beirut, Lebanon) created the Arabic typeface Achelois in 2014 during her graphic design studies. Achelois is an Arabic Naskh font inspired by the work of fashion designer Krikor Jabotian. It is a group project with Mowana Sabeh. [Google] [More] ⦿
Peruvian creator (b. 1984, Arequipa) at FontStruct in 2009 of Sencilla (+Cuadrada, +Morena), a family that covers Latin, Cyrillic, Extended Latin, Hebrew, Greek, Armenian, Coptic, Arabic, Thai, and Devanagari. At FontStruct in 2008, he made mercury and mercury_bold. At Cocijotype, he created the artsy Incan stone wall-inspired Quincha (2009), which according to this site is the first commercial font made in Peru. It won an award in the experimental category at Tipos Latinos 2010.
Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.
Typefaces from 2018: Papaia (plumpish and curvy, with many dingbats). Winner at Tipos Latinos 2018 of a type design award for Papaia.
Amine Anane obtained his PhD in 2012 from the University of Montreal. In 2017, he developed a Metafont / Metapost font with variable widths for the justification of Arabic texts, and in particular the Quran. He started the Digital Khatt project amd wrote: DigitalKhatt is an advanced Arabic typesetter based on a Metafont-designed parametric font that can generate a glyph with a given width during layout and justification while respecting the curvilinear nature of Arabic letters. The typesetter extends the OpenType layout engine to support the varying width and shape of the glyphs. [Google] [More] ⦿
Digital Type Company (DTC)
Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.
He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.
At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.
In 2010, he created Linda (hand-printed, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).
In 2014, Profonts published his text typeface Martin Pro.
In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.
In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.
Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.
In 2018, he published the 36-style family Schnebel Slab Pro at URW.
In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.
In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More] ⦿
A calligraphic Arabic typeface with over 3000 glyphs, by Diwan Software. "Mishafi contains more than three thousand shapes, making it possible for the first time to compose proper Quranic calligraphy with all their shapes, markings and recitation symbols. It is also most suitable to compose traditional text of Hadith and commentary texts in respectable form. Both classic and modern Arabic poetry can be presented by it in clear and elegant formats." The typeface was designed by the acclaimed Iraqi calligrapher Hamid Al-Saadi (b. Baghdad, 1955), and won the Type Directors Club 2000 award. [Google] [More] ⦿
From Encyclopaedia Britannica: Cursive style of Arabic calligraphy developed during the reign of the early Ottoman Turks (16th-early 17th century). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520-66). As decorative as it was communicative, diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters. [Google] [More] ⦿
Designer and art director at The Northern Block in Newcastle upon Tyne, UK. The Northern Block is confusing or totally silent about who designed what, so the information below may be erroneous. Her typefaces:
At Shirley J. Rollinson's site in Portales, New Mexico, an archive with Greek, Coptic, Hebrew and dingbat fonts. A sampling: AWI105 (Amien World International), Alex, Altrussisch, AltrussischBold, AltrussischBoldItalic, AltrussischItalic, American-PresidentsSAMPLE, AngloSaxonRunes, AngloSaxonRunes1, AngloSaxonRunes2, Animals, Animals2, AntoniousJJencom, AntoniousJJencomHollow, AntoniousJJencomThin, AntoniousJJencomWide, AntoniousNormal, AntoniousNormalHollow, AntoniousNormalThin, AntoniousNormalWide, AntoniousOLOverLine, AntoniousOLOverLineHollow, AntoniousOLOverLineThin, AntoniousOLOverLineWide, Athenian, Athletes, BSTGreek, BSTHebrew, Basics, CU_SYMBL, CarrAnimalDingbats, CarrArrowsfilled, CarrArrowsoutline, CarrDingbats2, CarrDings, CelticPatterns, ChayaBold, ChemCycles, ChristianCrosses, ClassifiedDingbats, CommonBulletsNormal, Coptic-Regular, Coptic-Regular, CopticNormal, Dastafarin-Regular, Dingbat-Cats2, DivChem, DwarfRunes, DwarfRunes1, DwarfRunes2, Eggs, FOOD, Fabeldyr-2, Flower-Show, FontForFree, Futura-Thin, Futura-ThinItalic, GermanicRunes, GermanicRunes1, GermanicRunes2, GideonMedium, Grammata, Greek-Regular, Greek-Regular, Greek, GreekOldFace, GreekOldFaceC, HWGreek, Hebpar, Hebrew-Italic, Hebrew-Regular, Inter, Ismini, KirillicaWincyr, Kitchentile, KoineMedium, Koptos-Regular, Korinthus-Italic, Korinthus, Kur2siv-Italic, Lashon-Tov, Lavra-Plain, Linear-B, LudlowDingbats, MENA-1, Martin-Vogel's-Symbols, Medicine, MendelSiddurBold, MendelSiddurMW-Bold, Milan-Greek, MonitorNormal, New-Dingcats, Noam-New-Hebrew, NovaNormal, Novgorod-Plain, Ornaments, Paleo-Hebrew-NormalA, PecanSoncHebrew, Pni2na, Pointers, QuiltersDelight, RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic, Rashi, Roman-Catholic, RuthFancy, SILDoulosIPA, SILGalatia, SILGalatiaBold, SILGalatiaExtras, SILGalatiaExtrasBold, SILManuscriptIPA, SILSophiaIPA, SPAchmim, SPDamascus, SPDoric, SPEdessa, SPEzra, SPIonic, SPTiberian, Sgreek-Fixed, Sgreek-Medium, ShalomOldStyle, ShalomOldStyle, ShalomScript, ShalomStick, ShebrewMedium, States, Statuer, Symbol-Accentuated, SymbolMW-Bold, SymbolMW-BoldItalic, SymbolMW-Italic, SymbolMW-Normal, TLHelpCyrillic, TattooNo1, TattooNo2, TimesNewRomanNavajo, TimesNewRomanNavajoBold, TimesNewRomanNavajoBoldItalic, TimesNewRomanNavajoItalic, TorahSofer, TransliterationItalic, Tzipporah, Ugarit, VintageDingbats, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, YourKeys, ZapfDingbats, button_by_fanta, fantas-second, hebrew, persische-Keilschrift. [Google] [More] ⦿
Droid font collection
A font family designed in 2006-2007 by Steve Matteson (Ascender Corporation) for Google's Android project, mobile phone software for handsets. From Ascender's technobabble announcement: The Droid family of fonts consists of Droid Sans, Droid Sans Mono and Droid Serif. Each contains extensive character set coverage including Western Europe, Eastern/Central Europe, Baltic, Cyrillic, Greek and Turkish support. The Droid Sans regular font also includes support for Simplified and Traditional Chinese, Japanese and Korean support for the GB2312, Big 5, JIS 0208 and KSC 5601 character sets respectively. At a presentation in Montreal, Steve said that the Droid project was the project he enjoyed best---in his entire life. He was particularly impressed by the enthusiasm of the Google team.
Download the truetype versions here: Droid-Sans-Bold, Droid-Sans, Droid-Sans-Fallback, Droid-Sans-Mono, Droid-Serif-Bold, Droid-Serif-Bold-Italic, Droid-Serif-Italic, Droid-Serif.
Small Arabic font archive. Contains a subarchive of Quranic fonts made by/for King Fahad Complex.
The other fonts: 1TRAFIC-Outline, Al_Mushaf, Amien-01, ArabicKufiOutlineSSK, ArabicKufiSSK, ArabicNaskhSSK, ArabicRiyadhSSK, ArabicWeb, ArabicZibaSSK, ArialMT, Djerba_simpl, Globatec1, HQPB1, HQPB2, HQPB3, HQPB4, HQPB5, HQPB7, Husseini, Impact, ImpactNormal, ImpactTransliteration, Imperium, ImplicitCapsSSi, ImprintMT-Shadow, Karbala, NajafBoldPS, QCF_P440, QCF_P442, Quran-Standard, Quran-Standard, Siddiqua, Tracer, Trains, TransformersNormal, Transliteration-OI-Beyrut-NormalA, TransliterationCalisto, TransliterationCalistoMT, TransliterationFelix, TransliterationGeorgia, TransliterationTimesNewRoman, TransliterationTimesNewRomanBoldItalic, TransliterationTimesNewRomanItalic, TransliterationVerdana, TransmaidensNormal, TransmetalsNormal, Transportation, WL-ArabicDiwani, WL-ArabicRiyadh, PDMS_Saleem_QuranFont. [Google] [More] ⦿
Located at P.O. Box 15156, Washington, D.C., 20003, this outfit published Arab language fonts, as well as fonts for Sinhalese, Tamil, Bengali, Gujarati, Hindi, Kannada, Malayalam, Punjabi, Telugu, and Tibetan. In addition, it had Kharoshti, Brahmi and Harappan symbols, and sold typefaces for many "complex alphabets". Free truetype fonts with plenty of Maya icons, made in 1997 by "Ecological Linguistics": Abaj, AbajBold, DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. See also here.
French publisher which has a nice series of books on writing. These include "Le Verbe géomètre Numérographies et écritures mathématiques" (Valère-Marie Marchand, 2004), "Lettres Latines Rencontre avec des formes remarquables" (Laurent Pflughaupt), "Les alphabets de l'oubli Signes et savoirs perdus" (Valère-Marie Marchand), "Le Bruissement du calame Histoire de l'écriture arabe" (Sophia Tazi-Sadeq), and "Entre Ciel et Terre Sur les traces de l'écriture chinoise" (Shi Bo). [Google] [More] ⦿
Creator of Tod Script (2007) aboiut which he writes: Kalmyk-Oirat Clear Script (Todo Bichig) is written in vertical columns running from top to bottom and left to right. Each letter has a different shape depending where it appears in a word, and special letters are used for combinations of some letters. [Google] [More] ⦿
Graphic designer from Dortmund, Germany, who lives in Husavik, Iceland. Her design company is called Elefont. After studying visual communication in the university of applied sciences in Dortmund, she co-founded the design studio Radau. Graduate of the University of Reading in 2011. Elena designs logos, retail and custom fonts. She is a visiting lecturer at HBK Saar and LHI Reykjavík, and a mentor at Alphabettes, a network to support and promote women in the type industry.
Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012).
In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.
In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019.
Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio.
Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. Github link. His typefaces:
Born in Dubai, Elie has worked and studied in UAE, Lebanon and Germany. He holds a BFA in Graphic Design from the American University of Beirut. He has also done his summer internship at Linotype, where he worked under Nadine Chahine, an award-winning Lebanese type designer. He is located in Beirut, Lebanon.
For Polypod, he created an Arabic typeface to match the Latin version for Solidere (a Lebanese company involved in the reconstruction of Beirut's Central District). The Latin version is based on Slab Unit designed earlier by Bill Hill Design.
Conidi obtained an MA in typeface design from the University of Reading in 2008, and a PhD from the same university a few years later. Her graduation typeface is Nabil, a hookish serifed typeface that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. She also holds a Masters degree in Design and Visual Communication from the Polytechnic University in Milan
Emanuela joined Fontsmith in 2008: With a background in Graphic Design, experience in hot-metal type hand composition and letterpress printing, she is passionate about typographic history, 19th century typefaces and Arabic typography. In 2009, Mitja Miklavcic, Jason Smith and Emanuela co-designed the slab serif family FS Rufus, which was described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
She co-designed the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).
Turkish graphic and type designer, and calligrapher of both Latin and Arabic. He lived from 1913 until 1987. His calligraphy has led to some fine alphabets, including a blackletter and a flared Basque alphabet. Picture.
Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script typeface done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More] ⦿
Banha, Egypt-based designer of these typefaces in 2019: Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hurringtown Script (with Koi and JAF34), Eraky, Zamoka (a swashy display style).
Ahmed Eraqi published Chattelyne (a curly font) at Zet Design. With Nohamad Foda, he designed Luxury Home, a Latin slab serif with lower case letters of unequal x-height, Zamoka (2019: a deco typeface), and Hamis (2019) Hamis Vol 2 (2019), a festive display typeface family.
Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), British Vehicle JNL (based on the UK license plate font created by Charles Wright in 1935; with Jeff Levine), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Nohamad Foda).
Typefaces from 2021: Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda). [Google] [MyFonts] [More] ⦿
Eric Karnes is an American graphic and poster designer and educator, who taught at Drexel University in Philadelphia, PA. Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was Practicum, a no-nonsense serif workhorse designed for complex text settings, covering both Latin and Arabic. [Google] [More] ⦿
Also written Ismet Chanbour. Designer at Linotype of the Arabic fonts Al Harf Al Jadid One and Al Harf Al Jadid Two, and of Mariam (1992). Mohamed Hacen writes: Al Harf Al Jadid is still the major popular headline font widely used in most Arabic newspapers and magazines. Mariam is also popular font and had some success in Egypt in the 80-90s. [Google] [MyFonts] [More] ⦿
Eurabic is a term coined by Thomas Milo for Arabic type that was made---especially for scholarly purposes---in Western Europe before the digital age. Thomas points out that Eurabic types are typically full of mistakes, especially when it comes to mixing, even bastardizing, various styles of Arabic writing. [Google] [More] ⦿
Every Witch Way
D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.
Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.
Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.
Eyad Al-Samman is a graphic designer, typographer, photographer, translator, and a freelance literary journalist. He was born in Sana'a city, Yemen, in 1976. Eyad has a Bachelor's Degree in electrical engineering. He started working as a graphic designer in 1999. His first typeface is Concordia (2005, a squarish techno typeface that was named after the university in Montreal where he studied). Sherbrooke (2009), a free pair of sans serif fonts, is named after Sherbrooke Street in Montreal (Luc's home...).
In 2012, he made Eyadish (Latin and Cyrillic): Eyadish is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children, Loyolliams (2012, squarish, a renamed version of Concordia) and Alfarooq (2013).
Typefaces from 2015: Ghibli (a free Latin text typeface).
Typefaces from 2018: Danah.
Typefaces from 2019: Awwam (a wide headline Arabic typeface).
Fabio Haag Type (was: ByType, and: Foco Design)
Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is located in Sapiranga, Rio Grande do Sul.
Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).
Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.
In 2007, he created the organic sans typeface IronThree.
Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.
In 2009, Foco Italics was published.
At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.
In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.
In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.
Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.
In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.
In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.
In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).
Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).
Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).
Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
Fabio Luiz Haag
Computer engineer in Riyadh, Saudi Arabia. Creator of the modern Kufi Arabic typeface Nawar (2013). Free download. For Bein Sports, he created Bein Arabic in 2014. Still in 2014, he designed Taqniya. Designer of the pixelish typeface Sakhr (2015), the handwriting font Yaseer (2015, Latin and Arabic), Circle Typeface (2015, Arabic), and the free paint brush Arabic typeface FF Bouya (2015).
In 2016, he designed the warm woolly rounded Latin /Arabic typeface Hekaya, the monoline Latin / Arabic script typeface Sacramento Arabic (which extends Brian Bonislawsky's Sacramento to Arabic), the Latin / Arabic script typeface La Belle Aurore, the kufi Arabic typeface FF Khallab (free), and the Latin / Arabic handwriting font Hamish.
In 2017, he designed the free Latin / Arabic grunge typeface FF Taweel.
In 2018, he designed the comic book typeface Musally for Arabic, the free font FF Dusha Arabic (to accompany Ducha by DS Type Foundry designed for the FIFA World Cup 2018), Mshabbak, and the Latin and the Arabic super-family Shamel.
In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More] ⦿
FarsiTex Project Team
The Persian Modern family of fonts consists of 12 text fonts, and is based on the FarsiTeX Scientific fonts released into the public domain by the FarsiTeX Project Team (1996-2004). Free downloads at CTAN. The files are maintained by Vafa Khalighi.
FarsiWeb (or: Sharif FarsiWeb Inc)
Free Software Foundation-style Farsi font project at FarsiWeb. Roozbeh Pournader is the head developer here. He was helped by Elnaz Sarbar, Behdad Esfahbod, Behnam Pournader, Aidin Nassiri, Behnam Esfahbod, and Alireza Kheirkhahan. The FarsiFonts project is sponsored by the High Council of Informatics of Iran and Sharif University of Technology. FarsiFonts are Unicode fonts, and are the first set of fonts ever to conform to the Iranian national standard ISIRI 6219. The fonts currently support the Persian, Arabic, and Azerbaijani languages (as written in the Arabic script). The font names: Elham (2004), Homa (2003), Koodak (2003), Nazli (2004, based on Nazanin), Nazli-Bold (2004), Roya (2003), Roya-Bold (2003), Terafik (2004), Terafik-Bold (2004), Titr (2003).
Creators of Arabic fonts such as the Transliteration series (2000): Transliteration-OI-Beyrut-NormalA, TransliterationCalisto, TransliterationCalistoMT, TransliterationFelix, TransliterationGeorgia, TransliterationTimesNewRoman, TransliterationTimesNewRomanBoldItalic, TransliterationTimesNewRomanItalic, TransliterationVerdana. Download site. [Google] [More] ⦿
As a student at UOD in Dammam, Saudi Arabia, Fayzah Alghamdi designed the Arabic typeface Zukhrof (2016). Co-designer (with Sara A. Al Suwaiygh, Al Khobar, Saudi Arabia, and Alaa Zakary, Dammam, Saudi Arabia) of the Arabic typeface Fulad (2017). [Google] [More] ⦿
Designer in 2001 of these Arabic fonts: SC_ALYERMOOK, SC_AMEEN, SC_DUBAI, SC_GULF, SC_HANI, SC_KHALID, SC_LUJAYN, SC_OUHOD, SC_REHAN, SC_SHARJAH, SC_SHMOOKH-01, SC_TARABLUS. They can be downloaded here and here.
Born in Barcelona in 1979, Ferran Milan studied graphic design at Massana School of Art in the same city, then relocated to the UK to study typeface design. In 2011 he graduated from the MA in Typeface Design at the University of Reading. Ferran worked at Andreu Balius Studio in Barcelona and at Dalton Maag in London before co-founding the Letterjuice type foundry with Pilar Cano.
In 2012, he won the Bronze Prize in the Latin category of the Morisawa Type Design Competition for Baldufa. Baldufa was also crowned at TDC 2013. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.
In 2013, Pilar Cano and Ferran Milan co-designed the text typeface Quars, which was published at Letterjuice. It was influenced by Scotch Roman and classical Dutch typefaces. In addition, it offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.
Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More] ⦿
Dr. Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. Fiona Ross is the recipient of the 2014 SOTA Typography Award. In 2018, Fiona Ross received the TDC Medal.
The Adobe Thai typefaces were commissioned to from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008.
Between 1978 and 1982, Tim Holloway and Fiona Ross designed Linotype Bengali based on Ross's research for her doctoral studies in Indian palaeography. In 2020, Fiona Ross and Neelakash Kshetrimayum were commissioned by Monotype to update that popular typeface, still called Linotype Bengali.
In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.
Bio at ATypI. Her books and/or essays:
FiraGO (2012-2018) is an outgrowth of the open source Fira Sans typeface family by Carrois and Spiekermann. Script support has been considerably extended from Latin Extended, IPA, Pan African, Cyrillic Extended (+ locl BGR and SRB), and Polytonic Greek, already present in Firs Sans, to Arabic, Devanagari, Georgian, Hebrew, and Thai. Manual basic truetype hinting was done with Glyphs. Copyright of various parts of Firago: Carrois Corporate GbR, HERE Europe B.V., The Mozilla Foundation, Telefonica S.A., and bBox Type GmbH. Credits for the various additons and modifications:
Free truetype fonts: Tai Le Valentinum (for the Tai Le script used in China, Burma and Laos), Valentine Arabic, the faux pixel font Sounds of Apathy, and the unicode faux pixel font Fixedsys Excelsior 2.0 (2007). The latter covers Latin, Greek, Cyrillic, Hebrew, Armenian, Tamil, Hylian, N'Ko, Ethiopic, blackletter, Dehong Dai, Pahawh Hmong, Thaan, Arabic, Thai, Ogham, runic, and IPA. All fonts made by Darien Valentine in 2004. See also here. [Google] [More] ⦿
Banha, Egypt-based designer of Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hamis and Hamis Vol 2 (2019: a festive display typeface by Ahmed Eraqi and Nohamad Foda), Zamoka (2019: a deco typeface, done with Ahmed Eraqi), Luxury Home (2019, with Ahmed Eraqi), a Latin slab serif with lower case letters of unequal x-height.
Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Ahmed Eraqi).
Typefaces from 2021: Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda). [Google] [MyFonts] [More] ⦿
Font vendor located in Korea. It covers Latin (fonts by Adobe, Agfa, Bitstream, Emigre, FontFont, Garagefonts, ITC, Linotype-Hell, Monotype, T-26, URW, and others), Korean, Japanese (fonts by Morisawa, Dynalab and Fontworks), Chinese (FZ series fonts), Arabic (Kitabi LS, Lateefi LS, Nargisi LS), and Cyrillic. [Google] [More] ⦿
During his studies in Warsaw, Poland, Mikolaj Grabowski designed the interesting stackable typeface family Epilepsja (2015) and Epilepsja Round (2015). There is a hint of Escher-style 3d effects hidden in this beauty.
In 2015, he set up his own commercial type foundry.
Typefaces from 2018: URLOP (a 14-layer color font, with some SVG styles, and covering many multiline and stencil styles).
Typefaces from 2019: Antifa (for anti-fascist---an ironic use of the blackletter style used by neonazi / fascist groups in Poland), Fushar and Fushar Arabic (a Latin / Arabic colorable and layerable comic book font family).
"Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More] ⦿
Arabic Pagemaker. Includes four Arabic fonts plus a special calligraphy Arabic font supporting over 300 ligatures. Also available is Adobe Arabic PhotoShop. Also makes many Arabic and Persian fonts in PostScript, and does custom work. [Google] [More] ⦿
London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.
In 2017, he designed the 3d pixel font Furniture Type.
In 2018, he created TextFace Type.
Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). Forme Grotesque performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic. [Google] [MyFonts] [More] ⦿
In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited in the UK. Their typefaces:
As a student at Abdulrahman bin Faisal University, Foziya Al-aujan (Al Khobar, Saudi Arabia, Saudi Arabia) designed a 3d experimental Arabic typeface (2017) and a decorative Latin typeface called Dracos (2017). [Google] [More] ⦿
French type designer, calligrapher, and stonecutter, b. 1962. Franck Jalleau studied at the Ecole des Beaux-Arts de Toulouse and at the Atelier national de Création typographique (ANCT), where he subsequently worked as an instructor until 1990. A type designer, he works primarily in the publishing field and on French administrative documents (the General Tax Code, passports, identity cards, car registration documents, etc.). Since 1990, for the Imprimerie Nationale, he oversees the adaptation of the typographic holdings for digital typesetting. For this effort, the Imprimerie's Garamond was one of the first typefaces he rehabilitated, along with the grecs du Roi. Currently, Franck Jalleau teaches at Ecole Estienne in Paris.
Franck designed several typefaces for Agfa, Editions Magnard, city of Brive-la-Galliarde, for the NGO ATD Fourth World Movement, etc. In 1987, he engraved the Movement's message in stone, which was installed first at the Place de Trocadéro in Paris, and then at the United Nations in New York, the European Parliament in Strasbourg, the Basilica of St. John Lateran and in Reims Cathedral. Franck Jalleau won the Prix des Graphistes in 1988 and has received several international awards, including the Morisawa Award (Japan) in 1987 and 1996. He has taught type design at the École Estienne since 1991, and he offers training courses in character design in art schools both in France (Toulouse, Caen, Amiens) and abroad. His typefaces:
Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More] ⦿
University of Heidelberg archive with well-documented fonts and font software. Has copies of SmartFont (Windows font previwer), TTFPlus (16-bit font management), TipoMaker (typebook maker), JobSpecific16 v2.01 (Postscript font assigner), Softy. Siddiqua (Arab truetype font by Laser Printing Solutions, Irvine, CA). About ten morse code fonts. [Google] [More] ⦿
Outfit in San Diego, CA, which used to sell international commercial fonts in the 1990s, including Cyrillic fonts mostly from Paragraph. WL PashtoNaskh (1995) is one of their Arabic fonts. Other fonts include WLGreekTimesAncient-Regular for Greek and WL-ArabicNaskh for Arabic. [Google] [More] ⦿
Gandhi's spectacles provided inspiration to Mumbai-based Payal Juthani, who made Gandhiji Font (2010) for Devanagari, Latin, Gurmukhi, Tamil, Oriya, Kannada, Telugu, and Urdu. Nadine Pereira (Mumbai) showcases it on Behance. Klingspor link. [Google] [More] ⦿
Munich-based designer of Sindbad, a dingbat font of ornaments found in Oman. He also designed the dingbat font Linotype Circles (2002), Linotype Squares (2002), Linotype Triangles (2002), and Linotype American Indian (2002).
Designer in 2011-2012 of the Arabic typeface Fouta developed for the Guinean community. This was at the basis of the free font Harmattan (2015, SIL International; Google Font link). SIL explains: Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. The font does not cover the full Unicode Arabic repertoire. It only supports characters known to be used by languages in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) This simplified style is often preferred for clarity, especially in non-Arabic languages, but may be considered unattractive in more traditional and literate communities. [Google] [More] ⦿
Designer at Linotype of Kufi Std (1987) and Kufi Outline, an Arabic font family.
Riyadh, Saudi Arabia-based designer of a few Arabic typefaces in 2014 and 2015, such as Hadeel, Talin and Nanquim. VIP Sbgh is free. In 2016, they designed the free font VIP Hakm and the free font VIP Arabic. Home page. [Google] [More] ⦿
Font vendor. Custom font design in most languages. MS Arabic Windows distributor in US: additional fonts for $79. P.O. Box 134, Andover, MA 01810, USA. Also sells Hebrew fonts. Seels for Agfa, Alagha Associates, Arthur Baker Designs, ITC, Maverick Designs, Boutros International, and Sakkal Designs. Headed by Steve Reef. For 89USD, get 16 beautiful Arabic fonts: ITC Boutros Rokaa, Koufi, Ousbough, Arabic Borders, Diwani, Architect, ITC Boutros Modern Kufic, AGA Andalus (some of these in multiple weights). For 72USD, get 13 Hebrew fonts (some in multiple weights): Khadeysh, Ktav, Rashi, and Mesorati. The latter fonts, plus Diwani and Architect, are original fonts by Glyph Systems. [Google] [More] ⦿
GNU Freefont (or: Free UCS Outline Fonts)
The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.
Chinese truetype fonts. And 20 MB worth of international bitmap fonts. The fonts at the latter link contain PCF and BDF sources, and some truetype and type 1 fonts. Among the bitmap (BDF) fonts: ISO8859 series 1 through 9 (Latin, Greek, Cyrillic), KOI8 (Cyrillic), Indic, Lao, Tibetan, Thai, Vietnamese, Chinese, Japanese, Korean, Ethiopic, Arabic, IPA, Hebrew. Truetype: Latin-X fonts, Vietnamese (VISCII roman). Type 1: Latin-X fonts, Vietnamese (VISCII roman), Thai (TIS620), Thai National Font. The readme goes: "We greatly appreciate the contribution of Yannis Haralambous and Tereza Tranaka. They made free TrueType and Type1 fonts for Latin-X series, Thai, and Vietnamese. They will eventually make fonts for more character sets." The fonts are called OmegaSerif, and were made in 1999. Also included is the Thai National font Nf3, made by Yannis Haralambous and Virach Sornlertlamvanich in 1999. [Google] [More] ⦿
Paco Fernandez (Granada Design, Almeria, Spain) designed these Arabic display typefaces in 2015: Varela (based on the first Arabic book that was printed in Spain---it was produced in 1505 by Juan de Varela de Salamanca in his shop in Granada), Kitab (based on a leafed book), and Dairah (circle-based). Behance link. [Google] [More] ⦿
The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) are organizing Granshan 2012, The Fifth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic, Greek, Indic (i.e., Devanagari, Bengali, and Tamil only) and Arabic fonts. Exceptionally, this year, Latin fonts designed in the last ten years can also be nominated.
Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consists of Timothy Donaldson, Otmar Hoefer, Ahmed Mansour, Fiona Ross, Manvel Shmavonyan, Panos Vassiliou, and Vladimir Yefimov. There are five expert panels:
Designer of Linotype Hassan (1993), an Arabic font family unfortunately overpriced by Linotype. Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. Hassan's two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold. Karim by Linotype has an identical Latin set. [Google] [MyFonts] [More] ⦿
Cairo-based artist. Creator of Brink (2014), a Latin typeface that was designed for a water recycling campaign. In 2016, she designed the circle-based Arabic typeface Seen. Also a talented illustrator, she created, e.g., Daily Routine Pictogram (2016). [Google] [More] ⦿
During her graphic design studies at Gaza Arts University, Cairo-based Habiba El Gendy created the experimental geometric Latin / Arabic typeface Arkan (2014), and the crispy Arabic typeface Habiba (2016). Behance link. Home page. [Google] [More] ⦿
Run by Mohamed Hacen Mottaly (b. 1978, Mauritania), a graphics and type specialist. Unless otherwise indicated, all fonts were made in 2006 by Mohamed Hacen. Free Latin fonts: HacenCAPSpice33, HacenCAPSpice65, HacenPixer (by Jen Aimon). Free Arabic fonts: HacenBeirutHeading, HacenBeirutLight, HacenBeirut, HacenCAPSpice33, HacenCAPSpice65, HacenCasablancaHeavy, HacenCasablancaLight, HacenCasablanca, HacenDalalSt, HacenDalalText, HacenDalal, HacenEgypt, HacenFreehand, HacenLebanon, HacenLinerPrint-outLight, HacenLinerPrint-out, HacenLinerScreenBd, HacenLinerScreen, HacenLinerXL, HacenLinerXXL, HacenNewspaper, HacenPixer, HacenPromoterLt, HacenPromoterMd, HacenPromoter, HacenSahafa, HacenSamraLt, HacenSamra, HacenTypographerBold, HacenTypographerBook, HacenTypographerHeavy, HacenTypographer. Hacen Tehran (2006) is here. Hacen Liner and Hacen Tunisia (2005-2014) are free fonts that are available at Open Font Library. Another Open Font Library link. [Google] [More] ⦿
Hadeer Omar has a BFA in Graphic Design from Virginia Commonwealth University. Behance link. She created the squarish Arabic typeface Lefeen (2010). It is unclear if this is the same as the design agency Elfekra in Alexandria, Egypt---they also show a squarish typeface called Lefeen. [Google] [More] ⦿
Hadi Type Studio
Moroccan/French type designer who created the calligraphic Arabic typeface https://www.myfonts.com/fonts/linotype/hakim-ghazali/ (2005), which won the first prize for calligraphic Arabic type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [MyFonts] [More] ⦿
During his studies at German University of Cairo, Hala Gamal Zakaria Moustafa designed the Arabic display typeface Fshar for popcorn street cars in Cairo, Egypt. It was inspired by the shape of popcorn. [Google] [More] ⦿
Born in 1891 in the city of "Diyar-e-Bakr" south Anatolia, Turkey. His real name is "Moses Azmi", the renamed as "Hamid Aytash Alamidi" after his village. He studied in the great Mosque named "Ulu" in his village. His calligraphy work embodied all kinds of Arab calligraphic types, but he was greatly famous in "Jali Thulth". Hamid Al Amidi has many writings on the domes and walls of mosques which can be seen in Turkey as a legacy of some of his calligraphy for verses of the Holy Quran, such as: "Ayoub Mosque", "Paschbahchi Mosque", "Haji Koushk Mosque" in Istanbul, the dome of "Cokhateb Mosque" in Ankara and many other mosques in Istanbul and Densley and "Shana Kalaa". The master piece of his production was when he copied the Holy Quran twice in a beautiful Nsekh type. It has been reprinted recently in Istanbul and Berlin. [Google] [More] ⦿
Hannah Dossary (Nottingham, UK) created an Arabic type companion for the road sign family ClearviewHwy (2011) while studying communication at Loughborough University. [Google] [More] ⦿
Beirut, Lebanon-based designer of the Arabic typeface Afreet (2016). From Hares's studies at ATDB in 2016-2017, we retain the Arabic typeface Mahrous (meaning "guarded"), which was inspired by decoration and Ruq'ah-like script seen on trucks in Lebanon. [Google] [More] ⦿
Hasan Abu Afash
Heheh Type is an Arabic type design collective based in Cairo that was founded by Nour El Shamy (who graduated from German University in Cairo), Shahd El Sabbagh and Manuel von Gebhardi in 2020. Their typefaces:
Nour El Shamy designed the Arabic typefaces Koffar (2018) and Ghareeb some time before Dobb, as well as the Latin display typeface Ayakashi (2017). Future Fonts link. Cargo Collective link for Nour El Shamy. [Google] [More] ⦿
Irbil, Iraq-based designer of the monoline Kurdish font Qshtoka (2014). Free download. Earlier he made a series of 32 Arabic / Kurdish typefaces called Kazhin 1 through Kazhin 32 (2014). Free download. See also here.
Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.
He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.
Some publications by Hermann Zapf:
List of his typefaces:
Books and references about him include:
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].
Designer of the Arabic typefaces Hesham-Normal (1993), Hesham-Cortoba-Normal-Traditional (1993), Hesham-Fostat-Normal-Traditional (1993), Hesham-AlSharq-Normal-Traditional Hesham-Kashkool-Normal-Traditional (1993), Hesham-Cortoba-Normal-Traditional (1993), Hesham-Bold (1993), Hesham-Free-Normal-Traditional (1993). Some are also here. Here we find Hesham-AlSharq-Normal-Traditional, Hesham-Bold, Hesham-Cortoba-Normal-Traditional, Hesham-Fostat-Normal-Traditional, Hesham-Free-Normal-Traditional, Hesham-Ghorn-Italic, Hesham-Kashkool-Normal-Traditional, Hesham-Nagham-Normal-Traditional, Hesham-Normal. Here we have these 1993 fonts: Hesham-AlSharq-Normal-Traditional, Hesham-Cortoba-Normal-Traditional, Hesham-Fostat-Normal-Traditional, Hesham-Free-Normal-Traditional, Hesham-Ghorn-Italic, Hesham-Gornata-Normal, Hesham-Kashkool-Normal-Traditional, Hesham-Normal. See also here. [Google] [More] ⦿
Arabic typography web site and font foundry established in 2007 by Hasan Abu Afash, an Arab designer living in Gaza/Palestine. Typefaces: HS Dream (2019), HS Gold (2018), HS Almisk, HS Almisk Serif (2018: modern kufi style), HS Aleman (2018: a kufi /naskh hybrid), HS Alnasma (2017), HS Alhoson (2017), HS Alwajd (2016), HS Almajd (2016), HS Rahaf (2015, covering Pashtu, Persian, Urdu, Kurdish Sorani, Kurdish Kirmanji, and Arabic), HS Alnada (2015, kufi), HS Headline (a fat calligraphic didone display typeface by Gunnlaugur Briem (Latin) and Hasan Abu Afash (Arabic, based on the simple lines of Naskh calligraphy), HS Ali (2015; designed using equal amounts of anger and sorrow, Hasan writes: HS Ali was designed in memoriam of my brother---Ali Abu Afash who was martyred during the last aggression on Gaza in summer 2014), HS Alhuda (2014, Kufi font), HS Almaha (2014: this font combines the features of linear Naskh and modern Kufi), HS Almidad (2014), HS Ishraq (2013), HS Alkitab (2013), HS Albadr (2013), HS Almohandis (2007-2011, Arabic display face), HS Alhandasi (2007 and 2011), Hasan AlQuds family (2004, a display typeface done with Mamoun Sakkal), Hasan Hiba, Hasan Enas (Arabic text typeface), Hasan Elham (2006, a modern Kufi art deco face), Hasan Ghada (2007-2008, based on modern Kufi calligraphy--first known in 2002 as KactTitle), Hasan Manal (2008, Kufi style), Hasan Aya (2007, Kufi style famaily based on Corel's 1992 typeface Bedrock), Kouffi Fatemic, Safwat, HS Amal. In 2008, Hasan Hiba and Hasan Noor (a classic squarish Kufi face) were upgraded to the DecoType font format for use in WinSoft Tasmeem which is now bundled with InDesign CS4---thanks to a cooperation with Mirjam Somers. Still with Somers, he upgraded the Basim Marah display typeface (2008) for Tasmeem. Basim Marah was drawn by Basim Salem Al Mahdi from Iraq and then digitized by Hasan himself. The same year, Hasan developed an OpenType project for Alinma TheSans fonts which are based on TheMix Arabic (designed by Luc(as) de Groot and Mouneer ElShaarani for Al Inma Bank, Saudi Arabia). Later he developed the OpenType features for Jumeirah Arabic which was designed by Pascal Zoghbi (29letters) and Huda AbiFares (Khatt) for Jumeirah International, UAE. He developed the OpenType layout features needed for the Arabic script system in the Seria Arabic fonts family which was designed by Pascal Zoghbi for FontShop International, as well as the Chams fonts family which was designed by Al Mohtaraf Assaudi for the redesign of the Shams Newspaper in Saudi Arabia and the Arajhi fonts for Alrajhi Bank. Since 2002 Hasan has worked and collaborated with Mamoun Sakkal in several projects, such as the Burj Dubai Shilia project, Sakkal Baseet and the Microsoft project which included the updating of the OpenType instructions for fonts such as Tahoma, Microsoft Sans Serif (1997), Arial, Times New Roman, Segoe, Courier, Time New Roman, Ms Uighur and Majalla UI. In 2009-2010, he cooperated with Parachute to make DIN Text Arabic.
Graduate of Kyoto University and the the University of Reading's MATD program. Hidetaka Yamasaki (Japan) designed several typefaces:
A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More] ⦿
From Sao Paulo, Roberto Lyra's explanation on the origins of Arabic numerals: "Each Arabic number we use today is itself an ideogram created by Abu Ja'far Muhammad ibn Musa al-Khwarizmi (c.778 - c.850). Al-Khwarizmi was born in central Asia in what is known as Uzbekistan, and moved to Baghdad were he worked as a mathematician during the first golden age of Islamic science, at the "House of Wisdom". Using the abacus notations he developed the manuscript decimal system. By the end of the 12th century (Middle Ages) the academic word was divided between the algorists, followers of al-Khwarizmi, and the abacists, who used the abacus as a means of dealing with the unwieldy Roman notation. The oldest dated European manuscript containing Arabic numbers is the Codex Vigilanus written in Spain in 976. In 1202 Leonardo of Pisa (also know as Leonard Fibonacci) published his Liber Abaci, a book of arithmetic and algebraic information. The earliest French manuscript using the new number system was written in 1275. During the 14th century Arabic numerals became widely used by merchants in Italy." [Google] [More] ⦿
Tehran, Iran-based graphic and type designer. In 2013, he created the Farsi typeface Novin which won an award at Granshan 2014. Novin Web (2014) was co-designed with Reza Bakhtiarifard. [Google] [More] ⦿
Graphic designer in Dbayeh, Lebanon. In 2012, he created an Arabic typeface called Al Zakher: A typeface designed based on the typeset used in the 16th century in the first Arabic printing press in the Orient which is located at St. John monastery at Khenchara, Lebanon. The printing press was invented by Al Shammas Abdallah Al Zakher, thus the name.
The 2014 Horouf Type Design Competition saw these winners: Sultan Mohammad (gold medal for Change), Ferran Milan (silver medal for Baldufa), Ahmad Al Hindi (bronze medal for Zamalka). This bilingual (Latin / Arabic) type design competition was initiated by Nuqat and 29Letters. The results were announced in December 2014 at the Nuqat Design Conference in Kuwait. The jury consisted of Huda AbiFares (of the Khatt Foundation), Kameel Hawa (of Mohtaraf), Mouneer Shaarani (Arabic calligrapher), Peter Bilak(of Typotheque), Patrick Giasson (of Loose Atom), and Reza Abedini (Iranian graphic designer). This sentence is interesting: Whilst the jurors are all excited to take part in the very first annual Horouf design competition for typography design, they agree that this year's entries left much to be desired in terms of innovation and technical execution. This is reflected by their reluctance to award any first prizes. [Google] [More] ⦿
Creator in 2013 of Persian HM-FTX. This large free CTAN package of fonts contains HM_FTXarshia-Bold, HM_FTXarshia-BoldItalic, HM_FTXarshia-BoldOblique, HM_FTXarshia-Italic, HM_FTXarshia-Oblique, HM_FTXarshia-Outline, HM_FTXarshia-OutlineItalic, HM_FTXarshia-OutlineOblique, HM_FTXarshia-Shadow, HM_FTXarshia-ShadowItalic, HM_FTXarshia-ShadowOblique, HM_FTXarshia, HM_FTXbadr-Bold, HM_FTXbadr-BoldItalic, HM_FTXbadr-BoldOblique, HM_FTXbadr-Italic, HM_FTXbadr-Oblique, HM_FTXbadr-Outline, HM_FTXbadr-OutlineItalic, HM_FTXbadr-OutlineOblique, HM_FTXbadr-Shadow, HM_FTXbadr-ShadowItalic, HM_FTXbadr-ShadowOblique, HM_FTXbadr, HM_FTXelham-Bold, HM_FTXelham-BoldItalic, HM_FTXelham-BoldOblique, HM_FTXelham-Italic, HM_FTXelham-Oblique, HM_FTXelham-Outline, HM_FTXelham-OutlineItalic, HM_FTXelham-OutlineOblique, HM_FTXelham-Shadow, HM_FTXelham-ShadowItalic, HM_FTXelham, HM_FTXfarnaz-Bold, HM_FTXfarnaz-BoldItalic, HM_FTXfarnaz-BoldOblique, HM_FTXfarnaz-Italic, HM_FTXfarnaz-Oblique, HM_FTXfarnaz-Outline, HM_FTXfarnaz-OutlineItalic, HM_FTXfarnaz-OutlineOblique, HM_FTXfarnaz-Shadow, HM_FTXfarnaz-ShadowItalic, HM_FTXfarnaz-ShadowOblique, HM_FTXfarnaz, HM_FTXhoma-Bold, HM_FTXhoma-BoldItalic, HM_FTXhoma-BoldOblique, HM_FTXhoma-Italic, HM_FTXhoma-Oblique, HM_FTXhoma-Outline, HM_FTXhoma-OutlineItalic, HM_FTXhoma-OutlineOblique, HM_FTXhoma-Shadow, HM_FTXhoma-ShadowItalic, HM_FTXhoma-ShadowOblique, HM_FTXhoma, HM_FTXjadid-Bold, HM_FTXjadid-BoldItalic, HM_FTXjadid-BoldOblique, HM_FTXjadid-Italic, HM_FTXjadid-Oblique, HM_FTXjadid-Outline, HM_FTXjadid-OutlineItalic, HM_FTXjadid-OutlineOblique, HM_FTXjadid-Shadow, HM_FTXjadid-ShadowItalic, HM_FTXjadid-ShadowOblique, HM_FTXjadid, HM_FTXkamran-Bold, HM_FTXkamran-BoldItalic, HM_FTXkamran-BoldOblique, HM_FTXkamran-Italic, HM_FTXkamran-Oblique, HM_FTXkamran-Outline, HM_FTXkamran-OutlineItalic, HM_FTXkamran-OutlineOblique, HM_FTXkamran-Shadow, HM_FTXkamran-ShadowItalic, HM_FTXkamran-ShadowOblique, HM_FTXkamran, HM_FTXkoodak-Bold, HM_FTXkoodak-BoldItalic, HM_FTXkoodak-BoldOblique, HM_FTXkoodak-Italic, HM_FTXkoodak-Oblique, HM_FTXkoodak-Outline, HM_FTXkoodak-OutlineItalic, HM_FTXkoodak-OutlineOblique, HM_FTXkoodak-Shadow, HM_FTXkoodak-ShadowItalic, HM_FTXkoodak-ShadowOblique, HM_FTXkoodak, HM_FTXlotoos-Bold, HM_FTXlotoos-BoldItalic, HM_FTXlotoos-BoldOblique, HM_FTXlotoos-Italic, HM_FTXlotoos-Oblique, HM_FTXlotoos-Outline, HM_FTXlotoos-OutlineItalic, HM_FTXlotoos-OutlineOblique, HM_FTXlotoos-Shadow, HM_FTXlotoos-ShadowItalic, HM_FTXlotoos-ShadowOblique, HM_FTXlotoos, HM_FTXmitra-Bold, HM_FTXmitra-BoldItalic, HM_FTXmitra-BoldOblique, HM_FTXmitra-Italic, HM_FTXmitra-Oblique, HM_FTXmitra-Outline, HM_FTXmitra-OutlineItalic, HM_FTXmitra-OutlineOblique, HM_FTXmitra-Shadow, HM_FTXmitra-ShadowItalic, HM_FTXmitra-ShadowOblique, HM_FTXmitra, HM_FTXnasim-Bold, HM_FTXnasim-BoldItalic, HM_FTXnasim-BoldOblique, HM_FTXnasim-Italic, HM_FTXnasim-Oblique, HM_FTXnasim-Outline, HM_FTXnasim-OutlineItalic, HM_FTXnasim-OutlineOblique, HM_FTXnasim-Shadow, HM_FTXnasim-ShadowItalic, HM_FTXnasim-ShadowOblique, HM_FTXnasim, HM_FTXnazli-Bold, HM_FTXnazli-BoldItalic, HM_FTXnazli-BoldOblique, HM_FTXnazli-Italic, HM_FTXnazli-Oblique, HM_FTXnazli-Outline, HM_FTXnazli-OutlineItalic, HM_FTXnazli-OutlineOblique, HM_FTXnazli-Shadow, HM_FTXnazli-ShadowItalic, HM_FTXnazli-ShadowOblique, HM_FTXnazli, HM_FTXroya-Bold, HM_FTXroya-BoldItalic, HM_FTXroya-BoldOblique, HM_FTXroya-Italic, HM_FTXroya-Oblique, HM_FTXroya-Outline, HM_FTXroya-OutlineItalic, HM_FTXroya-OutlineOblique, HM_FTXroya-Shadow, HM_FTXroya-ShadowItalic, HM_FTXroya-ShadowOblique, HM_FTXroya, HM_FTXsf-Bold, HM_FTXsf-BoldItalic, HM_FTXsf-BoldOblique, HM_FTXsf-Italic, HM_FTXsf-Oblique, HM_FTXsf-Outline, HM_FTXsf-OutlineItalic, HM_FTXsf-OutlineOblique, HM_FTXsf-Shadow, HM_FTXsf-ShadowItalic, HM_FTXsf-ShadowOblique, HM_FTXsf, HM_FTXtabasm-Bold, HM_FTXtabasm-BoldItalic, HM_FTXtabasm-BoldOblique, HM_FTXtabasm-Italic, HM_FTXtabasm-Oblique, HM_FTXtabasm-Outline, HM_FTXtabasm-OutlineItalic, HM_FTXtabasm-OutlineOblique, HM_FTXtabasm-Shadow, HM_FTXtabasm-ShadowItalic, HM_FTXtabasm-ShadowOblique, HM_FTXtabasm, HM_FTXtitr-Bold, HM_FTXtitr-BoldItalic, HM_FTXtitr-BoldOblique, HM_FTXtitr-Italic, HM_FTXtitr-Oblique, HM_FTXtitr-Outline, HM_FTXtitr-OutlineItalic, HM_FTXtitr-OutlineOblique, HM_FTXtitr-Shadow, HM_FTXtitr-ShadowItalic, HM_FTXtitr-ShadowOblique, HM_FTXtitr, HM_FTXtrafik-Bold, HM_FTXtrafik-BoldItalic, HM_FTXtrafik-BoldOblique, HM_FTXtrafik-Italic, HM_FTXtrafik-Oblique, HM_FTXtrafik-Outline, HM_FTXtrafik-OutlineItalic, HM_FTXtrafik-OutlineOblique, HM_FTXtrafik-Shadow, HM_FTXtrafik-ShadowItalic, HM_FTXtrafik-ShadowOblique, HM_FTXtrafik, HM_FTXyaghut-Bold, HM_FTXyaghut-BoldItalic, HM_FTXyaghut-BoldOblique, HM_FTXyaghut-Italic, HM_FTXyaghut-Oblique, HM_FTXyaghut-Outline, HM_FTXyaghut-OutlineItalic, HM_FTXyaghut-OutlineOblique, HM_FTXyaghut-Shadow, HM_FTXyaghut-ShadowItalic, HM_FTXyaghut-ShadowOblique, HM_FTXyaghut, HM_FTXzar-Bold, HM_FTXzar-BoldItalic, HM_FTXzar-BoldOblique, HM_FTXzar-Italic, HM_FTXzar-Oblique, HM_FTXzar-Outline, HM_FTXzar-OutlineItalic, HM_FTXzar-OutlineOblique, HM_FTXzar-Shadow, HM_FTXzar-ShadowItalic, HM_FTXzar-ShadowOblique, HM_FTXzar.
He also made a second Persian typeface family called Persian HM-XBS in 2013. This includes HM_XBKayhan-Bold, HM_XBKayhan-BoldItalic, HM_XBKayhan-Italic, HM_XBKayhan, HM_XBKayhanNavaar, HM_XBKayhanPook, HM_XBKayhanSayeh, HM_XBKhoramshahr-Bold, HM_XBKhoramshahr-BoldItalic, HM_XBKhoramshahr-Italic, HM_XBKhoramshahr-Oblique, HM_XBKhoramshahr-ObliqueBold, HM_XBKhoramshahr, HM_XBNiloofar-Bold, HM_XBNiloofar-BoldItalic, HM_XBNiloofar-Italic, HM_XBNiloofar, HM_XBRiyaz-Bold, HM_XBRiyaz-BoldItalic, HM_XBRiyaz-Italic, HM_XBRiyaz, HM_XBRoya-Bold, HM_XBRoya-BoldItalic, HM_XBRoya-Italic, HM_XBRoya, HM_XBShafigh-Bold, HM_XBShafigh-BoldItalic, HM_XBShafigh-Italic, HM_XBShafigh, HM_XBShafighKurd-Bold, HM_XBShafighKurd-BoldItalic, HM_XBShafighKurd-Italic, HM_XBShafighKurd, HM_XBShafighUzbek-Bold, HM_XBShafighUzbek-BoldItalic, HM_XBShafighUzbek-Italic, HM_XBShafighUzbek, HM_XBShiraz-Bold, HM_XBShiraz-BoldItalic, HM_XBShiraz-Italic, HM_XBShiraz, HM_XBSols-Bold, HM_XBSols-BoldItalic, HM_XBSols-Italic, HM_XBSols, HM_XBTabriz-Bold, HM_XBTabriz-BoldItalic, HM_XBTabriz-Italic, HM_XBTabriz, HM_XBTitre-Italic, HM_XBTitre, HM_XBTitreShadow-Italic, HM_XBTitreShadow, HM_XBYagut-Bold, HM_XBYagut-BoldItalic, HM_XBYagut-Italic, HM_XBYagut, HM_XBYas-Bold, HM_XBYas-BoldItalic, HM_XBYas-Italic, HM_XBYas, HM_XBZar-Bold, HM_XBZar-BoldItalic, HM_XBZar-Italic, HM_XBZar-Oblique, HM_XBZar-ObliqueBold, HM_XBZar, HM_XMTraffic-Bold, HM_XMTraffic-BoldItalic, HM_XMTraffic-Italic, HM_XMTraffic, HM_XMVahid-Bold, HM_XMVahid-BoldItalic, HM_XMVahid-Italic, HM_XMVahid, HM_XMYermook-Bold, HM_XMYermook-BoldItalic, HM_XMYermook-Italic, HM_XMYermook, HM_XPVosta-Bold, HM_XPVosta-BoldItalic, HM_XPVosta-Italic, HM_XPVosta, HM_XPZiba-Bold, HM_XPZiba-BoldItalic, HM_XPZiba-Italic, HM_XPZiba. [Google] [More] ⦿
Hrant H. Papazian
Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008), Typographic Matchmaking in the City (2010) and Arabic Type Design for Beginners (2013), and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More] ⦿
Huda Smitshuijzen AbiFarès
A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.
A later modification / fork is Perplexed by Peter Hull in 2018.
Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.
IBM Plex won an award at TDC Typeface Design 2018.
In 2021, Google Fonts added various multilingual versions of IBM PLex: IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin), IBM Plex Sans Arabic (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos, Khajak Apelian), IBM Plex Sans Hebrew (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Yanek Iontef), IBM Plex Sans KR (by Mike Abbink; Paul van der Laan; Pieter van Rosmalen; Wujin Sim; Chorong Kim; Dohee Lee), IBM Plex Sans Thai (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg), IBM Plex Sans Thai Looped (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg).
From Encyclopaedia Britannica: Born 10th century, Iraq, died 1022 or 1031, Baghdad. In full Abu Al-hasan 'ali Ibn Hilal Ibn Al-bawwab, also called Ibn As-sitri Arabic calligrapher of the 'Abbasid Age (750-1258) who reputedly invented the cursive rayhani and muhaqqaq scripts. He refined several of the calligraphic styles invented a century earlier by Ibn Muqlah, including the naskhi and tawqi scripts, and collected and preserved for his students numerous original manuscripts of that master. [Google] [More] ⦿
From Encyclopaedia Britannica: Abu 'ali Muhammad Ibn 'ali Ibn Muqlah (b. 886, Baghdad, d. 940, Baghdad) was one of the foremost calligraphers of the 'Abbasid Age (750-1258), reputed inventor of the first cursive style of Arabic lettering, the naskhi script, which replaced the angular Kufic as the standard of Islamic calligraphy. [Google] [More] ⦿
Free Arabic truetype fonts: Nasim, Sepehr2, Web-Thulth, Sepehr---Normal, WEB-Rostam, Yekta, Web-Trafic. These are all Monotype fonts, except WEB Rostam, which is in the Apadana Farsi WEB Fonts Collection by John Yaralian (1996). [Google] [More] ⦿
Ihsan Type Foundry
Ihsan Hammoury (b. Zerqa, Jordan, 1973) is a typographer and graphic designer. He holds a BFA and master degrees in Graphic Design and runs Ihsan Type Foundry, est. 2005. He created the Insan font family (which can be purchased from Linotype) in 2005 as the Arabic equivalent of Helvetica. He is based in the United States.
Still at Facetype, he cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. Stanzer (2010, a unicase typeface done with Michael Hager) is an interpretation of wood type combined with the idea of modern stencils.
Vendetta (2011) is a multilingual sans & serif text type family that supports Latin and Cyrillic.
Wiener is an upright italic created with a bamboo-pen.
In 2013, he graduated from the MATD program at the University of Reading. His graduation typeface was Salom [peace]: Salom is a type family for complex, yet lively typography, supporting Arabic, Hebrew and Latin. The purpose of this typeface is to balance all three scripts in equal harmony, keeping in mind their individual cultural heritage. Salom is designed to bridge challenging typography with the outspoken voice of the streets. The family comes in Light, Regular, Semi Bold, Bold and Black, every weight in three styles, Roman, Italic and Stencil. Salom was published at Schriftlabor as a retail typeface in 2018.
In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic co-designed the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte.
In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. Still in 2016, he published the custom creamy signage typeface Almdudler and the 1930s style display typeface Schatzhauser.
Typefaces done at IL Fonts:
The following truetype fonts from Siansoft: Titr-s-Bold (Persian, 1993), Traffic-s-Bold (Persian, 1993), Traffic-s (Persian, 1993), Zar-s (Persian, 1995), Zar-Bold (Latin&Persian, 1997), Zar-Normal (Latin&Persian, 1997). Plus Monotype's PersianFont, and Bitstream's Zurich-Black-Extended-BT and Zurich-Extended-BT. [Google] [More] ⦿
Intelligent Design (was: Intelligent Foundry)
Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.
In 2011, he used FontStruct to make the counterless typeface UglyKost.
In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.
He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.
His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.
His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).
Creators of Kurdish Web (1998), a font for Kurdish. Also, free ParsNegarII fonts for all platforms, and in Persian, Arabic and Urdu flavors. ISC stands for International Systems Consultancy. Web fonts subpage. [Google] [More] ⦿
IPBSC or Indo-PersianBitStreamCharter
The Iranian family of the fonts are designed with the support of the Iranian National Initiative for Free and Open Source Software to provide a good-looking and free font for Persian script. It consists of Iranian Sans and Iranian Serif. The designers are Hadi Navid and Hooman Mehr (Neviseh Pardaz Co. Ltd). Download for the Open Font Library. When blown up, the glyphs show a lack of smoothness in the outlines. [Google] [More] ⦿
The free XW Zar fonts collection of Opentype Arabic fonts made in 2007 by Irmug.org covers Arabic, Persian, Urdu, Dari, Pashto, Uzbek, Kurdish, old (Ottoman) and new Turkish (Roman) languages with Open Type and Apple Advanced Typography technology support. These include XBKayhan-Bold, XBKayhan-BoldItalic, XBKayhan-Italic, XBKayhan, XBKayhanNavaar, XBKayhanPook, XBKayhanSayeh, XBKhoramshahr-Bold, XBKhoramshahr-BoldItalic, XBKhoramshahr-Italic, XBKhoramshahr-Oblique, XBKhoramshahr-ObliqueBold, XBKhoramshahr, XBNiloofar-Bold, XBNiloofar-BoldItalic, XBNiloofar-Italic, XBNiloofar, XBRiyaz-Bold, XBRiyaz-BoldItalic, XBRiyaz-Italic, XBRiyaz, XBRoya-Bold, XBRoya-BoldItalic, XBRoya-Italic, XBRoya, XBShafigh-Bold, XBShafigh-BoldItalic, XBShafigh-Italic, XBShafigh, XBShafighKurd-Bold, XBShafighKurd-BoldItalic, XBShafighKurd-Italic, XBShafighKurd, XBShafighUzbek-Bold, XBShafighUzbek-BoldItalic, XBShafighUzbek-Italic, XBShafighUzbek, XBShiraz-Bold, XBShiraz-BoldItalic, XBShiraz-Italic, XBShiraz, XBSols-Bold, XBSols-BoldItalic, XBSols-Italic, XBSols, XBTabriz-Bold, XBTabriz-BoldItalic, XBTabriz-Italic, XBTabriz, XBTitre-Italic, XBTitre, XBTitreShadow-Italic, XBTitreShadow, XBYagut-Bold, XBYagut-BoldItalic, XBYagut-Italic, XBYagut, XBYas-Bold, XBYas-BoldItalic, XBYas-Italic, XBYas, XBZar-Bold, XBZar-BoldItalic, XBZar-Italic, XBZar-Oblique, XBZar-ObliqueBold, XBZar, XMTraffic-Bold, XMTraffic-BoldItalic, XMTraffic-Italic, XMTraffic, XMVahid-Bold, XMVahid-BoldItalic, XMVahid-Italic, XMVahid, XMYermook-Bold, XMYermook-BoldItalic, XMYermook-Italic, XMYermook, XPVosta-Bold, XPVosta-BoldItalic, XPVosta-Italic, XPVosta, XPZiba-Bold, XPZiba-BoldItalic, XPZiba-Italic, XPZiba.
Later, an X Series 2 was published under the name XB Zar. These free fonts were specially designed with the web in mind. The collection includes XBKayhan-Bold, XBKayhan-BoldItalic, XBKayhan-Italic, XBKayhan, XBKayhanNavaar, XBKayhanPook, XBKayhanSayeh, XBKhoramshahr-Bold, XBKhoramshahr-BoldItalic, XBKhoramshahr-Italic, XBKhoramshahr-Oblique, XBKhoramshahr-ObliqueBold, XBKhoramshahr, XBNiloofar-Bold, XBNiloofar-BoldItalic, XBNiloofar-Italic, XBNiloofar, XBRiyaz-Bold, XBRiyaz-BoldItalic, XBRiyaz-Italic, XBRiyaz, XBRoya-Bold, XBRoya-BoldItalic, XBRoya-Italic, XBRoya, XBShafigh-Bold, XBShafigh-BoldItalic, XBShafigh-Italic, XBShafigh, XBShafighKurd-Bold, XBShafighKurd-BoldItalic, XBShafighKurd-Italic, XBShafighKurd, XBShafighUzbek-Bold, XBShafighUzbek-BoldItalic, XBShafighUzbek-Italic, XBShafighUzbek, XBShiraz-Bold, XBShiraz-BoldItalic, XBShiraz-Italic, XBShiraz, XBSols-Bold, XBSols-BoldItalic, XBSols-Italic, XBSols, XBTabriz-Bold, XBTabriz-BoldItalic, XBTabriz-Italic, XBTabriz, XBTitre-Italic, XBTitre, XBTitreShadow-Italic, XBTitreShadow, XBYagut-Bold, XBYagut-BoldItalic, XBYagut-Italic, XBYagut, XBYas-Bold, XBYas-BoldItalic, XBYas-Italic, XBYas, XBZar-Bold, XBZar-BoldItalic, XBZar-Italic, XBZar-Oblique, XBZar-ObliqueBold, XBZar, XMTraffic-Bold, XMTraffic-BoldItalic, XMTraffic-Italic, XMTraffic, XMVahid-Bold, XMVahid-BoldItalic, XMVahid-Italic, XMVahid, XMYermook-Bold, XMYermook-BoldItalic, XMYermook-Italic, XMYermook, XPVosta-Bold, XPVosta-BoldItalic, XPVosta-Italic, XPVosta, XPZiba-Bold, XPZiba-BoldItalic, XPZiba-Italic, XPZiba.
Faisalabad, Pakistan-based creator of the clean sans typeface Techno LCD (2011) and the dot matrix typeface London (2013). Khat-e-Kamal Urdu was developed by Aslam Kamal and modified by Ishtiaq Ali in 2014.
About ten Arabic truetype fonts: Andalus (Mohammed Alagha, 1993), MCS-Basmalah-italic, MCS-Basmalah-normal, MCS-Diwany1-S_U-adorned, MCS-Hijon-E_U-normal, MCS-Hijon-S_U-3d, MCS-Islamic-Art-1, MCS-Jeddah-S_I-3d, MCS-Jeddah-S_U-baloon, MCS-Jeddah-S_U-fissured, MCS-Mix, MCS-Modern-E_U-normal, Traditional-Arabic. [Google] [More] ⦿
Great site with the following free Arabic truetype fonts: MCS-Jeddah, MCS-Hijon, MCS-Modern-E, MCS-Diwany, MCS-Islamic-Art, MCS-Basmalah, MCS-Mix, Islamic font (four dingbats), Al-Kharashi, Andalus (by Mohammed Alagha), Baloon, Mamloky. [Google] [More] ⦿
Graphic designer from Beirut with a BFA [Bachelor of Fine Arts] in graphic design from the American University of Beirut (AUB), Department of Architecture and Design. He made an Arabic typeface in 2012 called Kbareh, which was created together with his colleague Tina Balaa. [Google] [More] ⦿
Or Djadli Zine El Abidine. Algerian designer of some typefaces. In 2009, he created the Latin / Arabic stone cut typefaces Djadli Tachkili (or Djadli Maghribi Djadid), which were programmed by Zakariah Saleh (Palestine). Free download. [Google] [More] ⦿
Jamal Bustan (b. Qunietra, Syria) lives in Damascus. He was commissioned to write the Mushaf (Quran) of Sheikh Maktoum, published in Dubai in 2003. This Quran is praised for the legibility of its calligraphy. Known for his calligraphic compositions, often based on Kufic styles, he received an award for his Kufic work from Tehran's First International Calligraphy Festival in 2009. In addition to working as the head of the lettering section at the Cartography Department in Damascus for 25 years, Jamal Bustan is also a graphic designer who produces book and magazine covers, logos, and Arabic typefaces. He taught calligraphy at the College of Arts at the Arab International University in Damascus.
In 2014, Mamoun Sakkal (Sakkal Design) published the Arabic typeface Bustan (done with Mamoun Sakkal). Bustan is inspired by Kairawani Kufic and cursive Sunbuli. Bustan Bold, which was designed by Jamal Bustan, developed by Mamoun Sakkal and programmed by Aida Sakkal, won an award in the TDC 2015 Type Design competition and at Granshan 2016. [Google] [MyFonts] [More] ⦿
During her studies at the American University of Beirut, Jamal Saleh co-designed the fat outlined Arabic typeface Tabboush (2014, with Ruba Mashtoub), which is inspired by children's books illustrations. [Google] [More] ⦿
Free Arabic fonts: Traditional-Arabic, MCS-Jeddah-S_U-fissured, MCS-Hijon-S_U-3d, MCS-Jeddah-S_I-3d, Andalus (by Mohammed Alagha, 1993), MCS-Jeddah-S_U-baloon, MCS-Modern-E_U-normal, MCS-Diwany1-S_U-adorned, MCS-Hijon-E_U-normal, MCS-Islamic-Art-1, MCS-Basmalah-italic, MCS-Mix, MCS-Basmalah-normal. [Google] [More] ⦿
Between 2005 and 2012, Jasper Habicht (Accipiter Media, Germany) created the free typefaces Roaat Regular (for Khmer), Al Saqr (for Arabic), Maya Modern, Pixelfont, Ukussa (for Sinhala), Kayah Li (for Karen), Deutsche Kurrent (deutsche Schreibschrift), Blissymbolics, PixelFraktur, Vexillogic Symbols, Braille, Airport (a segmented font), and Karakorum (for Mongolian) in 2012.
Type designer from Muharraq, Bahrain who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is jayaan, a multiscript typeface for magazines and cultural publications that covers Latin, Arabic, and Greek. She explains: Layaan Arabic includes a regular and bold naskh, plus a ruqaah secondary style. The ruqaah was designed as a modern interpretation of the traditional style, and it can be used both as a display style and emphasis style in text. To work well with the naskh, the ruqaah incorporates connections for a horizontal baseline. [Google] [More] ⦿
Jeremy Tankard Typography
Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families. In many of his typefaces, Jeremy mixes upper and lower case letters for more impact. A list of his typefaces:
Joe Hatem (JH Fonts, Beirut, Lebanon) is a part time lecturer at Notre Dame University Beirut. He created these Arabic typefaces in 2013: JH Amira, JH Beirut, JH Firas, JH Farid, JH Dalya, JH Paola, JH Khalil (squarish), JH Hala, JH Diwani (a calligraphic font that took three years to complete; see also JH Diwani Simplified Light released in 2019), JH Fares (a modern Kufic font). In 2015, he made the Arabic typefaces JH Thuluth, JH Dima and JH Diwani Thuluth, and the children's (Latin) handwriting font JH Lea Cursive.
Typefaces from 2016: JH Naskh Expanded.
Typefaces from 2020: JH Fatina (a superb Arabic typeface family with covering the Sounboli, Naissabouri, Diwani and Thuluth calligraphic scripts), JH Zoya Cyrillic (a monoline school script for Latin and Cyrillic).
Joe Mahfouz Hatem
Berlin and Frankfurt-based company which published these fonts for ancient Middle Eastern scripts between 1990 and 2001: TitusAncientNeareastNormal, TitusArabic-Farsi, TitusArmenianNormal, TitusAsomtavruliMrglovani, TitusAsomtavruliMrglovani, TitusAsomtavruliNuskhuri, TitusBaltic, TitusBibleGothic, TitusBuzuku, TitusChristianEastNormal, TitusCyrillicNormal, TitusECLINGMxedruli-Normal, TitusECLINGTranscription-Bold, TitusECLINGTranscription-Italic, TitusECLINGTranscription, TitusEastEuropeanNormal, TitusGreekNormal, TitusGreekReverseNormal, TitusHebrew-Normal, TitusHebrewNormal, TitusIndoIranianNormal, TitusIndologyNormal, TitusKroatianGlagolicaNormal, TitusManichean, TitusMiddleIranian-Normal, TitusMxedruliNormal, TitusNearEastNormal, TitusNuskhaKhutsuri, TitusOghamNormal, TitusOldGeorgian, TitusOldPersianNormal, TitusOldPersianNormal, TitusOscanInscriptionsNormal, TitusRoundGlagolicaNormal, TitusRunicNormal, TitusSlavonicNormal, TitusSogdianIntNormal, TitusSyriacEstrangelo, TitusSyriacNestorian, TitusSyriacNestorianNormal, TitusSyriacSerto, TitusSyriacSertoNormal, TitusTaanaNormal, TitusUmbrianInscriptionsNormal, TitusWesternNormal. Downloadable here. [Google] [More] ⦿
One truetype font here (bottom of page, click on Schriftart, the German word for font): Joe. This font has Latin, East-European, Cyrillic, Greek, Hebrew and Arabic characters, and sure looks like a renamed Monotype Times to me. [Google] [More] ⦿
A bold free font created in 2015 and 2016. Arabic design by Kourosh Beigpour, Latin design by Eben Sorkin, engineering by Lasse Fister and Khaled Hosny. They write: Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means republic, and the spark of inspiration for the design was a stencil of Shablon showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Open Font Library link. [Google] [More] ⦿
Graduate of the Masters of Type Design program of the University of Reading, UK. Jordan Bell (Waco, TX) writes about his graduation typeface Odelay (2014): Odelay is a contemporary interpretation of the transitional American Scotch Roman, or Century types, that were designed in the U.S.A. near the end of the 19th century by DeVinne and the Bentons. Inspired by these designs and hand-painted sign lettering, Odelay has a warm, friendly aesthetic that invites the designer to put it to use on a variety of different jobs. With very delicate thin weights, ultra-heavy fat weights, and everything in-between, Odelay is readily available for complex typography at any size. Odelay covers Latin, Greek, Arabic and Cyrillic, with emphasis on the Latin. Jordan's description requires a correction, however--Theodore DeVinne did not design any typefaces---some were named after him, but that is a different story. [Google] [More] ⦿
Lebanese student who was at McGill University in Montreal. Developer of a free Mac font, Mesha, based on the Phoenician script from the Mesha stela. She also has some interesting exercises on Arabic typography from the American University in Beirut (AUB). [Google] [More] ⦿
Juan Luis Blanco
German designer who obtained an MA in typeface design from The University of Reading (2009), based on her typeface Creon. Before Reading, she studied at Hochschule Mannheim, and ran a design company there called MfG, for Mit freundlicher Gestaltung. Her Creon typeface contains Latin and Arabic alphabets, and was developed with hints of Greek.
Free Google Web Fonts include Kenia (2010, a stencil display font with hints of blackletter), Keania One (2012: a gentler heavy stencil face), Text Me One (2012: an organic sans face), and Kreon (2011, slab serif). Other free typefaces include Lily Script One (2012: a retro signage script, free at Google Web Fonts).
KACST stands for King Abdulaziz City for Science and Technology. A family of Arabic typefaces was made for KACST by CRI, the Computer Research Institute, and has names that contain the prefic Kacst.
The following Latin-Arabic fonts were donated by URW under general GNU license: KacstArt, KacstBook, KacstDecorative, KacstDigital, KacstFarsi, KacstLetter, KacstPoster, KacstQura, KacstQuraFixed, KacstQurn, KacstTitle, KacstTitleL. Download them here. See also here.
At OFL, one can download the Arabic Naskh typeface KacstOne (2012) and most other KACST typefaces: KACST Title L, KACST Title, KACST Screen, KACST Qurn, KACST Poster, KACST Pen, KACST Office, KACST Naskh, KACST Letter, KACST Farsi, KACST Digital, KACST Decorative, KACST Book, KACST Art. Another OFL link. [Google] [More] ⦿
Kamal Mansour, educated in Cairo, used to run Kappa Type in Palo Alto, CA, and was involved in software, fonts and keyboards for some languages. Thereafter, he joined Monotype in 1996 where he is now involved in OpenType implementations for various scripts including Latin, Arabic, and Hebrew. At Monotype, from his base in Los Altos, CA, his responsibilities includes growing the library of non-Latin scripts, investigating potential products, in-house consulting, as well as assisting customers with font specifications.
He spoke at ATypI 2005 in Helsinki on Nastaliq style through open type, about which he writes: Designed by Pakistani calligrapher Mirza Jamil, Noori Nastaliq is a calligraphic Urdu script typeface originally devised for use on a Monotype imagesetter in the 1970s. Once this proprietary equipment became obsolete, Noori Nastaliq could not be readily implemented for many years with the digital technology at the time. With the advent and maturation of OpenType technology, Noori Nastaliq is once again alive. In spite of the many graphic complexities of Nastaliq style such as its oblique alignment to the baseline and its cursive connections, OpenType proved sufficient for the task.
In 2015, Patrick Giasson and Kamal Mansour co-designed the Arabic script typeface Bustani at Monotype. Bustani is the first OpenType font to offer full classical Naskh contextual shaping. It covers Arabic, Farsi and Urdu. Bustani won an award at TDC 2016.
Beirut, Lebanon-based designer of the Arabic typeface Midan (2005), which won an award at TDC2 2007. Linotype: Midan is a modern Arabic typeface based on simplified Naskh with a slightly modulated stroke treatment. It is suited for text settings, especially in brochures and magazines.. Free download at OFL.
Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010.
Munich, Germany-based graphic and type designer (b. 1986) who studied type design at the University of Reading, class of 2016. For her graduation project, she created the Latin / Cyrillic / Arabic typeface Riwaya. This lively typeface comes in Regular, Informal and Arabic sub-styles, as Katharina explains: iRiwaya is a multi-script typeface family for telling stories. Riwaya Regular and Riwaya Informal create a similar colour on the page and work well together in texts for continuous reading; their clearly distinguishable designs offer different tones for different voices in text without distracting the reader. Riwaya won an award at Granshan 2016.
Type foundry in Los Angeles, CA, run by Kourosh Beigpour. Its typefaces:
Archive of commercial type 1 fonts for Chinese (DLCHei, DLCSong, DLCKaishu, DLCFangSong, DLCZongYi, DLCWeiBei, GBYen, HeitiCSEG, TankuinEG, HeitiEG), Thai (DBErawan, DBFongNam, DBNarai, DBPradit), Hangul (HYGothic, HYTeGoThic, JCLIGHT, HYMyeongJo), Vietnamese (Vina family), Cyrillic (Vina, Helvetica, Newton), and Arabic (Geezah, Nadeem, LotusTT, Yakoot, DedanAB). [Google] [More] ⦿
Kevin Allan King is from Toronto. He designed type for Canada Type from 2010 until 2017. In 2018, he graduated from the University of Reading's MATD program.
In 2010, he co-designed Robur and Wagner Grotesk, Slinger (an art nouveau face) and Sol Pro (a 20-style monoline sans family based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973) with Patrick Griffin at Canada Type.
Still with Griffin at Canada Type, he revived a psychedelic / art nouveau typeface called Fortunata (1971, Karlo Wagner) and called it Spadina (2010). He also has a Facebook group on type crimes called TCI: Typographic Crime Investigators. Wagner Grotesk is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic.
In 2011, he and Patrick Griffin published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
In 2011, Griffin and King co-designed Walter Script, a calligraphic script that revives Troubadour (1926, Wagner&Schmidt).
Still in 2011, King and Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait.
Still in 2011, he and Patrick Griffin created the 18-style sans family Recta, a considerable extension of Novarese's Recta. And they also completed Kumlien Pro, a revival and expansion of a beautiful transitional typeface designed in 1943 by Akke Kumlien. King Tut (2011) is a restoration and expansion of the original Egyptian Expanded, a single bold typeface cut in 1850 by Miller&Richard. Libertine (done with Patrick Griffin) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
Paganini (with Patrick Griffin) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. Patrick Griffin and Kevin Allan King did a revival called Paganini in 2011.
The year 2012 starts out with a bang. King and Patrick Griffin published Wonder Brush (partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl), Wagner Script (a revival of Troubadour (1926, Wagner&Schmidt)), Spade (a super-heavy slab face, done with Patrick Griffin; based on Farmer and Little's Antique No2 from 1867), and Louis (a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylus). King Wood (2012) is an octagonal flared wood type family with a set of dingbats, King Wood Extras. Monte Cristo (2012) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font. The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
In 2014, they designed the psychedelic typeface Jingo: This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
His graduatiuon type at MATD in 2018 was Mazina, a multi-script typeface system developed for complex literary texts. It supports Arabic, Latin, and several Canadian aboriginal scripts. [Google] [MyFonts] [More] ⦿
Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.
After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.
Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).
Graphic Arabic (Wael Morcos and Khajag Apelian) won an award at Granshan 2017.
IBM Plex Sans Arabic (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos and Khajak Apelian) is a free typeface family at Google Fonts.
Khaleed Al Hashhash was born in 1978 in Amman, Jordan. He studied at Al Yarmouk University in Jordan, and works in Dubai, UAE. He designed the Arabic typefaces AP Al Khallej, AP Nart, and AP Seenah, and the corporate typeface Toyota Arabic (2016). [Google] [More] ⦿
Khaled Hosny is a physician in Egypt. He loves Arabic and its type, and is interested in every aspect of letter forms and typography. A hobbyist translator, programmer and font developer, he supports software freedom and is actively participating in the free software community. Sourceforge link.
Designer of Punk Nova (2010), a free OpenType implementation of Don Knuth's Punk font, based on modified Metapost sources by Taco Hoekwater and Hans Hagan, dating from 2008. Hosny writes: Punk is a dynamic font, every time a glyph is requested Matafont draws a unique instance of it. On the other hand, OpenType is static, glyph outlines are drawn once and stored in the font and the renderer can not alter those outlines. To emulate the dynamic nature of Punk, we generate several alternate shapes of each glyph and store them in the font. Alternate shapes are mapped to the base character using OpenType [Randomize] feature (rand), which tells the renderer to select glyphs randomly from the list of alternate shapes. Pick up the free Punk Nova from CTAN or Open Font Library.
XITS (2011) is a Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.
Euler OTF (2010) are OpenType Math fonts based on Hermann Zapf's Euler and implemented by Taco Hoekwater, Hans Hagen, and Khaled Hosny. Named Neo-Euler (2009-2010), it covers Latin, Greek and has a full blackletter set of glyphs. Copyright Hosny and the American Mathematical Society. Open Font Library link.
In 2010-2011, Hosny developed the free Amiri font (OFL; dedicated web page): Amiri font is an open font revival of the Arabic Naskh typeface designed and first used by Bulaq Press in Cairo (also known as Amiria Press) in the early part of the twentieth century. Amiri's uniqueness comes from its superb balance between the beauty of Naskh calligraphy and the requirements of elegant typography. Amiri is most suitable for running text and book printing. See also CTAN, Google Web Fonts, and at OFL. Dedicated web page.
In 2015, Khaled Hosny and Santiago Orozco cooperated on the Latin / Arabic typeface Reem Kufi. Github link. Khaled, who designed the Arabic part, explains: Reem Kufi is a Fatimid-style decorative Kufic typeface, as seen in the historical mosques of Cairo. It is largely based on the Kufic designs of the late master of Arabic calligraphy, Mohammed Abdul Qadir, who revived this art in the 20th century and formalized its rules.
In 2016, Khaled Hosny designed Mada (Google Fonts), a modernist, unmodulated Arabic typeface inspired by road signage seen around Cairo, Egypt. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type.
Khaled Hosny contributed to and maintained the free Libertinus font package between 2012 and 2020.
In 2021, Hosny released Qahiri at Google Fonts and Github. Qahiri is a Kufic ypeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, Mohammad Abdul Qadir.
Type designer from the UAE. Creator of the 3d hand-printed typeface New Way (2012), the Arabicized Wahed (2012), and the scratchy stick-based typeface Nest (2012). Klingspor link. [Google] [MyFonts] [More] ⦿
A five day workshop and lecture series in Dubai, 21-25 October 2011. Workshop leaders: Huda Smitshuijzen AbiFares, Lara Assouad Khoury, Pascal Zoghbi. Guest speakers: Wissam Shawkat, Sheikha Bin Dhaher, Salem Al Qassimi. [Google] [More] ⦿
Free Pashto font archive: KhkulayPashto, PashtoKrorAsiatype, Pashtu-Waziristan, Shuweifat, ShuweifatP1, Afghani-Outline, Afghani, Ahmadzai, Durani, Hotaki, Kabuli, Kaoun, Khattak, Khushal, Khyber, MohamadZai, Paghmani, Pamir, Pashto-Ibrahimkhil, WL-PashtoNaskh, Pashto-Outline, Pashto-Arial, Pokhto, PsuedoSaudi, Qandahari, Rahman, Sabawoon, Samin, Shinwari, Wardaki, Zadran, Zazai, PashtoAryob, PashtoBreshna, PashtoGhani, PashtoGharghakht, PashtoGorbat, PashtoHamza, PashtoHotak, Khaista-Outline, Laghmani, PashtoNazo, Paktia, PashtoPasarlai, WL-PashtoNaskh, PashtofontNaskh, Pashtu-Abdaali, Pashtu-Asad, Pashtu-Kandahar, Pashtu-Preghal, Pashtu-pa'-Storee, PashtoReshtin, PashtoRishad, Tahoma, PashtoZazi. Of these, the Khyber Gateway (this site) created Khkulay Pashto in 2002. [Google] [More] ⦿
In 2016, he designed the Google Font Cairo, which extends Titillium Web so as to include Arabic, Urdu and Farsi. Google Font link. Cairo won an award at Granshan 2016. In 2016, he also aided with the Arabic for Eduardo Tunni's Changa. He extended Jovanny Lemonad's Latin / Cyrillic typeface Philosopher in 2016 to Arabic in his Google Font El Messiri (Github link; Open Font Library link). Lemonada (2016, a Google Font based on Tunni's Lemon) is a modern Arabic and Latin typeface family designed by Mohamed Gaber (Arabic) and Eduardo Tunni (Latin).
Designer of the free Arabic typeface Scheherazade (2004-2007, OFL, SIL, and Google Web Fonts). Named after the heroine of the classic Arabian Nights tale, this Naskh typeface was designed in the style of traditional typefaces such as Monotype Naskh, extended to cover the full Unicode Arabic repertoire. Lateef (2004-2008, SIL; see also Google Web Fonts) is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region.
In 2013, Sebastian graduated from the MATD program of the University of Reading. His graduation typeface was Teras, which he describes as follows: Teras (Greek for monster) is a kindheartedly vicious creature. It has a strong affinity for an entire range of typographic encounters, is highly articulate, slightly deformed, fierce and roughly eight feet tall. Due to its Arabic, Greek, Latin and Tamil background, every syllable it utters is a mongrel mouthful of a variety of cultural influences. It is also an exploration into the alternative type family, which in the upright mutates from a serif light weight into a sans serif black and the reversed procedure in the italics. The symbiosis of the four scripts is achieved principally by making the Latin flared, lapidary, open to conversation with its curvier peers.
Aktiv Grotesk, a Dalton Maag typeface, was extended to cover Indic languages by Sebastian Losch and Kalapi Gajjar-Bordawekar. It won an award at Granshan 2016.
In 2017, Francesca Bolognini and Sebastian Losch co-designed the ribbon calligraphy font Volina at Dalton Maag. Tom Foley and Sebastian Losch published the rounded slab serif typeface family Gelo at Dalton Maag in November 2017.
He set up his own foundry, Kilotype, in 2018. His fonts there include Frequenz (2018), Oldschool Grotesk (2019, by William Montrose), Queens (2019: a display type sysyem with several widths), and Sequenz (2018). In 2020, he added Queens Air (+Condensed, +Compressed). [Google] [MyFonts] [More] ⦿
Kimmy Kirkwood (b. 1988, Seattle, WA) (Kimmy Design) studied at Chapman University, and lives in Santa Monica, Orange County. He graduated in 2018 from the University of Reading's MATD program.
At Dafont, one can download Kuppel (a hairline display sans) and Hammer Head, both done in 2010 as well.
Phase two of Kimmy's career started late in 2010 as Kimmy Design, where one now has to pay for Madeleine (2010) and Katelyn (2011). Addison (2011) is a wood type Western circus poster font in two styles, West and Circus.
In 2013, Kimmy published Lunchbox Slab, the grungy Appareo, the condensed minimalist sans family Maxwell Sans, its companion Maxwell Slab, the scriptish typeface Lunch Box, and the bold headline family Station (inspired by old train station typography).
Typefaces from 2014: Catalina (hand-drawn typeface family with sub-styles called Anacapa, Avalon, Clemente Script, Typewriter and Extras, ideal for hand-drawn menus, table cards, chalkboards, and wall quotes), Amorie (a skinny hand-drawn family, with styles called Modella, Nova, SC and Extras).
Typefaces from 2018: Clifton (his MATD graduation typeface): Clifton is a modern type family with many weights and contrast styles. It supports Latin scripts as well as Greek, Cyrillic and Arabic. Originally intended as a book typeface, it was designed so that all the weights and styles would work together as a cohesive family.
Typefaces from 2019: Refinery (an 85-style octagonal family based in early 20th century signage), Evanston Tavern (Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time.), Winslow Book (a playful modern Scotch).
Typefaces from 2020: Roadhouse (a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to prohibition), Winslow Title (a decorative didone family), Winslow Title Script (monoline), Hawkes (Sans, Script, Variable Width Sans).
A free set of quranic Arabic fonts that can be downloaded here: QCF_BSML, QCF_P001, QCF_P129, QCF_P249, QCF_P377, QCF_P396, QCF_P397, QCF_P398, QCF_P399, QCF_P400, QCF_P401, QCF_P402, QCF_P403, QCF_P404, QCF_P405, QCF_P406, QCF_P407, QCF_P408, QCF_P409, QCF_P410, QCF_P440, QCF_P441, QCF_P442, QCF_P443, QCF_P444, QCF_P445, QCF_P496, QCF_P497, QCF_P498, QCF_P531, QCF_P532, QCF_P533, QCF_P534, QCF_P535, QCF_P536, QCF_P537, QCF_P553, QCF_P554, QCF_P562, QCF_P563, QCF_P564, QCF_P582, QCF_P583, QCF_P591, QCF_P592, QCF_P595, QCF_P598, QCF_P599, QCF_P600, QCF_P603, QCF_P604. [Google] [More] ⦿
King Fahd Glorious Quran Printing Complex
Ashfaq A. Niazi is a designer in Lahore, Pakistan, who graduated from Govt Islamia College in Lahore. Since 2008, he is associated with the King Fahd Glorious Quran Printing Complex in Saudi Arabia, which in 2009 released the free Arabic language font Uthman Taha's Naskh (2008, +Bold). Earlier fonts by King Fahd Complex include QCF P001 and QCF BSML, which are here. He also made the free symbols typeface KFGQPC Arabic Symbols 01 (2010). In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.
He writes: My objective is to work on Quranic Fonts, with Latest Digital Technology, and enhance them for the maximum visibility. My aim is to produce High Quality Mushaf & Naskh fonts, with the best possible placement of Tashkeel (Diacritics). I've developed, Indo-Pak Quranic Calligraphy System (QCS), Full Quran, having more than 15000 Ligatures, now used widely in Pakistan, for the printing of Quran. Now this complete package is free for everyone.
Kitabat Arabic Calligraphy and Typography Conference was the first major conference dealing solely with Arabic calligraphy and type design. Held from April 5-8, 2006, in Dubai. Speakers included Nabil Safwat (keynote speaker), Ugur Derman (Istanbul, Turkey), Mohamed Zakariya (Virginia, USA), Dr Goeffrey Roper (London, UK), Mamoun Sakkal (Seattle, USA), Johannes Bergerhausen (Germany), Adil Allawi (Diwan, UK), Kamal Mansour (Monotype, USA), Bruno Steinert (Linotype, Germany), Mounir Al-Shaarani (Cairo, Egypt), Huda Smitshuijzen AbiFares (AUD, UAE / Khatt, Holland), Nadine Chahine (Linotype, Germany), Gerard Unger (Bussum, Holland), Tajelssir Hassan (Sharjah, UAE), Reza Abedini (Teheran, Iran), Tarek Atrissi (Utrecht, Holland), Ihsan Hammouri (Jordan/USA), Obeida Sidani (Dubai, UAE), Yasmine Taan (LAU, Lebanon), Aida Sakkal (Seattle, USA), Antonia Carver (Dubai, UAE), Zeina Maasri (AUB, Lebanon), Fawzi Rahal (Dubai, UAE), Nadine Touma (Beirut, Lebanon), Leland Hill (VCU, Qatar), and Petr Van Blokland (Holland). [Google] [More] ⦿
In 2016, she designed the slab serif typeface Josephine.
In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.
Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.
In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More] ⦿
From Encyclopaedia Britannica: In calligraphy, earliest extant Islamic style of handwritten alphabet that was used by early Muslims to record the Qur'an. This angular, slow-moving, dignified script was also used on tombstones and coins as well as for inscriptions on buildings. Some experts distinguish Kufi proper from Meccan and Medinese scripts, which were also used to copy the Qur'an. [Google] [More] ⦿
Born in Eichmedien, Masuren, East Prussia in 1922, Kurt Weidemann died on arch 31, 2011. He studied at the State Academy for Fine Arts in Stuttgart, 1953-1955. From 1965 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.
He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:
Graduate of the German University in Cairo, Egypt. In 2015, still based in Cairo, she created Bebas Neue Arabic. Mostateel (2015) is a rounded rectangular Arabic typeface. In 2016, she made an Arabic typeface that is based on Raleway, and an experimental squarish Arabic typeface. [Google] [More] ⦿
Arabic support for UNIX (commercial product), including some font solutions. Code set and font set include the following: Codeset ISO 8859-6, ASMO 449 plus, ASMO 708, Fontset iso-8859-6-8, Fontset iso-8859-6-16. [Google] [More] ⦿
Lara Assouad Khoury was born in Montreal, and graduated from the American University of Beirut with a Bachelor in Graphic Design degree (BGD) in 1998. She worked as a designer at LeoBurnett (Lebanon, 1998-2000). After one year in Cairo, she moved to Dubai (UAE) and worked as a Senior Designer for Landor Associates (2001-2005) where she was involved in the design of extensive corporate identity projects for large Middle Eastern companies and institutions, such as the visual branding for the country of Jordan. She has graduated with an MA from the Atelier National de Recherche Typographique in Nancy (France), where she studied under renowned type designers such Hans-Jürg Hunziker, André Baldinger, and others. She has researched and is in the process of developing her own extensive Arabic Naskh font. She taught graphic design and Arabic typography courses, at the American University in Dubai. She is an independent type and graphic designer since 2005. She embarked on a project in 2005 with Fred Smeijers to make an Arabic sister, Fresco Arabic, for Smeijers' Fresco family. For this, she takes inspiration from calligraphic samples of the Maghrebi script. Fresco Arabic won an award at TDC2 2008. Her geometric experimental Arabic typeface Tabati (2010) won an award at TDC2 2011. [Google] [More] ⦿
Graphic designer from Lebanon who is/was based in Amsterdam. She taught design and typography at the American University of Beirut until she moved to The Netherlands where she became an apprentice in DecoType's ACE technology for Arabic type. She says that she refused to design any typeface before having sufficient knowledge over the history and mechanics of the script. In 2018, she is working on an ACE-engined Arabic type family, with support from the Creative Industries Fund NL.
TrueType and Type 1 fonts for Macintosh computers. Four fonts, 100 USD. "Sindhi is spoken in Pakistan, where it is written in the Arabic script with the addition of several letters to accommodate special sounds. Sindhi is also one of the constitutional languages of India." [Google] [More] ⦿
Naqsh is a free OpenType font by Lateef Sagar Shaikh with tons of diacritics for a handwritten Mistral-like character set, as well as a full Arabic character set with appropriate opentype tables for the Nastalique way of writing context-sensitive Arabic. The Latin part was designed by Umar Rashid. The font is compliant with many Unicode tables. See also here and here. [Google] [More] ⦿
Lateef Sagar Shaikh
Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:
Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.
Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.
In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More] ⦿
Russian designer of Qisharon (2019: a stylish sans for Latin, Greek, Cyrillic, Hebrew and Arabic), Omorphia (2019: influenced by the squarish Hebrew Sephardic style; covering Latin, Greek and Curillic) and Cursivica (2019) for Latin and Cyrillic.
Letterjuice is the British type foundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.
Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:
Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial type foundry Lettersoup.
Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.
Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.
In 2014, Botio designed the humanist sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.
In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova. Later in 2016, he published the nearly geometric sans family Quasimoda, which covers a full range of weights, from Hairline to Heavy.
Typefaces from 2019: Rouse Sans (by Botio Nikoltchev and Ani Petrova: based on Sofia Sans).
Typefaces from 2021: Apparat (an 88-style geometric sans family that was given a humanistic treatment).
British graphic designer and sign painter who was at some point in Tallinn, Estonia. Graduate of the MATD program at the University of Reading, class of 2019.
Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).
Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).
Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.
Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie. Find Waba at Typeverything.
Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Typeverything), Chicken Shop Gothic (a condensed poster sans, with a variable type option), Columba (a variable font done for his graduation at MATDi with Latin, Greek, Cyrillic & Hebrew coverage and optical size and weight axes; Grand Prize winner at Granshan 2019).
Typefaces from 2020: Salford Sans (an 8-weight headline sans family; a collaboration between Lewis McGuffie (Latin, Greek, Cyrillic), Dave Williams of Manchester Type (Latin, Arabic) and Elsa Baussier (symbols)), Jooks Script (in the style of Kurrent and Sütterlin; reviving Walter Höhnisch's Werbeschrift), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths).
Typefaces from 2021: Tekst (a Latin / Greek / Cyrillic font family based on Literaturnaya---a book type popular in the Soviet Union).
Designer at the Shanghai, China-based type foundry 3type of Weaf Mono (2017-2018), a monospaced monolinear sans family created together with Zheng Chuyang, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
In 2017, he designed Xingkai Next (2017), a modern polygonal typeface for Hanzi, derived from cursive handwriting and Chinese calligraphy.
In 2018, he released Astronomer (2018), an attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633). [Google] [More] ⦿
Arabic typefaces in the Linotype library: AlHarf AlJadid (a black titling font by Ismet Chanbour, 1985), Hassan (H. Sidahmed, 1993), Hisham (Ahmed Maged, 1993), Karim (Tim Holloway, 1994, in a generic Naskh style), Qalmi (a Nastaaliq font with horizontal stress), Lotus (Linotype staff, 1978; classic Ottoman Naskh book style font with extra glyphs for Kurdish, Farsi and Jawi), Maged (Linotype staff, 1956, 1987), Mariam (a modern headline font by Ismet Chanbour, 1992), Mofid Mahdi (Mofid Mahdi, 1985), Nazanin (Linotype staff, 1978; this was first called Haghighi), Qadi (Linotype staff, 1985, under the direction of Walter Tracy), Yakout (Linotype staff, 1911), Ahmed (simplified face, early 80s), Ahmed Outline, Amer (originally designed for dry transfer and licensed from Lettera Arabica; redrawn by Adrian Williams and then digitized; published in 1992), Badr (traditional Naskh style, early 70s), Jalal (1977), Kufi (Georges Dib, 1987), Kufi Outline (Linotype staff), Mitra (partially based on the Persian Naskh style, 70s). LinotypePideNashi is an Arabic simulation font. [Google] [More] ⦿
Some good Arabic fonts in Type1 format (some of them designed by Walter Tracy). Large type foundry: 425 Oser Avenue, Hauppauge, NY 11788 9890, USA. Other links: Linotype-Hell AG, Linotype-Hell UK, Linotype-Hell Japan and Linotype-Hell North America. Check also this link. [Google] [More] ⦿
This type design competition was judged by Samir Sayegh (Lebanon), Fiona Ross (UK), Mamoun Sakkal (Syria/USA), Kris Holmes (USA), and Huda Abi Fares Smitshuijzen (Lebanon/Netherlands). Winners were announced in April 2006 at the Kitabat meeting in Dubai. The outcome, with blurbs provided by Linotype:
Lavi Turkenich graduated at Ramat Gan's Shenkar College of Engineering and Design, Bezalel Academy of Arts and Design, Jerusalem, in 2012. She created Aravrit (Arabic-Hebrew) as her final project. She graduated from the MATD program at the University of Reading, class of 2013. Liron's graduation typeface there, Makeda, is the first typeface that covers Latin, Hebrew and Amharic (Ethiopic) in a purposeful sense, i.e., not as three parts of one of the well-known full Unicode fonts. Liron writes: The three scripts were designed simultaneously in order to allow mutual influences. The design efforts were put into harmonising the scripts into one coherent family, while preserving their basic traditional structure. Makeda is named after an Ethiopian Queen also known as the Queen of Sheba.
Haaretz writes this about Aravrit: Lavi Turkenich does not speak Arabic, but she says she made substantial use of the comments she solicited from Arab passengers she approached at random during her daily train commute from her home in Haifa to her studies in Ramat Gan. Lavi Turkenich's Aravrit is somewhat less legible for speakers of both languages than each of the original typefaces from which it was crafted, and the Arabic letters are isolated rather than attached as they are usually written.
Lefty (2014) is a Hebrew calligraphic typeface.
In 2015, Nick Shinn and Liron Lavi Turkenic co-designed the Google Font Bellefair. Bellefair started life as a Latin typeface designed by Nick Shinn. Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color. Github link.
Graphic designer in Marseille, France, of Algerian origin, who created the Latin / Arabic experimental typeface Dixit (2014), which was inspired by the architecture of the Alhambra. Behance link. [Google] [More] ⦿
During his graphic design studies at Yarmok University in Irbid, Jordan, Syrian graphic designer Luay Byazeed created the free quarter circle Latin / Arabic typeface Quarter (2015). 1001 Free Fonts link. [Google] [More] ⦿
Graphemica is the work of Luca Bresolin, an Italian graphic designer currently based in London and Zagreb. He created typefaces such as Mio Display (2016) and OCR-A Extended (2016, which covers English, Greek, Cyrillic, Arabic and Hindi). Behance link. [Google] [More] ⦿
Moscow-based type, graphic and book designer (b. Tula, 1928, d. Moscow, 2008). In 1951, after her graduation from Moscow Printing Institute, she joined the type design team of VNII Polygraphmash, and worked there for forty years as a designer, head of the design department, and chief of the oriental type design unit. From 1992 until her death, she was a staff designer at ParaType, Moscow. Kuznetsova specialized in Arabic type design, but also created many Cyrillic and Latin typefaces. Speaker at ATypI 1998 in Lyon on Arabic type design in Russia. Recipient of many design awards and distinctions such as a citation for design excellence for PT Kufi, at the TDC2 1998. CV at bukvaraz. Russian bio. URW link. Obituary at TDC. Her typefaces:
Maker of these Arabic language fonts in 2004: X-Andalus-Italic, X-Andalus, X-Arabic-Italic, X-Arabic, X-Arash-Italic, X-Arash, X-Aria-Italic, X-Aria, X-Arshia-Italic, X-Arshia, X-Babak-Bold, X-Babak-Bold-Italic, X-Babak-Italic, X-Babak, X-Badr-Bold, X-Badr-Bold-Italic, X-Badr-Italic, X-Badr, X-Bam-Bold, X-Bam-Bold-Italic, X-Bam-Italic, X-Bam, X-Bijan-Bold, X-Bijan-Bold-Italic, X-Bijan-Italic, X-Bijan, X-Compset-Bold, X-Compset-Bold-Italic, X-Davat-Italic, X-Davat, X-Dorosht-Italic, X-Dorosht, X-Elham-Italic, X-Elham, X-Esfehan-Bold, X-Esfehan-Bold-Italic, X-Fantasy-Italic, X-Fantasy, X-Farnaz-Italic, X-Farnaz, X-Farsi-Italic, X-Farsi, X-Ferdosi-Italic, X-Ferdosi, X-Forouzan-Italic, X-Forouzan, X-Gity-Italic, X-Gity, X-Homa-Italic, X-Homa, X-Jadid-Bold, X-Jadid-Bold-Italic, X-Jalal-Bold, X-Jalal-Bold-Italic, X-Jalal-Italic, X-Jalal, X-Johar-Italic, X-Johar, X-Kamran-Bold, X-Kamran-Bold-Italic, X-Kamran-Italic, X-Kamran-Outline, X-Kamran, X-Kaveh-Italic, X-Kaveh, X-Kerman-Bold, X-Kerman-Bold-Italic, X-Kerman-Italic, X-Kerman, X-Khorsheed-Italic, X-Khorsheed, X-Koodak-Italic, X-Koodak-Outline, X-Koodak, X-Kufi-Italic, X-Kufi-Outline, X-Kufi, X-Mahsa-Italic, X-Mahsa, X-Majid-Shadow, X-Mashgh-Italic, X-Mashgh, X-Mitra-Bold, X-Mitra-Bold-Italic, X-Mitra-Italic, X-Mitra, X-Moj-Italic, X-Moj, X-Morvarid-Italic, X-Morvarid, X-Nahid-Bold, X-Nahid-Bold-Italic, X-Nahid-Italic, X-Nahid, X-Narm-Italic, X-Narm, X-Naskh-Bold, X-Naskh-Bold-Italic, X-Naskh-Italic, X-Naskh, X-Nazanin-Bold, X-Nazanin-Bold-Italic, X-Nazanin-Italic, X-Nazanin-Outline, X-Nazanin, X-Nima-Italic, X-Nima, X-Nimrooz-Italic, X-Nimrooz, X-Paatch-Bold, X-Paatch-Bold-Italic, X-Paatch-Italic, X-Paatch, X-Persian-Italic, X-Persian, X-Roya-Bold, X-Roya-Bold-Italic, X-Roya-Italic, X-Roya, X-Sahra-Italic, X-Sahra, X-Shafigh-Italic, X-Shafigh, X-Shiraz-Bold, X-Shiraz-Bold-Italic, X-Shiraz-Italic, X-Shiraz, X-Simin-Italic, X-Simin, X-Sina-Bold, X-Sina-Bold-Italic, X-Sousan-Italic, X-Sousan, X-Tabassom-Italic, X-Tabassom, X-Tawfig-Outline, X-Termeh-Italic, X-Termeh, X-Thulth-Italic, X-Thulth, X-Tir-Italic, X-Tir, X-Titre-Italic, X-Titre, X-Traffic-Bold, X-Traffic-Bold-Italic, X-Traffic-Italic, X-Traffic, X-Vahid-Italic, X-Vahid, X-Vosta-Italic, X-Vosta, XW-Zar-Bold, XW-Zar-Bold-Italic, XW-Zar-Italic, XW-Zar, X-Yagut-Bold, X-Yagut-Bold-Italic, X-Yagut-Italic, X-Yagut, X-Yas-Bold, X-Yas-Bold-Italic, X-Yas-Italic, X-Yas, X-Yekan-Italic, X-Yekan, X-Zar-Bold, X-Zar-Bold-Italic, X-Zar-Italic, X-Zar, X-Ziba-Italic, X-Ziba. From their site where you can download these: XW Zar font is a TrueType Arabic font covering Arabic, Persian, Urdu, Dari, Pashto, Uzbek, Kurdish, old (Ottoman) and new Turkish (Roman) languages with 'Open Type' and 'Apple Advanced Typography' technology support. It contains regular, italic, bold and bold italic typefaces.
Zip file. OFL link, where one can downlaod XW Zar, XB Zar, XB Titre, XB Niloofar, XB Khoramshahr, XB Yagut, XB Riyaz, XB Roya, XB Shafigh, XB Shafigh Kurd, XB Shafigh Uzbek, XB Shiraz, XB Sols, XB Kayhan, XB Tabriz, XM Traffic, XP Paatch, Paatch, XM Vahid, XP Vosta, XM Yermook, XM Yekan, XB Yas, XP Ziba. All these fonts were made by Behnam. [Google] [More] ⦿
Co-designer with Kristyan Sarkis of the Latin / Arabic typeface Kanun Stencil (2021), a playful typeface inspired by industrial signage and mechanical stencilling. Kanun Stencil is equipped with a collection of transportation and travel-related signs, symbols, icons, and various sets of arrows for signage and wayfinding systems. [Google] [More] ⦿
Cairo, Egypt and/or Beirut, Lebanon-based designer of the Arabic student project typeface Hudhud (2017), a Maghribi / Andalusian script intended for children's books developed under the guidance of Kristyan Sarkis. Hudhud was published at TPTQ Arabic foundry and won an award at 23TDC. [Google] [More] ⦿
Graphic designer and calligrapher who lives in the United Arab Emirates. In 2008, he created an Arabic typeface for Western Union. Arabic typefaces designed by him include Ah Jad (2011), Ah Lana (2011), and Ah Abeer (2012).
Mahmoud Abd El-Ghany
Mahmoud Hamdy joined Dalton Maag in the summer of 2009. He works there on Arabic fonts for both their Exclusives library and custom clients. Mahmoud is based in Cairo, Egypt, where he previously ran the successful graphic design firm FC studio. [Google] [More] ⦿
During her studies at German Jordanian University, Amman, Jordan-based Maais Quqa created the Hebrew simulation typeface Juda (2015, for Latin) and the deco Arabic typeface Roman Theater (2015) that was inspired by the architectural structure structure of The Roman Theatre in Amman. [Google] [More] ⦿
Designer of the Arabic fonts AdvertisingBold, AdvertisingExtraBold, AdvertisingLight, AdvertisingMedium, M-Unicode-Abeer, M-Unicode-Dawlat, M-Unicode-Diala, M-Unicode-Hadeel, M-Unicode-Noora, M-Unicode-Sara, M-Unicode-Sima, M-Unicode-Susan, M-Unicode-Wafa, khalaad-AL-Dorrh, khalaad-Abeer, khalaad-Dawlat, khalaad-Diala, khalaad-Hadeel, khalaad-Noora, khalaad-Sara, khalaad-Sima, khalaad-Susan, khalaad-Wafa, khalaad-al-arabeh-2. They can be downloaded here and here. See also here. [Google] [More] ⦿
Majlis Research Center
CEO of Tahavolgaran Arse Ettelaat in Tehran. His old site offered two free fonts: Sin-Titr-Bold (1997, Sina Dadras), and Mellat (1999, Majlis Research Center by Reza Arani). He explains that he was one of the first people to solve the problem of Persian scripts on web pages, and that his fonts were designed for that purpose, mainly.
Kholoud Khaled Essawy is an Egyptian type and graphic designer who teaches Arabic and Latin type design at the German University in Cairo. She graduated with a BA degree in graphic design in 2013 and an MA degree in type design in 2015. In 20201, she set up her own typefoundry, Makyn. Her typefaces:Google] [MyFonts] [More] ⦿
In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More] ⦿
Manchester Type (Manchester, UK) specializes in custom typeface design, font development and typographic consultancy. The business was set up by David Williams, a typeface designer and graphic designer from the city of Manchester. David holds a BA (Hons) Graphic Design from The University of Salford and an MA in Typeface Design from The University of Reading, class of 2019. His typefaces:
Graduate of Mahatma Gandhi University. Type designer at Monotype (since 2008) where he works on OEM font development. He is based in the Noida area in India. He has collaborated on these projects: Droid Sans (DroidSans Gujarati, DroidSans Gurmukhi, DroidSans Malayalam), Nokia bitmap fonts (Gujarati, Gurmukhi, Odia, Telugu), Library Project (Devanagari, Bengali, Telugu, Tamil, Malayalam, Gujarati, Odia, Gurmukhi, Kannada). He also did 4 weights of Frutiger Arabic. [Google] [More] ⦿
Type designer from Leipzig, Germany who studied Studied Graphic Design at the Burg Giebichenstein University of Art and Design in Halle and one year at the Gerrit Rietveld Academy in Amsterdam. He graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Dialogue, a versatile text family consisting of Latin sub-styles called Ruth (serif), Lawson (reverse stress), Tony, Danny (sans), Narrator (neutral), and the Arabic style Labiba. Since 2017, he teaches type design at the German University in Cairo. In 2017, he designed the fashion brand typeface Super Health on commission for the company by that name.
Paris-based creator of the hybrid Gaelic typeface Legrand (ca. 1836). Typefounder in Paris. His work can be found in this specimen book (Paris, 1850, 97 pages). At the Imprimerie Nationale, he was asked in 1846 to cut an arabe maghrébin (the preferred Arabic writing style in Morocco and adjacent regions). He cut anotther weight in 1850. In 2009, Franck Jalleau made a digital version of this, called Le Maghrébin. [Google] [More] ⦿
Designer of Jalal (1977, Linotype), a commercial Arabic font.
Brazilian graduate of the MATD program at the University of Reading, class of 2019. Maria's graduation typeface there was Libri, a family of 11 styles across the Latin, Cyrillic and Arabic scripts. Libri is intended for use in cultural or historical projects, brands, and publications, andis lapidary in conception. The Arabic script is in the Naskh style. [Google] [More] ⦿
Designer of a public domain Unicode font in 2005 called MPH 2B Damase. It can be found here. Created by Mark Williamson, it covers Armenian, Cherokee, Coptic (Bohairic subset), Cypriot Syllabary, Cyrillic (Russian and other Slavic languages), Deseret, Georgian (Asomtavruli and Nuskhuri but no Mkhedruli), Glagolitic, Gothic, Greek (including Coptic characters), Hebrew, Latin, Limbu, Linear B (partial coverage of ideograms and syllabary), Old Italic, Old Persian cuneiform, Osmanya, Phoenician, Shavian, Syloti Nagri (no conjuncts), Tai Le (no combining tone marks), Thaana, Tifinagh, Ugaritic, Vietnamese. See also here. The font is used by the popular Debian Linux software. Mark Williamson also designed a free fonts for Osmanya, Ugaritic and Shavian called Andagii (2003). His Penuturesu covers Linear B.
Mark contributed to the GNU Freefont project, which used these ranges:
Mark Zhu is a remarkable type designer and photographer in Paris, France, who focuses on multi-script type design and calligraphy. Graduate of the MATD program at the University of Reading, class of 2020. His typefaces:
Arabic font company. One of their products, MirEmad, includes beautiful Nastalikh typesetting.
Saad D. Abulhab: The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma'il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today.
For a digital implementation, one can try Mashq (2016) by Arabetics. They offer three subfamilies:
All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. [Google] [More] ⦿
In 2017, the Khatt Foundation launched a type design competition for fonts specifically designed to produce modern Mashrebiya architectural screens. [The Mashrebiya screen is an iconic element of Arab/Islamic architecture. Mashrebiyas are still popular as separation screens or walls, however they are often constructed from complex geometrical parts and shapes, and rarely using only letters.] Each award winner will be paid 1000 Euros. The jury consisted of Yara Khoury Nammour, Pascal Zoghbi, and Edo Smitshuijzen. [Google] [More] ⦿
Masterfont (or: Studio Rosenberg)
Zvika Rosenberg (b. 1949, a graduate from Bezalel Academy of Design in Jerusalem) designs the Hebrew fonts at Tel-Aviv's Masterfont (est. 1986; was: Studio Rosenberg, est. 1975, his own design studio). Commercial Hebrew, Arab, Latin and barcode fonts for Mac and PC. The font design is managed by Zvika Rosenberg, while the marketing department is headed by Psika Rosenberg. Included in the 1300+ font library are Akvarel (oriental simulation), Evyatar, Eventov, Elizov, Aspeset, Nisha, Rahav, Ego, Edgar, Muly, Adam, Aharony, Autograph, Hugo, Alexandra, Grafity, Hafgana, Ura, Rahat, Oron, Iguana, Eyal, Junior, Ayalon, Internet, Interes, Litam, Stempa, Copyfax, Ishit, Panda, Arava, Dror, Algom, Elegant, Erela, Aristo, Eshkol, Golda, Pola, Azmaout, Diploma, Gnuzot, Midbar, Mizrahi, Margaliot, Azmaout, Partom, Papaya (Bukvaraz 2001 award), Universe, Mekorot, Koren, Shmuel, Frankruhl, Gilboa, David, Narkis, Ada, Abetka, Hadassa, Yarden, Meteor, Miriam, Naama, Skitza, Petite, Cola, Yalon, Rosenberg, Tamrurim, Agada, Efrat, Arbel, Arsenal, Beresheet, Bruto, Bat Sheva, Greifer, Hut, Hatzvi, Zorea, Hermon, Architekt, Junior, Klilit, Rubin, Chocolade, Handwriting, Marhaba, Poster, Inbal, Media, KtivaTama, Jeep, Asam, Ecology, Dalia, Johnni Lasso, Hiroshima, Harakiri, Lahmaniot, Sapir, Haim. A signature font at 45 USD. Logo font service as well. Vendor of the Boutros Arabic fonts.
MyFonts page. Designers at Masterfont include Zvi Narkiss, Yaakov Agam, Asher Oron, Pini Hemo, Asher Gat, Yigal Feurstein, Ada Yardeni and many others. Zvika Rosenberg himself designed these typefaces: Abirim MF, Agada MF, Agudal MF, Aharoni Polished MF, Alilon MF (2009, hand-printed), Almenat MF (2008), Balonim MF (2005), Etzada MF (2005), Ribuim MF (2009), Selihot MF, Tachsheet MF (2008), Aluma MF, Autograph, Ayalon MF, Azmaout, Balora MF, Banim MF, Bat Sheva MF, Braun MF, Broadway, Brosh MF, Brutto MF, Butterfly MF, Capital MF, Chilli MF, Chips, Circle Numbers MF, Comics MF (1997), Copy Fax, Corelle MF (1998), Darbuka MF, David MF, Dimdumim, Emda MF, Enzoagada MF, Esheet MF, Eyal, Fantazia MF (a house font---I am not sure Rosenberg did this himself), Finish MF, Garinim Shehorim MF, Graffiti (1993), Greifer MF, Hafgana, Haim Arukeem MF, Haim MF, Havazelet MF, Interes MF, Jeans, Katava MF, Kilshon MF, Klaf MF, Klemantina MF, Ktiva MF, LeBe MF, Linoleum MF, Lippa MF, Litam MF, Lueeza MF, Magazine MF, Marhaba, Marker, Mechola, Melach Haaretz MF, Mishpatim, Molecule MF, Ovech MF, Panda MF, Papaya MF, Parmezan MF, Pergula MF, Petit MF, Pigama MF, Pitka MF, Poema MF, Portal MF, Pronto MF, Protocol MF, MF Ramot (1993), Remington, Rimon, Rosenberg, Rosenberg Naot Square MF, Rosenberg Promo MF, Rosenberg Ski MF, Rosenberg Solo MF, Rosenberg-Naot MF, Rosenberg Textile MF (2010), Shablona, Shanti MF, Shavit MF, Shiboota MF, Shmulik Yael MF (2010, hand-printed), Shmulik Three Egozim MF (2010), Shmulik Kibutz MF (2010), Shmulik Katz MF (2010), Shmulik Hasamba MF (2010, painted letters), Shmulik Dorit MF (2010, signage face), Shmulik Diralehaskir MF (2010), Shooma MF, Shopping MF, Skitsa, Square Numbers MF, Stempa MF, Sucariot, Sweeta MF, Tapuz MF, Tambour MF (2010), Taxi MF, Terminal MF, Tiltan MF, Turmus MF, Unplugged MF, Zeebra MF, Zlafim, Zoola MF. PDF file showing these 2009 fonts: MFTVilna-Bold, Vilna MF (2003, Zvika Rosenberg), MFTDavid-Bold, MFTDavid, MFTNarkisClassic-Bold, MFTNarkisClassic, MFTNarkisClassicLight, MFTNarkisClassicMedium, MFTNewLivorno-Bold, MFTNewLivorno. These fonts feature Nikud, justification alternates and cantillation marks (in Hebrew, Teamim or Teamey Hamiqra), which are used with Biblical texts as notes for reading the text in public.
In 2013, he designed the Hebrew typefaces Alphon MF and Aplikazia MF. Other typefaces from around 2013 include Celeb MF (2014), Chalifa MF (2013), Chalifa Serif MF (2013), Couponim MF (2020), Documentary MF (2012), Einsfor MF (2012), Faculta MF (2013), Gizbarut MF (2013), Gizbarut Serif MF (2013), Gulanash MF (2013), Hardal MF (2013), Hardal MF (2020), High Techist MF (2012), Intelect MF (2012), Kafri MF (2012), Kolorabi MF (2012), Kesem MF (2014), Kvisa MF (2012), Lakreeut MF (2014), Malmala MF (2014), Mitkatevet MF (2013), Muskamot MF (2014), Prozdor MF (2013), Revoluzia MF (2012), Rokach MF (2012), Rosenberg Textile Square MF (2012), Rugatka MF (2012), Salame MF (2014: for engraving and signage), Salame MF (2020: a revival of the earlier Salame font), Shoshanim MF (2012), Simania MF (2013), Sveder MF (2013), Teoria MF (2012), Vatik MF (2014), Zrima MF (2013).
Besof Hakaitz MF (2014) is a Hebrew typeface that emulates the techno disco style of the 1980s.
In 2016, he published the dingbat font Sucariot Menta MF.
In 2020, he released Alifut MF (rounded, monolinear), Krakow MF (inspired by old engraving and tombstones in the synagogue in the Jewish quarter in Krakow, Poland), Tmura MF, Vetrena MF, which is based on old hand-painted signs in Tel Aviv.
Typefaces from 2021: MF Shtetl (a traditional Biblical font).
He also studied at the École Duperré, École Estienne and collaborates with many typographers and type foundries in France and elsewhere. He cofounded Fonderie Long Type in 2012.
With Dan Reynolds, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari. Martel Sans (2014) was published in the (free) Google Fonts collection in 2015. This Latin and Devanagari sans typeface family was co-designed with Dan Reynolds, and grew out of Dan Reynolds's school project font in 2008 at the University of Reading, which was also called Martel.
Grays Thurrock and/or London, UK-based designer, b. 1994, of the slightly rounded black sans typeface Class 357 (2018: free), LaunchPad (a sci-fi typeface), Fervour Sans, the compass-and-ruler typeface Port, and The Language of Time (2013), a typeface in which glyphs consist of pieces of a mechanical watch.
Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Cavallo, covers Latin, Cyrillic and arabic, and was created for use as a magazine text tyoeface. [Google] [More] ⦿
Free Farsi truetype fonts by Masoud Mazar: BadrMazar, CompsetMazar, DivaniMazar, FerdosiMazar, GrandKufiMazar, HusseiniMazar (1996), KoodakMazar, LotusMazar, MajalleMazar, MajallaCondensedMazar, MajiidMazar (1996), MajiidShadedMazar, MashghMazar, MitraBoldMazar, MitraMazar, MudirMazar, NajahMazar, NasimMazar, NaskhMazar, NazaninMazar, RagheMazar, ReyhanMazar, ShafighMazar, SiavashMazar, SinaMazar, TawfighMazar, TawfigOutlineMazar, ThulthMazar, TitrMazar, TraficMazar. These fonts, which have a copyright notice of Glyph Systems and Monotype, 1993, require special software as they make heavy use of the GSUB tables for ligatures. some can be downloaded here. [Google] [More] ⦿
Banda Aceh, Indonesia-based designer (b. 1985) of these typefaces in 2017: Qamilla (calligraphic script), Lea Serif, Beauty Straw (dancing script), Larista Pasta (signage script), Enemell (brush script), Cavalry (blackletter), Shambles (handcrafted), Beukah (slab serif), Natural Old Script (calligraphic), Modern Script, Edelweiss (brush script).
Typefaces from 2018: Quality, Larista (signage script), Aniston.
Arabic foundry. Some fonts: MCS-AL-SHAMAL, MCS-ALMAALIM-HIGH-BROK, MCS-ALMAALIM, MCS-ARAFAT-HIGH-DEC-OUT, MCS-Alhada-S_I-normal, MCS-Alhada-S_U-normal, MCS-Alsalam-EU-normal, MCS-Alsalam-S_U-normal, MCS-CLOCK-FAT, MCS-CLOCK-HIGH, MCS-CLOCK-SPINED, MCS-FREEDOM-OUT, MCS-FREEDOM-OUTLINE, MCS-FREEDOM, MCS-HALA-HIGH-BROK-OUT, MCS-HALA-HIGH, MCS-HALA, MCS-HIJAZ-HIGH, MCS-Haramain.-2000, MCS-Haramain.-Band-2000, MCS-Hijaz-S_U-adorn, MCS-Modern-S_U-normal, MCS-Nask-E_U-normal, MCS-Ophor-S_U-normal, MCS-PEN, MCS-QUDS-UNDER, MCS-RIVER, MCS-ROUND, MCS-SAND-HIGH, MCS-SQUARE, MCS-TOPAZ, MCS-Taybah-E_U-spot, MCS-Taybah-S_U-rose. These can be downloaded, e.g., here. Here we find Mcs-BookTitle1, Mcs-BookTitle1, Mcs-BookTitle2, Mcs-BookTitle2, Mcs-BookTitle3, Mcs-BookTitle3, Mcs-BookTitle4, Mcs-BookTitle4, Mcs-BookTitle5, Mcs-BookTitle5, Mcs-BookTitle6, Mcs-BookTitle6, Mcs-Hadeith1, Mcs-Hadeith1, Mcs-Hadeith2, Mcs-Hadeith2, Mcs-Honor, Mcs-LetterWord1, Mcs-LetterWord1, Mcs-LetterWord2, Mcs-LetterWord2, Mcs-LetterWord3, Mcs-LetterWord3, Mcs-LetterWord4, Mcs-LetterWord4, Mcs-LetterWord5, Mcs-LetterWord5, Mcs-Quran, Mcs-Quran, Mcs-School1, Mcs-School2, Mcs-SwerAl_Quran1, Mcs-SwerAl_Quran1, Mcs-SwerAl_Quran2, Mcs-SwerAl_Quran2, Mcs-SwerAl_Quran3, Mcs-SwerAl_Quran3, Mcs-SwerAl_Quran4, Mcs-SwerAl_Quran4, MCS-Aljalalah, MCS-Badr-E_I-normal, MCS-Badr-E_U-normal, MCS-Badr-S_I-normal, MCS-Badr-S_U-normal, MCS-Basmalah-normal, MCS-Islamic-Art-1, MCS-P_Mohammad, MCSCLOCKFAT, MCSCLOCKHIGH, MCSCLOCKSPINED, MCSHALA, MCSHALAHIGH, MCSHALAHIGHBROKOUT. [Google] [More] ⦿
Media Type Foundry
Media Type Foundry was created in 2010 by type designers Sonia da Rocha, Claude Mediavilla and Joel Vilas Boas (aka J85). It is an independent type foundry based in Paris. Thanks to Mediavilla and his ex-student da Rocha, the emphasis is on type that is deeply rooted in calligraphy.
Sonia da Rocha is a graphic and typeface designer from Porto, where she gained her first degree in graphic design. She studied for four years at the Vila do Conde School of design. In 2007, she studied calligraphy under Claude Mediavilla in Paris. Since 2009, she works at the Porchez Type foundry in Paris. Earlier, her name was Sonia Caramelo, and under that name she designed the Galadriel script typeface in 2008. With Aurélie Gasche, she designed the dot matrix typeface Insight in 2009. She also has some calligraphy on her web site. From 2010 until 2012, she studied at ESAD Amiens, France.
A corporate URW typeface family published in 2009. The 17-font family sells for nearly 10,000 Euros. There are sans, serif, semi-sans and semi-serif subfamilies. This family started out as a design for the Merck company. URW writes: URW++ is authorized by Merck KGaA to deliver the Merck corporate typeface family for a license fee to external users, i.e. Merck KGaA suppliers such as ad agencies, signmakers and the like. The Merck corporate typefaces are available in four different volumes with correspondingly multi lingual character encoding. All Merck Global Fonts contain approximately over 45,000 glyphs including the complete CJK glyph set (China, Japan and Korea). Besides all Latin, Greek, and Cyrillic glyphs as well as the complete CJK glyph set also cover Japanese Katakana and Hiragana plus Korean Hangual syllables. Furthermore they are supporting Thai and Arabic (including Farsi and Urdu) plus Hebrew and Vietnamese as well. [Google] [More] ⦿
During her studies at the German University of Cairo, Merna Ayman created an untitled Arabic typeface, as well as the modular Latin typefaces Valiant (2014, FontStruct), Height (2014) and Elite (2014). [Google] [More] ⦿
Michel Salloum (b. 1990, Damascus, Syria) completed a graduate degree in visual communications from the Faculty of Fin Arts (Damascus University) in 2014. In 2017 he joined the faculty in the Department of Arts and Graphics at the International University of Science and Technology. Based in Damascus, Michel Salloum designed MS Ugarit (2013, Arabic typeface) at the height of the civil war in Syria. [Google] [More] ⦿
The list of new fonts in Windows 7 in 2009:
Michel Sabbagh is a Montreal-based lettering artist and calligrapher, who studied at Laval University in Quebec and then at ESAD in Amiens, France. His graduation typeface there in the postgraduate course in type design was Kaltoum (2014), a Latin / Arabic text typeface with considerable calligraphic details and a stunning amount of balance between the two scripts. Latin and Arabic are harmonized by modulating the stroke thickness. [Google] [More] ⦿
Mirjam Somers was educated at St Joost Art Academy in Breda, The Netherlands, where her teachers included calligraphers Chris Brand and Jan van den Bouwhuysen. After two years she continued at the Gerrit Rietveld Academy in Amsterdam and graduated there in 1974 in Architectural Design. Having worked as a carpenter and free-lance typographer, she encountered Arabic script in 1982 when together with Thomas Milo she designed and produced the Arabic Letter Box, a wooden prototype of a computer program and an educational tool at once. With Tom she reduced the traditional Arabic Ruqah script to 70 penstrokes and defined a mechanism to generate all Arabic letter combinations by the smart font algorithm. The combination of the font-in-the-box and the out-of-the-box font inspired Peter Somers to write the smart font program code. Peter, Mirjam and Thomas incorporated Decotype [Designers of Computer-aided Typography] in 1985. Mirjam played a major role in designing the Naskh typeface (1993-2004), and created the Emiri (2004, a revival) and DecoType Nastaliq (2008-2010, an original analysis) typefaces. Her latest designs are a second Ruq'ah (2011) and an Eastern Nastaleeq (2012).
DecoType Nastaliq (2009) won an award in the non-Latin category at TDC2 2010. Decotype Nastaleeq Press won an award at TDC 2014. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award.
At ATypI 2011 in Reykjavik, she spoke on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. Speaker at ATypI 2013 in Amsterdam: Technology designed for Arabic.
Designer of the Arabic font Mofid Mahdi (1985, Linotype). Linotype writes: The design was originally developed for use in dry-transfer format, and was first produced as a digital font by Linotype-Hell Ltd. in the early 1980s. Initially a simplified face, with its inherent limited range of letterforms, Mofid Mahdi was enhanced during the late 1980s by the introduction of medial letterforms to improve character spacing and balance. The recent advent of OpenType has led to the release of Mofid Mahdi. This OpenType font includes Latin glyphs from Memphis Extra Bold, allowing users to set text in both most Western European and Arabic languages without switching between fonts.
Mogtahid is calligrapher Nasri Abdallah's foundry based in Alger, Algeria. Its commercial fonts include Modahid Actualite (2008), Mogdahid Authentic Quartz (2008, LED simulation), Mogtahid Color.Com (2008), and Mogtahid Maxpin 7x8 LA-S (2008, dot matrix). In 2020, they published the variable font A10 STAR Black. [Google] [MyFonts] [More] ⦿
Type designer from Syria who graduated from Damascus University and completed the MATD program in Type Design at the University of Reading in 2016. He is currently located in Cambridge, UK. His graduation typeface is Jali, about which he writes: Jali is a typeface designed for wayfinding signage. High legibility from distance is the main feature of the design. Jali combines Arabic and Latin in harmony while keeping a natural treatment for both scripts and avoiding forcing any to follow the other. Jali offers two secondary styles for different functions. Jali Display is a highly characterful style to add a distinguished identity in various contexts. Jali text comes to support setting running text for continuous reading. Jali won an award at the Type Directors Club's Type Design Competition 2019.
Moroccan typographer who wrote a Ph.D. Dissertation entitled Etude et réalisation d'un système de justification du e-document scientifique multilingue in 2010 at the Department of Computer Sciences, Université Cadi Ayyad, Semlalia, Marrakech. He also coauthored these papers: (1) Mohamed Elyaakoubi and Azzeddine Lazrek, Arabic scientific e-document typography, 5th International Conference on Human System Learning, ICHSL5, pp. 241-252, Marrakech, 2005. (2) Mostafa Banouni, Mohamed Elyaakoubi and Azzeddine Lazrek, Dynamic Arabic mathematical fonts, Lecture Notes in Computer Science (LNCS), Springer Verlag, Volume 3130, pp. 149-157, 2004. Abstract of the latter paper: This paper describes a font family designed to meet the requirements of typesetting mathematical documents in an Arabic presentation. Thus, not only is the text written in an Arabic alphabet-based script, but specific symbols are used and mathematical expressions also spread out from right to left. Actually, this font family consists of two components: an Arabic mathematical font and a dynamic font. The construction of this font family is a first step of a project aiming at providing a complete and homogeneous Arabic font family, in the OpenType format, respecting Arabic calligraphy rules. [Google] [More] ⦿
Paris-based designer of Latin / Arabic typefaces including Babybars (2020: inspired by the Mamluk Thuluth calligraphic style, covering latin, Arabic, Persian and Urdu) and Rotger-Arabic (2020: an Arabification of Central Type Company's Rodger by Tarek Al-Sawwa and Mohamed Gallah). [Google] [More] ⦿
Tanta / Cairo, Egypt-based designer of a Latin/ Arabic logotype called Neon, of the Arabic typeface Tiwen (2013), of a rounded Arabic typeface called Anas (2012), and of the Arabic techno fonts Bono and Sawra in 2013. [Google] [More] ⦿
Cairo-based designer of Smashbox (2012), an Arabic custom typeface for a cosmetics company.
Mohammad Al Shalfan
Mohammad Alhaj Ahmad
Mohammad Esmat Abdullhalem
Giza, Egypt-based designer of the free Latin / Arabic blackboard bold typeface MaxType (2016), the free Maze Font (2016, a multiline Arabic typeface), and the free Arabic dot matrix typeface Dofi (2016).
Graphic designer in Gaza City, Palestine, who created the free weathered Latin /Arabic typeface family Taweel (2017). Footnote: I think that this typeface is by Fahd Al Fraikh, so Lebda's presentation of this typeface is confusing. [Google] [More] ⦿
Graphic and type designer in Doha, Qatar, where he runs e-studio. In 2010, he designed a type family for both Latin and Arabic called Delta Doha, named after the oil equipment company that commissioned the typefaces.
Designer of these free Arabic typefaces at Open Font Library in 2015: Layla Ruqaa, Layla Diwani, Layla Thuluth, Layla Koufi, Layla Boxer, Layla Digital, and Layla Basic Arabic. He also made the avant garde Latin / Arabic typeface Layla ArcyArc (2015). [Google] [More] ⦿
Pak Nastaleeq is an OpenType Unicode Nastaleeq Font created and developed by Center of Excellence for Urdu Informatics by Mohsin Shafeeque Hijazee in 2005. Alternate URL. Hijazee is a team member in the Font Department of the Center of Excellence for Urdu Informatics, a project of the Government of Pakistan. He also made Indus Naskh (2007). [Google] [More] ⦿
Iranian dingbat font designer, b. 1985. His creations include Neckar (2012), Besmellah (2008, five fonts) and Mohammed RasoolAllah (2008). His fonts have calligraphic scripts, and religious icons. Alternate URL.
Monotype sells fonts for the following languages: Amharic, Aksara Kaganga, Arabic, Armenian, Balinese, Burmese, Cambodian, Chinese, Coptic, Devanagari (Hindi/Marathi/Nepali), Farsi, Georgian, Glagolitic, Gujerathi, Gurmukhi (Punjabi), Hebrew, Japanese, Javanese, Jawi, Kannada, Korean, Laotian, Lontarak, Malayalam, Old Bulgarian, Oriya, Pushto, Sindhi, Sinhalese, Surat Pustaha, Syriac, Tamil, Telugu, Thai, Urdu, Vietnamese. [Google] [More] ⦿
Arabic fonts sold by Monotype as of July 2009: Akhbar, Andalé Arabic, Jawhar, Monotype Koufi, Lakhdar Ghazal, Monotype Madrasah, Mudir, Monotype Naskh, Noori Nastaliq (for Urdu), Sabara, Sabara Display, Shayyal, Monotype Thuluth. They note the following: Noori Nastaliq typeface and ligature system was designed by Ahmed Mirza Jamil TI. Because of its calligraphic nature, Noori Nastaliq is not available as a standard font for the common hardware platforms. The addressing of this font requires specially customized software and ligature access tables. [Google] [More] ⦿
The Arabic font library at Agfa Monotype: Akhbar (late 70s), Andalé Arabic (late 90s), Monotype Koufi (mid 70s, or Agfa Koufi), Lakhdar Ghazal (late 70s), Monotype Madrasah (90s), Mudir (mid 70s), Monotype Naskh (1945), Noori Nastaliq (for Urdu), Sabara, Sabara Display, Shayyal, Monotype Thuluth (mid 70s), Traditional Arabic (1992, or Agfa Traditional; download here), Agfa Ousbouh, Agfa Simplified, and Arabic Borders. Noteworthy is that many other font families have several language sets. For example, Tahoma's Latin, Greek and Cyrillic glyphs were drawn by Matthew Carter. The Monotype staff later added Thai, Arabic and Hebrew characters in the same style. Monotype's first Arabic font was called Arabic (1938), and was renamed to Zohar and then Jawhar. At one point, they also had a font family called Boutros Kufic and another called Boutros Setting, but just as with the Zohar family, they are no longer in the catalog. On Noori Nastaliq: Noori Nastaliq typeface and ligature system was designed by Mr. Mirza Jamil T.I. Because of its calligraphic nature, Noori Nastaliq is not available as a standard font for the common hardware platforms. The addressing of this font requires specially customized software and ligature access tables. [Google] [More] ⦿
Cairo, Egypt-based designer of the icon set Inktober 2020 (2020; some are Trump-era icons), the condensed gothic typeface family Barbaros (2020) and the Arabic typeface family Gali Modern (2019), which was inspired by classic Arabic Thuluth calligraphy. [Google] [MyFonts] [More] ⦿
Alexandria, Egypt and Stockholm, Sweden-based creator of these Arabic typefaces in 2021: Dardashah (an inline Arabic display typeface), Lakhbatah, Teraaz, Tashweesh (pixelish), Najmy, Rakan.
Typefaces from 2020: Naghamah (a children's book font), Qafashat, Makana (a fat display typeface), Shakhabeet, Meshkal (Arabic for kaleidoscope: an Arabic display font that is inspired by the kaleidoscopic geometries).
Typefaces from 2019: Laftah, Kaleel.
Typefaces from 2018: Moltaqa, Mateen, Jadeer, Taiween, Lafeef (rounded), Tamema, Ikseer, Origami (a color font), Fenoon, Dahka, Tajreed, Oajoubi.
In 2017, he designed Etlalah, Tashabok, Olfah, Zahey, Alama, Takween (based on the Mashrequi writing style), Loabah, Makeen, Maheeb, Enferad, Paxalah (a pixelish Arabic typeface), Mozarkash (deco style).
Earlier typefaces: Fokaha (2016), Khetab (2016, Kufic), Taleeq (2016), Saiihah (2016, an experimental Arabic typeface), Ahaleel (2016), Inseyab (2016, a monoline Arabic typeface), Ostouri (2015, a heavy calligraphic Arabic typeface), Kaleem (2015, Arabic display typeface), Ebhaar (2015), Tarhaal (2015), Jazeel (2014), Hetaf (2014), Bareeq (2014), Tawasul (2014), Wahaj (2013), Bedayah (2013, a geometric Arabic typeface), Atyaaf (2013, a multiline display face), Aqlaam (2012, Arabic), Falak (2012, Arabic typeface), Ahlan (2012, Arabic typeface), the hairline Arabic typeface Khayal (2012), the fat octagonal typeface PolyFont (2012), the corporate typeface Tasreeh (2012), the comics book font Nokta (2012), Ekleel (2012), Friendo (2012), Retro Town (2012, free demo), and the pixel typefaces Kufigraph (2012), Raqami (2012) and Pixelogist (2012).
Motken.com (or: Maleksoft Developer Co)
Vendor of Arabic typefaces located in Riyadh. Download page: AF_Abha-NormalTraditional, AF_Abha-NormalTraditional, AF_Tabook-NormalTraditional, AF_Tabook-NormalTraditional, AF_Tholoth-NormalTraditional, AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, AdvertisingBold, AdvertisingExtraBold, AdvertisingLight, AdvertisingMedium, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam, Alawi-Hashim-Bafageeh.., Bader, Bassam-Ostorah, FS_Abdo, FS_Africa, FS_Ahram, FS_Alex, FS_Alex, FS_Arabic, FS_Black, FS_Bold, FS_Egypt, FS_Free, FS_Graphic, FS_India, FS_Japan, FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Wood, M-Unicode-Abeer, M-Unicode-Dawlat, M-Unicode-Diala, M-Unicode-Hadeel, M-Unicode-Noora, M-Unicode-Sara, M-Unicode-Sima, M-Unicode-Susan, M-Unicode-Wafa, MCS-Modern-S_U-normal., MCS-Taybah-S_U-normal., MCSFREEDOM, MCSPEN, MCSTOPAZ, MO_Nawel, Mcs-BookTitle1, Mcs-BookTitle2, Mcs-BookTitle3, Mcs-BookTitle4, Mcs-BookTitle5, Mcs-BookTitle6, Mcs-Hadeith1, Mcs-Hadeith2, Mcs-Honor, Mcs-LetterWord1, Mcs-LetterWord2, Mcs-LetterWord3, Mcs-LetterWord4, Mcs-LetterWord5, Mcs-Quran, Mcs-School1, Mcs-School2, Mcs-SwerAl_Quran1, Mcs-SwerAl_Quran2, Mcs-SwerAl_Quran3, Mcs-SwerAl_Quran4, Mohammad-Dawlat, Mokhtar-Bold, Motken-AL-Rafidain-Art, Motken-AL-Rafidain, Motken-K-Elham, Motken-K-Farnaz, Motken-K-Homa, Motken-K-Kamran, Motken-K-Nasim, Motken-K-Sina, Motken-K-Tabassom, Motken-K-Traffic, Motken-Ramlah, Motken-daeira, Motken-noqta-ii, Motken-noqta, Othmani, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, SC_ALYERMOOK, SC_AMEEN, SC_DUBAI, SC_GULF, SC_HANI, SC_KHALID, SC_LUJAYN, SC_OUHOD, SC_REHAN, SC_SHARJAH, SC_SHMOOKH-01, SC_TARABLUS, SKR-HEAD1, Simplified-Arabic, Simplified-Arabic, Traditional-Arabic, Traditional-Arabic, Zokrofi, mokhtar_bold, mokhtar_daiery, mokhtar_daiery_1. Additionally, Motken itself (Maleksoft Developer Co) has these fonts: Motken-AL-Rafidain-Art, Motken-AL-Rafidain, Motken-K-Elham, Motken-K-Farnaz, Motken-K-Homa, Motken-K-Kamran, Motken-K-Nasim, Motken-K-Sina, Motken-K-Tabassom, Motken-K-Traffic, Motken-Ramlah, Motken-daeira, Motken-noqta-ii, Motken-noqta. Here we find Motken-'3areeb, Motken-AL-Rafidain-Art, Motken-AL-Rafidain-Art, Motken-AL-Rafidain, Motken-K-Elham, Motken-K-Farnaz, Motken-K-Homa, Motken-K-Kamran, Motken-K-Nasim, Motken-K-Sina, Motken-K-Tabassom, Motken-K-Traffic, Motken-Ramlah, Motken-daeira, Motken-daeira, Motken-noqta-ii, Motken-noqta-ii, Motken-noqta, Motken-noqta. Maleksoft Developer Co made AL-Gemah-Alhoda, AL-Gemah-Almajd, AL-Gemah-Assarim. Others presumably "cracked by Al-Amri": AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Dorrh, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Majd, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam. The designer of some of the Motken fonts is Mohammad Al Shalfan. [Google] [More] ⦿
During her graphic design studies in Cairo, Egypt, Mounira Abouauf designed the Latin typeface Simplicity Serif (2015), and the Arabic display typeface Mousool (2016) and Mamary (2016). [Google] [More] ⦿
Muhammad Zuhair Albazi
This Iranian university has many Farsi fonts. We find