TYPE DESIGN INFORMATION PAGE last updated on Wed Apr 23 21:38:33 EDT 2014

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Typefaces and type design for Arabic

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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29 Letters
[Pascal Naji Zoghbi]

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:

  • Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
  • Another project of Zoghbi involves a type family being developed for newspaper headlines.
  • In 2007, he created a 3-style Phoenician type family called Fniqiya.
  • Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
  • Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
  • Bukra Extra Bold display type for Ibn Battuta Mall in Dubai, 2008. Looks like Futura Bold.
  • A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
  • Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges.
  • At FontStruct, he made Arapix (2009).
  • UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
  • The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
  • Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
  • For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (OFL).
  • 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants.
  • Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. [Google] [More]  ⦿

A. Badie Hammami

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

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]  ⦿

Abbas Al-Baghdadi

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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Abbas Izad

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]  ⦿

Abdel-Hadi Bukres

[More]  ⦿

Abdo Fonts (was: Future Soft Egypt)
[Abdulsamie Rajab Salem]

Abdulsamie Rajab Salem (nb. 1968), the founder of Abdo Fonts, published many typefaces from 1998-2000 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.

At Hiba Studio, we find HS Futura (2011), which was based on Salem's FS Futura. Also at Hiba Studio, he codesigned the display typeface HS Masrawy (2013) with Hasan Abu Afash.

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 face 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).

FontShop link. Another FontShop link. Facebook link. Behance link. Old MyFonts link. Behance link. OFL link. [Google] [MyFonts] [More]  ⦿

Abdul Aziz Mangrio

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:

  • Umar Rashid and Lateef Sagar Shaikh: PakType Naqsh.
  • CRULP: Nafees Pakistani Naskh (2003).
  • Abdul-Majid Bhurgri: MB Sindhi Web (2004), MBSindhi (2000), MBSarang Sattar (2003, outlines by Abdul Sattar Samo), MB LateefiM Sattar (2003, outlines by Abdul Sattar Samo), MB Lateefi (2004), MBLateefiBold Sattar (2003, outlines by Abdul Sattar Samo), MB Bhitai Sattar (2002, outlines by Abdul Sattar Samo), MB Kufi (2004).
  • PC Friends Developers: MBSania (2003).
  • Agha Sabir: MB Agha Sabir Shikarpur (2004), MB Agha Sabir Indus (2004), MB Agha Sabir (2004).
  • Ayaz Gul Soomro: Ajrak Sindhi (2003).
Alternate URL (Preen Shabeer Kumbhar's site). [Google] [More]  ⦿

Abdulamir L. Mryhij

alAlmaiha Software, Freezone, Naser City, Cairo, Egypt. [Google] [More]  ⦿

Abdulla Waheed

Three (simple) Arabic fonts based on calligraphy by Abdulla Waheed, created in 1995-1996 by Hassan Shujau and Hassan Hameed: A_Waheed, A_Faseyha, A_Utheem. [Google] [More]  ⦿

Abdullah Naser Al Mawash

Designer of the Arabic font Al Mawash Shatt Al-Arab. Download here. [Google] [More]  ⦿

Abdullah Tasci

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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Abdulrahman Al Qaraawi

Designer in Riyadh, Saudi Arabia. He created the curvy font Al Masa (2010) and the Arabic face QR (2010). [Google] [More]  ⦿

Abdulsamie Rajab Salem
[Abdo Fonts (was: Future Soft Egypt)]

[MyFonts] [More]  ⦿

Abitar Mohamed

FontStructor who made the Arab typeface Abitype (2010). [Google] [More]  ⦿

Adien Gunarta
[Fontastic Indonesia]

[More]  ⦿

Adil Rehan
[jasarat.com]

[More]  ⦿

Adiljan Ab
[Uyghur Kompyutér Ilimi Jem'iyiti Fontliri]

[More]  ⦿

Adler Traldi

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]  ⦿

Adnan M. Ghilbishi

Designer o the Arabic / Kurdish font K_hjmearok (1997). [Google] [More]  ⦿

ae fonts

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]  ⦿

Afareet

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]  ⦿

Afghan Discussion Board

A free Pashtu font, Pashtu Waziristan (2001, Khpala Pashtu Inc). [Google] [More]  ⦿

Afghanan Inc

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]  ⦿

Afghan-Reality

Free Pashto (Afghan) truetype font WL PashtoNaskh (1995) by Gamma Productions. See also here. [Google] [More]  ⦿

Afzal

Free font Afzal (truetype) by Tanzir Hussain. No more web page. [Google] [More]  ⦿

Ahmad Humeid
[Syntax digital]

[More]  ⦿

Ahmad Sha'ath

Arab calligrapher. [Google] [More]  ⦿

Ahmad Shawki

Egyptian designer of the avant-garde Arabic font Slavian (2002). [Google] [More]  ⦿

Ahmed Ali

Designer of the Arabic face Ahmed (1980, Linotype). [Google] [More]  ⦿

Ahmed Edrees

Dubai, UAE-based designer of the pixelish Arabic typeface Wala Tansu (2013). [Google] [More]  ⦿

Ahmed Lakhdar-Ghazal

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]  ⦿

Ahmed Maged

Lebanese calligrapher. Designer of Hisham (Linotype, 1993), a strong sans face for Latin and Arabic.

Klingspor link. Linotype link. [Google] [MyFonts] [More]  ⦿

Ahmed Mirza Jamil

Pakistani calligrapher who developed the calligraphic Arabic script Noori Nastaliq for Monotype in the 1970s. He has been awarded with TAMGHA-I-IMTIAZ by government of Pakistan in 1982. Mirza Jamil is the owner of the Noori Nastaliq typeface. Agfa Monotype Corporation holds copyright to the Noori Nastaliq digital font data. Finally, Noori Nastaliq is a trademark of The Monotype Corporation. [Google] [More]  ⦿

Ahmed Safwat

Graphic and type designer who lives in Oman where he works for a newspaper. Designer of the Arabic typefaces Amal, Safwat and New Koufi Fatemic. His company is Safwat Graphics. [Google] [More]  ⦿

Ahmed Youness

Egyptian graphic designer. Creator of a typographic donkey (2010). [Google] [More]  ⦿

AIAP--Iranian Fonts

Download two Farsi truetype fonts, Pfont and Sepehr. [Google] [More]  ⦿

Al Mohtaraf Assaudi

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]  ⦿

Al Mujahed

This series of Arabic fonts includes Al-Mujahed-Al-Anbobi, Al-Mujahed-Classic, Al-Mujahed-Free-2, Al-Mujahed-Free, Al-Mujahed-Gift-5, Al-Mujahed-Untitled. [Google] [More]  ⦿

Alagha Arabic Type

Andalus font sold by Glyph Systems of Andover, MD. [Google] [More]  ⦿

Al-Amri

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
[SouthArabian]

[More]  ⦿

Alan Wood's Unicode Resources

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

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]  ⦿

Alawi Hashim Bafageeh

Designer of the Arabic font family Shurooq 01 through 29 (1995, 2000). It can be found here. [Google] [More]  ⦿

Alawi Hashim Bagafeeh

Designer a a number of free Arabic typefaes at Arabeyes, including Tholoth, Hor, Haramain, Electron. [Google] [More]  ⦿

Alcitech 2000

Announcement of the alliance between Alcitech2000 (Syed Hyder's Montreal based company for developing Arabic script fonts), Tri_Vision and Nichimen. [Google] [More]  ⦿

Alex Khalil

Arabic script software list maintainer. [Google] [More]  ⦿

Ali Abdelghaffar

Mansoura, Egypt-based designer of the Arabic typeface Tagarob (2013). Behance link. [Google] [More]  ⦿

Ali Ahmed Al Buainain

Designer of the Arabic font Boahmed AlHarf Bold (2005). Download here. [Google] [More]  ⦿

Ali Almithaly

Graphic designer in Sanaa, Yemen. Creator of several Arabic typefaces in 2013: Rabi4a, Suhali, Aqeeq (Zakdesign, free), Alfarooq, Bon Font.

In 2014, he created Sheba. [Google] [More]  ⦿

Ali Alrikabi

Arabic font designer with a penchant for logotype. Examples: i, ii, iii, iv, v. [Google] [More]  ⦿

Almamoun Ahmed

Sudanese type designer who created the Arabic display typeface Isra, 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] [More]  ⦿

Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts, or: AGA Fonts)
[Mohammad Alagha]

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.

  • Free fonts in 2012: AGA Andalus, AGA Cordoba Reg, AGA Cordoba Bold, AGA Cordoba Reg, AGA Granada, AGA Sindibad Reg, AGA Sindibad Bold, AGA Mashq Reg, AGA Mashq Bold, AGA Rasheeq Reg, AGA Rasheeq Bold, AGA Kayrawan, AGA Balloon, AGA Juhyna, AGA Furat, AGA Aladdin.
  • Dingbats, beautiful arabesques and ornaments: AGA Horoof, AGA Arab Cities, AGA Greeting Phases, AGA Islamic Phrases, AGA Kalemaat, AGA Names, AGA Arabesque (Regular, Bold and Outline), AGA Islamic regular, AGA Greetings 1 and 2, AGA Publishing regular.
  • Commercial fonts in 2012: Alquds, Gaza, Abu Dhabi, Dubai, Beirut, Demashq, Amman, Baalbek, Baghdad, Doha, Kufa, aden, Jeddah, Riyadh, Masqat, Benghazi, Onwan, Mishmish, Barqooq, Hassan, Hazem, Zokhrof.

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]  ⦿

Alvi Technologies
[Amjad Hussain Alvi]

Amjad Hussain Alvi (Alvi Technologies, Pakistan) makes available a free Urdu font, Alvi Nastaleeq (2008). [Google] [More]  ⦿

Amanat Ali Goher
[uSOFT]

[More]  ⦿

Amardeep Yadav

Designer in Ahmedabad, India. In 2012, he mixed the shapes of Bauer Bodoni Italic with those ot Urdu Naskh asiantype to create a didone-style Urdu typeface. [Google] [More]  ⦿

Amgad

Creators of Arabic fonts such HQPB1, HQPB2, HQPB3, HQPB4, HQPB5, HQPB7. Download site. [Google] [More]  ⦿

Amira Al Dakroury

Qatari graphic designer who created the hand-printed Arabic face Mazaza (2011). [Google] [More]  ⦿

Amjad Hussain Alvi
[Alvi Technologies]

[More]  ⦿

An Evening of Arabic typography

Videos of the presentations on October 26, 2008, in Amsterdam by Titus Memeth, Tarek atrissi and Thomas Milo on Arabic typography. [Google] [More]  ⦿

Andreas Prilop
[Multilingual Macintosh Resources: Arabic]

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Andreas Reichelt

Four Arabic truetype fonts in this exemplary page: Akhbar MT (1993), Andalus (Mohammed Alagha, 1993), Arabnews (M. Alkazaz, 1994), Siddiqua (Laser Printing Solutions, 1992). [Google] [More]  ⦿

Android Open Source Project

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]  ⦿

Anton van de Repe
[ARP's free text utilities (MS-DOS) and TTF-fonts]

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Apple's Arabic Language Kit

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
[Saad Dean Abulhab]

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 2012, he added Nuqat, Nastarkib, Lahab, Ibrani, Hallock, Arabetics Latte (for Latin and Arabic), and Banan (Mutamathil Taqlidi type style).

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.

In 2013, he published PF Nuyork Arabic at Parachute. His Arabetic fonts from 2013 include Nagham, Arabetics Harfi (for Latin and Arabic), Camille, Raqmi and Raqmi Monoshape.

Hiba Studio link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Arabeyes.org
[Khaled Hosny]

Free GNU license package of Arab truetype fonts developed by the Arabeyes.org project in 2003, and maintained by Khaled Hosny:

  • AAHS fonts: ae_Cortoba, ae_Nagham, ae_Ostorah.
  • AGA fonts: ae_Dimnah, ae_Furat, ae_Granada, ae_Kayrawan, ae_Mashq, ae_MashqBold, ae_Nada, ae_Petra, ae_RasheeqBold, ae_Sindibad.
  • Futuresoft fonts: ae_Arab, ae_Graph, ae_Japan, ae_Jet, ae_Metal, ae_Nice, ae_Salem, ae_Shado.
  • Kasr fonts: ae_AlBattar, ae_AlHor, ae_AlManzomah, ae_AlMateen, ae_AlMohanadBold, ae_AlMothnna.
  • MCS fonts: ae_Electron, ae_Haramain, ae_Hor, ae_Tholoth.
  • Shmookh fonts (by Shmookh Computer, Riyadh): ae_AlYermook, ae_Hani, ae_Khalid, ae_Ouhod, ae_Rehan, ae_Sharjah, ae_Tarablus.
Alternate URL, which also has the KACST fonts donated by URW: KacstArt, KacstBook, KacstDecorative, KacstDigital, KacstLetter, KacstPoster, KacstQr, KacstQura, KacstQuraFixed, KacstTitle, KacstTitleL.

Fontspace link. Yet another URL. See also here. Old URL. [Google] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies. Only commercial stuff for Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Arabian Company for Advanced Computer Systems
[Mohammad Esmat Abdullhalem]

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]  ⦿

Arabic

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]  ⦿

Arabic

Free Arabic fonts at Howard Berlin's site included Arabic. Includes Djerba, Karbala (by Shaun Astarabadi for the Digital Islamic Library Project), and Siddiqua TrueType fonts. [Google] [More]  ⦿

Arabic calligraphy

General site with links. Check also here. [Google] [More]  ⦿

Arabic FAQ

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 font for Unicode

Mark Leishers's BDF font is 24pt/100 dpi, and has about 600 glyphs. [Google] [More]  ⦿

Arabic fonts by BO-3yon-mch7lat

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]  ⦿

Arabic module for Pango

Pango is software for X/UNIX for handling/editing Arabic, Urdu and Indic texts. This page by Karl Koehler has some information and links on this free software. [Google] [More]  ⦿

Arabic script

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 typography

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]  ⦿

Arabic Web Resources

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]  ⦿

Arabismo

Arabic font links, with discussions in Spanish. [Google] [More]  ⦿

Arabs Internet Club

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]  ⦿

ArabTex
[Klaus Lagally]

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]  ⦿

Arab-Vokabeln

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]

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. [Google] [More]  ⦿

archaic
[Peter R. Wilson]

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 faces 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]  ⦿

Arfonts.net

The mother of all Arabic font archives. [Google] [More]  ⦿

Arine Isk

Beirut-based designer of an untitled Latin / Arabic brush typeface in 2013. [Google] [More]  ⦿

Arlette Boutros

Lebanese type designer. 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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

ARP's free text utilities (MS-DOS) and TTF-fonts
[Anton van de Repe]

Two TrueType fonts: ARP Numfont replaces characters by ASCII values, and Celtic-Iberian is just that. All fonts by Anton van de Repe. Contains an archive of 40 Arabic fonts. [Google] [More]  ⦿

Art and Fonts by Sean (aka The BlackBox)
[Sean Moldenhauer]

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]  ⦿

Arya Bakhsheshi

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
[King Fahd Glorious Quran Printing Complex]

[More]  ⦿

Ashoora

Aka Ashura. Tehran, Iran-based designer of the calligraphic Arab script dingbat face SHia (2007). Very original. Alternate URL. [Google] [More]  ⦿

Ashurbanipal Software

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]  ⦿

Asiasoft

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]  ⦿

Asiasoft (Liwal Group)

Sells word processing software for Arabic, Pashto, Farsi and Urdu fonts for Windows 95 and Windows NT. The 300-800 USD packages include some TrueType fonts in these languages. [Google] [More]  ⦿

Asiatype

Dari, Farsi, Pashto, Urdu fonts at Asiatype in Pakistan. Commercial. [Google] [More]  ⦿

Assunnah ML

Free Arabic fonts Allahu Jalla Jalaaluh, Basmalah, Naskh Juria and AGA Arabesque. Downloads not functional. [Google] [More]  ⦿

AvanType
[Habib Khoury]

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. His web page is impossible to access on most browsers though. 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. Arabic typefaces include Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997) Sayaf, Maqsaf and Qasab (1998). He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More]  ⦿

AXT Arabic

Arabic fonts that can be downloaded here. [Google] [More]  ⦿

Aya Al-Kotob

During her studies in Beirut in 2014, Aya Al-Kotob created experimental Latin and Arabic typefaces. [Google] [More]  ⦿

Azhim Ferdaus

As a student in Jakarta, Azhim Ferdaus created the Latin / Arabic / Hebrew typeface family Ben Yehuda in 2013.

Behance link. [Google] [More]  ⦿

Aziz Mostafa

Aziz holds a BSC in Communication Engineering 1979, Basra University, and lives in Iran (Tehran) and Iraq (Basra). In 2011, he created two new Naskh fonts called Naskh Aziz. [Google] [More]  ⦿

Azza Alammedine

Lebanese graduate of the MATD program at the University of Reading in 2012. Azza's graduation typeface is Sila (2012, for Latin and Arabic). [Google] [More]  ⦿

Azzeddine Lazrek

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]  ⦿

Baharestan

Free Arabic fonts Irsys, Sepehr. [Google] [More]  ⦿

Baheeg

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]  ⦿

Bahman Eslami

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. [Google] [More]  ⦿

Basim Salim Rashid El-Mahdi

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.

Klingspor link. Old Tasmeem fonts link. [Google] [MyFonts] [More]  ⦿

Bassam Al-Mohammadi

Riyadh-based designer of the Arabic font Bassam Ostorah (2000). Download here or here. [Google] [More]  ⦿

Ben Jones
[Protimient.com]

[MyFonts] [More]  ⦿

Beno Bagheri

Tehran-based designer of the Persian font Beno (2011). [Google] [More]  ⦿

Bidi

Typing Arabic for PCOM GDI printing (1997, Latin/Arabic font based on IBM Courier) and Cumberland Heb (Agfa/Monotype version of Courier for Latin and Hebrew). [Google] [More]  ⦿

Bigelow&Holmes
[Charles Bigelow]

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 Danolad 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. Typefaces designed by Bigelow:

  • The Lucida family (1985) is used in several scientific publications such as Scientific American. Its iorigins go back to Computer Modern. I find it more appropriate for screens than paper, but that is just a personal view. The Lucida family contains LucidaConsole (1993), LucidaSansTypewriter (1991), LucidaFax, LucidaCalligraphy, LucidaBright, Lucida Blackletter (1991, a bastarda) and Lucida Handwriting. It has been recently expanded to comply with the Unicode Standard, and includes non-Latin scripts such as Cyrillic, Greek, Arabic and Hebrew. Charles Bigelow created the font families Lucida Math (with Kris Holmes, 1993), Lucida Sans (with Kris Holmes, 1985), Lucida Typewriter Sans (with Kris Holmes, 1985) and Lucida Serif (with Kris Holmes, 1993). The paper by Charles Bigelow and Kris Holmes, The design of a Unicode font (Electronic Publishing, 1993, pp.289-305), explains the design issues such as letter heights, readability studies, and typeface designs for readers versus non-readers of the various scripts.
  • Syntax Phonetic.
  • Leviathan (1979).
  • Apple Chicago (1991), Apple Geneva (1991).
  • Microsoft Wingdings (1992).
Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. [Google] [MyFonts] [More]  ⦿

Bitstream Cyberbit

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]  ⦿

Black Tiger

Based in Riyadh, Saudi Arabia, Black Tiger designed the Arabic typefaces Nora, Nicole, Yasmin, Joory, Rim Extra Min, Jannat Extra and Diana Extra in 2013. He also made Nicole Latin (2013) and Maram (2013, Arabic). [Google] [More]  ⦿

Borna Izadpanah

Iranian graphic designer in London, who created some untitled modular Latin and Farsi typefaces during his studies at the London College of Communication in 2010. [Google] [More]  ⦿

Borna Rayaneh

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]  ⦿

Boutros Arabic Typefaces
[Mourad Boutros]

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. 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.

At Ascender, Mourad published Boutros Maghribi (2009, codesigned with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.

In 2008, Boutros codesigned Tanseek Modern and Tanseek Traditional with Richard Dawson and Dave Farey.

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.

FontShiop link. [Google] [MyFonts] [More]  ⦿

Boutros: download

From Boutros, these Arabic typefaces: 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. [Google] [More]  ⦿

Brill
[John Hudson]

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]  ⦿

Brooq Qatar

Arabic font archivette: AF_Tabook-NormalTraditional, AF_Tholoth-NormalTraditional, DecoTypeNaskhVariants, DecoTypeThuluth, DiwaniLetter, FS_Diwany, FarsiSimpleBold, M-Unicode-Dawlat, M-Unicode-Sima, OldAnticBold. [Google] [More]  ⦿

Cara Mudah Menulis Arab di Windows Latin

(Slow but useful) Arabic font archive.

  • From DecoType: ANDecotype, ANDecotypeE, ANDecotypeS, ANDecotypeV.
  • From Bitstream: AMMalik, AMMalikL, AMSharif, AMSharifB, AMSharifL, ANJahida, ANJahidaL, ANMedina, ANMedinaB.
  • From Agfa: ANFatiaI.
  • From LaserPrinting Solutions: ASiddiqua.
  • From Monotype: AKMonotype, AMudirMT, ANAkhbar, ANAkhbarB, ANMonospace, ANTraditional, ANTransparent.
  • From Sakhr: AKSakhr, ARSakhr.
  • From Peter Wiegel: AMDjerba.
  • From Bundabah: AGhubarAF, AKAndalus, AKMonotype, AKQusim, AKQusimO, AKSakhr, AMAbhar, AMBuryidahAF, AMDammamAF, AMDjerba, AMFaruqi, AMJizanAF, AMKharjAF, AMKhazan, AMKhazanI, AMMalik, AMMalikL, AMSharif, AMSharifB, AMSharifL, AMTabuk3D, AMTabukAF, AMTabukO, AMTahoma, AMUnizaAF, AMudirMT, ANAkhbar, ANAkhbarB, ANBayt, ANDecotype, ANDecotypeE, ANDecotypeS, ANDecotypeV, ANDziaI, ANFarisi, ANFatiaI, ANFawzy, ANHilm, ANJahida, ANJahidaL, ANJuriaB2, ANJuriaR, ANJuriaR5819, ANMedina, ANMedinaB, ANMonospace, ANNajdAF, ANRiyadhAF, ANTraditional, ANTransparent, ANZainAF, ARSakhr, ARaihaniAF, ASiddiqua, ATDecotype, ATsulutsAF, MAbha, MAbhaC, MAbhaCI, MAbhaI, MAbhaR, MAlhada, MAlhadaI, MAlhambra, MAlhambraI, MArafat, MArafatI, MCSRiqa, MDiwani, MDiwaniA, MDiwaniI, MDiwaniN, MDiwaniNI, MDiwaniO, MDiwaniOI, MDiwaniS, MDiwaniSI, MGulf, MGulfI, MHijon3D, MHijonO, MJeddah, MJeddahD, MJeddahF3, MJeddahI, MJeddahL, MJeddahLI, MJeddahM, MJeddahMI, MJeddahR, MJeddahS, MJeddahT, MJeddahTI, MJidda, MJidda3, MJidda32, MJidda3I, MJiddaO, MJiddaOI, MLed, MLedI, MMadinah, MMadinahI, MMadinahO, MMadinahOI, MMamloky, MMamloky3D, MMamlokyD, MMamlokyO, MMasykO, MModern, MNastaliq, MNastaliqI, MNastaliqO, MNastaliqOI, MQurtuba, MRedsea, MRedseaI, MTauki, MTaukiI, MTaukiO, MTaukiOI, WANJuria.
[Google] [More]  ⦿

CAT Design Wolgast
[Peter Wiegel]

Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

  • In 2014: Incopins Clusters (multilined typeface).
  • In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
  • Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
  • In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
  • In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), HelvetiaVerbundene (making Helverica into a school script?), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
  • In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
  • Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic face made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde face made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

The list of his truetype and opentype faces 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 (Sans-serif, based on German school primer), Fibel Süd (Fibel Sued) (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 face 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 face 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 face 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)).

Abstract Fonts link. Dafont link. Kernest link. Klingspor link. [Google] [More]  ⦿

Catmando

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

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]  ⦿

C-DAC, GIST PUNE: Urdu

Free Urdu font made in 2005: GIST-UROTGhalib Normal. [Google] [More]  ⦿

Chantal Sherif

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]  ⦿

Charles Bigelow
[Bigelow&Holmes]

[MyFonts] [More]  ⦿

Charles Nicholas Cochin

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.

View and compare various digital typefaces related to Cochin. [Google] [MyFonts] [More]  ⦿

Che Guevara

Ha, there is an interesting alias! Palestinian designer of this calligraphic piece (2005), called Homeland or Death. Web page. [Google] [More]  ⦿

Christine Adel

Egyptian designer of Coxa Headline (2011), a geometric face in which the Arabic and Latin parts were created in harmony. [Google] [More]  ⦿

Classical Text Editor (CTE)

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]  ⦿

CLGraph

Arab calligraphy pages with particular sections on the Koufi, Duwani and Tughraa scripts. [Google] [More]  ⦿

Colin Banks

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 (Monotype: based on letters drawn by Eric Gill in 1906 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More]  ⦿

Computer Corporation

Company marketing Urdu language software and text editors. No fonts, as far as I can tell. [Google] [More]  ⦿

ComStar: Arabic Kit for the Mac

Arabic/Farsi kit (commercial). [Google] [More]  ⦿

ComStar: List of Links

List of Arabic font links at ComStar. [Google] [More]  ⦿

Cool Text

Medium-sized well-organized free font archive. Futuristic subsection. Arabic subsection. The free typewriter faces listed by them:

  • 1942 (by Johan Holmdahl)
  • Adler (by Máquina de Escribir)
  • Brenton Scrawl Type (by B.W.P. Inc)
  • Carbon Type (by Vic Fieger)
  • Dactylographe (by Match Software)
  • DeadPostMan (by Mr. Fisk)
  • Depot (by Squaresville Hall)
  • Dirty Baker's Dozen (by Ray Larabie)
  • Ebola Kikwit (by Susan Townsend)
  • GF Halda (by GFonts)
  • GF Ordner (by GFonts)
  • Ghostwriter (by PizzaDude)
  • Harting (by David Rakowski)
  • Hootie (by Máquina de Escribir)
  • Incognitype (by anke-art)
  • Junkos Typewriter (by junkohanhero)
  • Kingthings Typewriter (by Kingsthings)
  • McGarey (by David Rabowski)
  • Mechanical Fun (by The Font Emporium)
  • Mom's Typewriter (by Christoph Mueller)
  • MonospaceTypewriter (by Vernon Adams)
  • My Old Remington (by Free Typewriter Fonts)
  • MyUnderwood (by Tension Type)
  • Nashville (by Matthew Austin Petty)
  • NoRefunds (by Christoph Mueller)
  • Plastique (by Jeff Vorzimmer)
  • Sears Tower (by Tension Type)
  • Seraphim (by Utopiafonts)
  • Shredded (by Paul Reid)
  • Smash (by Máquina de Escribir)
  • SpecialElite (by Cpr.Sparhelt)
  • a href="JohanHolmdahl--Splendid66-2005.png">Splendid 66 (by Free Typewriter Fonts)
  • Stock Quote (by Andy Krahling)
  • STOMPER (by CHANK!)
  • Underwood Champion (by Astigmatic)
  • Veteran Typewriter (by Vic Fieger)
  • XBAND Rough (by Catapult Entertainment)
[Google] [More]  ⦿

Cosette Saliba

Byblos, Lebanon-based designer of the running paint typeface Cofract (2012, Latin and Arabic). Behance link. [Google] [More]  ⦿

Cosmorama
[Kenneth Hirst]

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). Some of his fonts. Fontspace link. Another Fontspace link. [Google] [More]  ⦿

CRULP: Center for Research in Urdu Language Processing
[Syed Jameel-ur-Rehman]

Free Arabic fonts available here:

  • Nafees Nastaleeq (2003).
  • Nafees Naskh (2003). They write: Open Type Font for writing Urdu in Naskh script with full aerab support based on Unicode standard. This font is developed according to calligraphic rules, following the Lahori style of Syed Nafees Al-Hussaini (Nafees Raqam) (http://www.geocities.com/sajjadkhalid/Profiles/Nafees.html), who is one of the finest calligraphers of Pakistan. Guidance and calligraphy of basic glyphs for the font has been provided by Syed Jameel-ur-Rehman. He is a pupil of Syed Nafees Shah and Hafiz Syed Anees-ul-Hassan. Nafees Naskh OTF contains approximately 500 glyphs, including less than 10 ligatures.
  • Nafees Pakistani Naskh (2003, for Urdu, Balochi, Pashto, Punjabi, Sindhi and Saraiki in Naskh script): an extension of Nafees Naskh.
  • Nafees Web Naskh (2004, 2005): Open Type Font for writing Urdu in Naskh script based on Unicode. Guidance and calligraphy of basic glyphs for the font has been provided by Syed Jameel-ur-Rehman. He is pupil of Syed Nafees Shah and Hafiz Syed Anees-ul-Hassan. Nafees Web Naskh OTF contains approximately 330 glyphs, including 5 ligatures.
  • Hussaini Nastaleeq (2013, Syed Jameel-ur-Rehman). Derived from Nafees Nastaliq, it covers Arabic and Farsi, and is named after Syed Nafees Al-Hussaini, whose calligraphy style is followed by Nafees Nastaleeq. Open Font Library download link. OFL download link for Nafees Nastaleeq.
[Google] [More]  ⦿

D News

Arabic font Trk-Quraan (1996, Amgad), and the accent font family Burhani (2002, Bismillah). [Google] [More]  ⦿

D. Paul Alecsandri
[Every Witch Way]

[More]  ⦿

Dahass Yassir

Based in Tanger, Morocco, Dahass Yassir designed the Arabic typeface Salim (2012).

In 2013, he published the simplified monoline Arabic typefaces Al Doha (2013) and Nachwa (2013). His company is called YSR Type. [Google] [More]  ⦿

Dana Alhasan

During her graphic design studies in Dubai, UAE, Dana Alhasan created the steampunk-inspired Latin / Arabic typeface Tick Tock (2014). [Google] [More]  ⦿

Daniel Ralph

London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

Darien Valentine
[Fixedsys]

[More]  ⦿

Dari--Farsi fonts

At the Dari Corner, find several free Dari/Farsi fonts for contemporary Dari Afghan writing: Forouzan, Khorshid. [Google] [More]  ⦿

DariSoft

Commercial Dari, Pashto, Arabic and Urdu fonts. Company based in New Farm, Queensland, Australia. [Google] [More]  ⦿

DCD (or: Dubai Civil Defence)

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]  ⦿

DecoType
[Thomas Milo]

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 has been awarded to Thomas Milo 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.

Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg. [Google] [MyFonts] [More]  ⦿

Deema Merdad

Saudi designer in Jeddah who obtained an MA in typeface design from The University of Reading (2009), based on her monoline comic book script face Squiggly. It was designed in several styles for children's story books. [Google] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

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.

Alternate download site. Wiki page with download information.

Fontspace link. [Google] [More]  ⦿

Despina Meimaroglou

A graphic designer in Beirut, who created the bilined display typeface Highway (2014) for Latin and Arabic. [Google] [More]  ⦿

Dhuha

Graphic designer in Dubai whose curly typeface D Vintage (2012) covers both Latin and Arabic. [Google] [More]  ⦿

Diana Hamdallah

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]  ⦿

Diego Sanz Salas

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.

Amarilis (2011) is an ornamental caps face, which can be bought here.

Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.

MyFonts link. Logo. Interview in March 2010. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Digitek

Baha Yaaqob or Taoufiq: 7631 Leesburg Pike, Suite B, Falls Church, VA 22043-2520, USA. [Google] [More]  ⦿

DILP Urdu resources

Free Urdu Naqsh face (1998) by AHS, Kiranwala, Moin-ud-dinpur, Gujrat. [Google] [More]  ⦿

Dina Fahmi

Graphic designer in Cairo, who created the Arabic typeface Al Bagaa (2013). [Google] [More]  ⦿

Dinah Merhej

Student at Central Saint Martins College, Lonodon, who created Wadi for Arabic and Latin in 2011. This face is loosely based on the Naskh style of writing. [Google] [More]  ⦿

Diwan Mishafi
[Hamid Al-Saadi]

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 face was designed by the acclaimed Iraqi calligrapher Hamid Al-Saadi (b. Baghdad, 1955), and won the Type Directors Club 2000 award. [Google] [More]  ⦿

Diwani script

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]  ⦿

Don Raed

Graphic designer in Riyadh, Saudi Arabia. His typefaces include Qusay Square Kofi (2013) and Hamodi Square Kofi (2013). [Google] [More]  ⦿

Dr. Shirley J. Rollinson

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
[Steve Matteson]

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.

For Arabic, we have Droid Arabic Naskh and Droid Arabic Kufi by Pascal Zoghbi, both downloadable from OFL.

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.

Alternate URL. Fontspace link. [Google] [More]  ⦿

duas.org

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]  ⦿

Eastern Language Systems

Creators of the Arabic script type family Majalla (1992). [Google] [More]  ⦿

Eastern Language Systems of Vazhe Negar

Vazhe Negar is a registered trade mark of Eastern Languages (UK-based). Contact Habib Yosri. [Google] [More]  ⦿

Easy Recite Arabic

Syed Khairulbashar proposes a "Single Case Arabic Font" (30 symbols), and other things to improve reading Arabic. [Google] [More]  ⦿

Ecological Linguistics
[Lloyd Anderson]

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.

The Times-Roman-like font AlaBas (1998) is also due to Ecological Linguistics. [Google] [More]  ⦿

Ectaco

In 1999, this company produced a number of fonts that combine Latin with other languages such as Cyrillic, Greek, Turkish and Arabic. Download here. [Google] [More]  ⦿

Editions Alternatives

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]  ⦿

Edo Smitshuijzen

Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). In 2013, he published Sculpting Type (Khatt Books), which deals with 3d type design. [Google] [More]  ⦿

Ehnd

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]  ⦿

Eileen Trayan

Cairo-based designer of a few Arabic typefaces in 2013. [Google] [More]  ⦿

El Shaarani

Beautiful examples of Arab calligraphy. [Google] [More]  ⦿

Elena Schneider

Graphic designer in Dortmund, Germany. MyFonts lists her last name as scheider, not Schneider. Her design company is called Elefont. Graduate of the University of Reading in 2011.

Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), and Paroli (2011, a bold rounded signage face), Biec (2012).

In 2013, Eskorte was published by Rosetta Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

Cargo Collective link. [Google] [MyFonts] [More]  ⦿

Elie Abou Jamra

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.

Creator of an Arabic graduation typeface influenced by the destruction of Beirut. He also 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 based on Slab Unit designed earlier by Bill Hill Design.

Kashida Design link. Behance link. [Google] [More]  ⦿

Emanuela Conidi

Conidi obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is Nabil, a hookish serifed face that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. Emanuela joined Fontsmith in 2008 after studying typeface design. 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 codesigned the slab serif family FS Rufus.

She codesigned the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).

Klingspor link. [Google] [More]  ⦿

Emin Barin

Turkish graphic and type designer, and calligrapher of both Latin and Arabic. He lived from 1913-1987. His calligraphy has led to some fine alphabets, including a blackletter and a flared Basque alphabet. Picture.

Bio (in Turkish). [Google] [More]  ⦿

EPOC

This site has the following fonts: Tolkien-Dwarf-Runes, Math (Monotype), BungaloSCapsSSK, SymbolMT, Jaridah (1993; Arabic font by Hisham Diab and Hassan Loutfy). [Google] [More]  ⦿

EPS51

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 face done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More]  ⦿

Esmat M. C. Chanbour

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]  ⦿

Esra Ati

Cairo-based designer of a blackletter and a squarish Arabic typeface in 2014. She also created some pictograms in 2014. [Google] [More]  ⦿

Every Witch Way
[D. Paul Alecsandri]

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.

Fontspace link. [Google] [More]  ⦿

Eyad Al-Samman

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 face 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...).

Creator of Samman (2011, Arabic), Castile (2011, kufic style), Nasser (2010), Zawiya (2011).

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). [Google] [MyFonts] [More]  ⦿

Eyelash

Arabic font archive. [Google] [More]  ⦿

Fabio Luiz Haag
[Foco Design (or: ByType)]

[MyFonts] [More]  ⦿

Fadi Awwad

Born in Amman in 1985, Fadi holds a bachelor of Graphic Design and Fine Arts degree from Yarmouk University in Jordan. He created several Arabic typefaces in 2012. [Google] [More]  ⦿

Fahd Al Fraikh

Computer engineer in Riyadh, Saudi Arabia. Creator of the modern Kufi Arabic typeface Nawar (2013). Free download. [Google] [More]  ⦿

Faisal Abbas

Faisal Abbas "merged" (?) an Arabic font by Jamil ur Rahman and a Latin font by Astigmatic in his free typewriter fonts Profaisal Elite Riqa and Profaisal Elire Tahreer (2012, OFL). [Google] [More]  ⦿

Farah Sbaiti

Designer in Tripoli, Libya, who created Spatula (2013, a Latin display face) and an untitled digital Arabic typeface (2013). [Google] [More]  ⦿

Fareed Abd Raheem Al-Ali

Kuwaiti calligrapher. [Google] [More]  ⦿

Farhad Abdolian

"Persian font", a Monotype truetype font with both Arabic and Latin characters, modified by Seema Consulting/Farhad Abdolian. [Google] [More]  ⦿

Farhood Moghaddam

Iranian graphic artist and typographer, who runs Farhood Design. [Google] [More]  ⦿

Farsi font

A free Farsi truetype font. [Google] [More]  ⦿

Farsi Fonts

A Farsi font rar file. [Google] [More]  ⦿

Farsi Fonts

Sepehr truetype font family. [Google] [More]  ⦿

Farsi Info

Jasmin truetype font, copyright Farsi Info. [Google] [More]  ⦿

FarsiTEX

Farsi TEX program and fonts. Page by Hassan Abolhassani. 1MB worth of zipped Farsi fonts. [Google] [More]  ⦿

FarsiTex Project Team
[Vafa Khalighi]

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. [Google] [More]  ⦿

FarsiWeb (or: Sharif FarsiWeb Inc)
[Roozbeh Pournader]

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).

OFL link for Titr. Another OFL linkGoogle] [More]  ⦿

Fath al-Mubin Publications and Islamic Humanitarian Service

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]  ⦿

Fax-away Urdu website

Free Urdu TT font by Adil Rehan, Karachi, Pakistan. [Google] [More]  ⦿

Fazlur Rahman Quraishi

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.

OFL linkGoogle] [More]  ⦿

Ferdosi.com

Three free Arabic truetype fonts: KoodakBold (SinaSoft, 1997), SimplifiedArabic-Bold, SimplifiedArabic. The last two fonts are by Compugraphic/Monotype. [Google] [More]  ⦿

Fereshteh Sabbagh

Tabriz, Iran-based designer of an Arabic / Farsi typeface in 2014. [Google] [More]  ⦿

Fereydoon Moshiri

Sepehr truetype fonts. [Google] [More]  ⦿

Ferran Milan Oliveras

Graduate of the University of Reading in 2011 who lives in Catalunya and/or the UK. He created the Latin / Arabic face Bubblegum (2011) during his studies there. Bubblegum is soft and rounded, but is remarkably well-suited for small text thanks the careful use of inktraps.

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. Its angular and stocky design makes it ideal for use in catalogs and magazines.

In 2013, Pilar Cano and Ferran Milan codesigned 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. [Google] [MyFonts] [More]  ⦿

Fixedsys
[Darien Valentine]

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]  ⦿

Foco Design (or: ByType)
[Fabio Luiz Haag]

ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), located in Sapiranga, Rio Grande do Sul. Fabio Haag designed FH After (2006, futuristic display face 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).

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

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 face 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, Creative Director at Dalton Maag: 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.

Klingspor link.

View Fabio Haag's typefaces. [Google] [MyFonts] [More]  ⦿

FONT BANK

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]  ⦿

Fontastic Indonesia
[Adien Gunarta]

Fontastic Indonesia is Adien Gunarta, an Indonesian FontStructor (b. 1995) in Probolinggo, East Java. Adien Gunarta made the pixel face Benci Malaysia (2010), the hand-printed Nyonya Gendut (2010), the squarish face Hutan (2010) and the irrgularly sized Madura Regular (2010). He also made the texture / knitting face Batik (2010), FoOleD bY GaYUs (2010), Probolinggo (2010, organic), Smasasinema (2010, display face), the texture face Serangkaian Pattern (2010), Indo-Malay Confrontation (2010, pixelish), Koruptor and the Bitches (2010, gothic), Qurban Feast (2010), and the curly native pattern face Mlungker (2010).

In 2011, he made Kabupaten (a sketch font), Social Monster, Buka Pusa Bersama, Ceria Lebaran, Pajarakan Studs, Batik Gangster, Maharani (handprinted), Lovely Eunike Hans (handprinted), the texture face 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 face 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: Hutan Lestari, Kobarapi (spurred typeface), Mukadimah (Arabic simulation, based on ae Cortoba by Arabeyes), Huruf Maranti (upright connected script), Emilio 20 (athletic lettering).

Fontspace link. Home page at Fontastic Indonesia. Devian Tart link. Klingspor link. Dafont link. Behance link. ATHL [Google] [More]  ⦿

Fonts in Cyberspace-Non Roman Fonts

Pick up several Windows and Mac fonts here. [Google] [More]  ⦿

fonts.themes.org (Arabic Fonts)

Some Arabic BDF fonts ("mulearabic"). [Google] [More]  ⦿

Fontworld
[Israel Seldowitz]

"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 faces. 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]  ⦿

Fontworld (Arabic)

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]  ⦿

Fontworld (Hebrew and Persian)

At Fontworld, commercial Hebrew and Persian faces. [Google] [More]  ⦿

Franck Jalleau

French designer and type specialist (b. 1962). Works at the Imprimerie Nationale in Paris, and teaches typography at the Ecole Estienne. Fascinating interview (in French). His typefaces: As an OEM for the Imprimerie, he designed some fantastic fonts between 1990 and 1998, including Arin (1986; Morisawa award 1987), Garamont (1995), Grandjean (1997), Jalleau (1996), Perrin (1997), Roma (1996), Scripto (Morisawa award 1996), Virgile (1995, Agfa) and Oxalis (1996, Agfa).

  • Francesco (1998) is based on the letters of Francesco Griffo. Perfectly executed, it is a renaissance revival face---although first designed in 1998, it was published only in 2010 at BAT Foundry, which Franck helped co-found. It also covers Greek and Cyrillic.
  • In 2002, he created Le Brive, commissioned by senator and mayor Bernard Murat of Brive-la-Gaillarde.
  • In 2005, he digitized the Grec du Roi based on original characters and ligatures by Claude Garamond for François 1er, 1544-1550.
  • In 2009, he created Le Maghrébin based on material in the Imprimerie Nationale. The original from 1846 and 1850 was cut by Marcellin Legrand. This version of Arabic is also called western, or African (africain), and features many ligatures. [Google] [MyFonts] [More]  ⦿

  • Free Arabic Fonts

    Free Arabic font archive. [Google] [More]  ⦿

    FREELANG Fuentes

    Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic face by Naseem Amjad), Albanian, Alice_0 (Lao face by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao face by by Soupasith Bouahom), Arial AMU (1999, Armenian face 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 face 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 face by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao face by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian face 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 face by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter face by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

    Ftp-Server Rechenzentrum Uni Heidelberg

    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]  ⦿

    fyristorg

    UmairI (1997, by Umair Khan, an Urdu font based on Neda Reyanah's font), and Urdu Khat-e-Naqsh (1998, AHS, Kiranwala, Gujrat), another Urdu font. [Google] [More]  ⦿

    Gamma Productions

    Outfit in San Diego, CA, which used tyo 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]  ⦿

    Gandhiji Font
    [Payal Juthani]

    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. [Google] [More]  ⦿

    Gavsulazam

    Arabic and Turkish font archive. [Google] [More]  ⦿

    geckil.com

    Arabic font links. [Google] [More]  ⦿

    Georg Popp

    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).

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    George Hallak
    [AramediA Group (Boston and Beirut)]

    [More]  ⦿

    Georges Dib

    Designer at Linotype of Kufi Std (1987) and Kufi Outline, an Arabic font family.

    Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Gerber Fonts

    Manchester, CT-based company that sells a font package, as well as a number of fonts for Arabic, Cyrillic, Greek, Hebrew and Thai. See also here. [Google] [More]  ⦿

    Ghadeer

    Ghadir (1998) is a free Persian font. See also here. [Google] [More]  ⦿

    Gheyret

    Designer of the Uyghur fonts UKIJSulus, UKIJNasq-Bold, UKIJNasq at the Uyghur Computer Science Association in 2004. Download here. [Google] [More]  ⦿

    Ghina Itani

    Beirut-based designer of the grungy Latin / Arabic typeface Oxide (2013). [Google] [More]  ⦿

    Gihad Mansour

    Cairo-based designer of Arabic typefaces, including one based upon the squarish Latin typeface Etobicoke (2012). [Google] [More]  ⦿

    Globatec

    Free Arabic truetype font called Globatec. [Google] [More]  ⦿

    Glyph Systems

    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)
    [Steve White]

    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. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

    • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
      • Basic Latin (U+0041-U+007A)
      • Latin-1 Supplement (U+00C0-U+00FF)
      • Latin Extended-A (U+0100-U+017F)
      • Spacing Modifier Letters (U+02B0-U+02FF)
      • Mathematical Operators (U+2200-U+22FF)
      • Block Elements (U+2580-U+259F)
      • Dingbats (U+2700-U+27BF)
    • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Greek (U+0370-U+03FF)
      • Armenian (U+0530-U+058F)
      • Hebrew (U+0590-U+05FF)
      • Arabic (U+0600-U+06FF)
      • Currency Symbols (U+20A0-U+20CF)
      • Arabic Presentation Forms-A (U+FB50-U+FDFF)
      • Arabic Presentation Forms-B (U+FE70-U+FEFF)
    • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
    • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
    • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
    • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
    • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
    • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
    • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
    • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
    • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
    • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
    • Harsh Kumar has started BharatBhasha for these ranges:
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
    • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
    • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
    • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
    • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
    • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
    • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
    • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
    • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
    • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
    • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Tamil (U+0B80-U+0BFF)
      • Telugu (U+0C00-U+0C7F)
      • Kannada (U+0C80-U+0CFF)
      • Malayalam (U+0D00-U+0D7F)
      Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
    • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
    • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
    • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
    • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
    • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
    • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
    • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
    • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
      • Devanagari (U+0900-U+097F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Malayalam (U+0D00-U+0D7F)
      • Tamil (U+0B80-U+0BFF)
      In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
    • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
    • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
    • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
      • Armenian (serif) (U+0530-U+058F)
      • Cherokee (U+13A0-U+13FF)
      • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
      • UCAS Extended (U+18B0-U+18F5)
      • Kayah Li (U+A900-U+A92F)
      • Tifinagh (U+2D30-U+2D7F)
      • Vai (U+A500-U+A62B)
      • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
      • Osmanya (U+10480-U+104a7)
    • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
      • Aegean: Phoenecian (U+10900-U+1091F).
      • Analecta: Gothic (U+10330-U+1034F)
      • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
      • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
    • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
    • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
    • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
      • Hanunóo (U+1720-U+173F)
      • Buginese (U+1A00-U+1A1F)
      • Tai Le (U+1950-U+197F)
      • Ugaritic (U+10380-U+1039F)
      • Old Persian (U+103A0-U+103DF)
    • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Arrows (U+2190-U+21FF)
      • Box Drawing (U+2500-U+257F)
      • Block Elements (U+2580-U+259F)
      • Geometrical Shapes (U+25A0-U+25FF)
    • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
    • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
    • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

    Fontspace link. Download link. [Google] [More]  ⦿

    gnu.org

    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]  ⦿

    Granshan 2012

    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:

    • Armenian text typefaces category: Ara Baghdasaryan, Gagik Martirosyan, Aram Megrabyan.
    • Arabic text typefaces category: Mamoun Ahmed, Mohamed Hassan, Nehad Nadam.
    • Cyrillic text typefaces category: Gayane Baghdasaryan, Dmitry Kirsanov, Tagir Safayev.
    • Greek text typefaces category: Konstantine Giotas, Klimis Mastoridis, Kostas Aggeletakis.
    • Indic text typefaces category: Ravi Pooviah, Mahendra Patel, Graham Shaw.

    Impossible to find the list of winners. [Google] [More]  ⦿

    Gunnar Vilhjalmsson

    Icelandic designer who co-created the experimental display face Skuggasveinn with Siggi Eggertsson in 2005. He also co-designed Grasrot (2005). Old URL. Graduate from the type design program at the University of Reading in 2010, where his thesis typeface was Germain. Germain is a sturdy face that has some calligraphic origins (especially of course for its Arabic weight). The Latin appears to be a manly workhorse. Gunnar lives in Reykjavik. Speaker at ATypI 2011 in Reykjavik. [Google] [More]  ⦿

    H. E. Zad

    Creator of the Pashto font Samin, which can be downloaded here. [Google] [More]  ⦿

    H. Sidahmed

    Designer of Linotype Hassan (1993), an Arabic font family. [Google] [MyFonts] [More]  ⦿

    Habib Khoury
    [AvanType]

    [More]  ⦿

    HacenType
    [Muhammad Hacen]

    Run by Mohamed Hacen (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 is at Open Font Library. [Google] [More]  ⦿

    Hadeer Omar

    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]  ⦿

    Haig Der Ohanian

    Torontonian who sells two Armenian fonts at 15 USD a piece. Also, four Arabic fonts. [Google] [More]  ⦿

    Hakim Ghazali

    Moroccan/French type designer who created the calligraphic Arabic typeface Hakim Ghazali, 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] [More]  ⦿

    Hamed Mahouti

    Designer in Teheran of the Persian font Mahout (2010). [Google] [More]  ⦿

    Hamid Al Amidi

    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]  ⦿

    Hamid Al-Saadi
    [Diwan Mishafi]

    [More]  ⦿

    Hamoon Soft
    [Hussein Ebrahimy]

    Hussein Ebrahimy is the designer at Hamoon Soft of the Latin-Arabic sans serif font Yekan-Iran-System (1997). Free, truetype. [Google] [More]  ⦿

    Hana Gohar

    Student in Cairo who designed an Arabic font in 2012. [Google] [More]  ⦿

    Haneen Al Sharif

    Doha, Qatar-based designer of the Arabic typeface Qatra (2012). [Google] [More]  ⦿

    Hanin N. Bader

    Doha, Qatar-based design student who created the Arabic typeface Rafeedia (2012). [Google] [More]  ⦿

    Hannah Dossary

    Hannah Dossary (Nottingham, UK) created an Arabic type companion for the road sign family ClearviewHwy (2011) while studying communication at Loughborough University. [Google] [More]  ⦿

    Hasan Abu Afash
    [Hiba Studio]

    [MyFonts] [More]  ⦿

    Hasan Alnajdi

    Graphic designer in Kuwait who created an Arabic typeface in 2014. [Google] [More]  ⦿

    Hassan Massoudy

    Arabic calligraphy like you've never seen before. See also here. He wrote "Calligraphies d'Amour" (2002, éditions Albin Michel). [Google] [More]  ⦿

    Hassan Musa
    [Zoomorphic calligraphy]

    [More]  ⦿

    Hassan Sobhi Mourad

    Designer of the Arabic face Linotype Hassan (1993-1996). Fontshop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Hawzah

    Free Farsi font Noor.ttf. [Google] [More]  ⦿

    Hedayat

    Creator of the free Arabic fonts B Nazanin and B Sina in 2000. Fontspace link. [Google] [More]  ⦿

    Hermann Zapf

    The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates URW Palladio Regular. And look at the gorgeous calligraphic font Zapfino (Linotype, 1999, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. Linotype write-up. Zapf lives in Darmstadt, Germany. Pictures of his 80th birthday party at Linotype. Winner of the Gutenberg Prize in 1974.

    Author of Manuale Typographicum (1954), of which only 1000 copies were printed. Author of Typografische Variationen (1963, Stempel), of which only 500 copies were printed.

    Zapf's drawing of a blackletter alphabet in Feder und Stichel (1949, Trajanus Presse, Frankfurt) and Feder und Stichel (1952). Zapf's design of a postage stamp depicting Ottmar Mergenthaler in 1954.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest face to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a face as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, they produced the more calligraphic set now called AMS Euler (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgenart Fraktur (1938, D. Stempel).
    • Heraklit Greek.
    • Hunt Roman (1961-1962, Pittsburgh). A display face exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text face Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2003, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012).
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Sequoya (Cherokee redesign).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985), URW Antiqua. The URW Grotesk family today contains 59 styles.
    • Uncial (Hallmark Kansas City).
    • Virtuosa Script (1952, D. Stempel: Zapf's first script face; revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi).
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype Library GmBH 1998): a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    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.

    Linotype link. [Google] [MyFonts] [More]  ⦿

    Hesham Darweesh

    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]  ⦿

    Hiba Studio
    [Hasan Abu Afash]

    Arabic typography web site and font foundry established in 2007 by Hasan Abu Afash, an Arab designer living in Gaza/Palestine. Typefaces: 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 face 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 face 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 face (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, 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.

    Releases in 2012 include HS Future Sans (with Abdulsamie Rajab Salem), HS Amal, HS Alfaris, HS Al Basim A, and HS Almohandis.

    Typefaces from 2013: HS Alwafa, HS Masrawy (a display face done with Abdulsamiea Rajab Salem), HS Elham (Kufi).

    Behance link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Hieroglyphische Links

    Hieroglyphic and Arabic font links. [Google] [More]  ⦿

    Hifazat e Quran

    Download Riwaj, a font that covers Urdu as well as Balochi, Brahui, Kashmiri, Lahnda, Panjabi Shahmukhi, Pashto, Uighur, and Sindhi. [Google] [More]  ⦿

    Hilti

    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]  ⦿

    Hindi Rinny

    Lively South Asian type blog covering Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Oriya, Perso-Arabic, Sinhala, Tamil, Telugu, Tibetan. [Google] [More]  ⦿

    Hindu Arabic Numeric Medieval Ideograms

    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 know 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]  ⦿

    Hisham Assaad

    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.

    Behance link. [Google] [More]  ⦿

    Hisham Diab and Hassan Loutfy

    Designers in 1993 of these Arabic fonts: Thulth, Thulth Bold, Thulth-Italic, Thulth-Bold-Italic. These can be found here. Their Ousbouh (1992-1993) can be found here. [Google] [More]  ⦿

    Hooman Baradaran

    Designer of the Persian font Farhangsara (2000). [Google] [More]  ⦿

    Hossein Movahhedian

    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]  ⦿

    Hossein Zahedi
    [Parsfont]

    [More]  ⦿

    Houcine Sagout

    Marrakech, Morocco-based designer, b. 1977. He created the nationalistic Moroccan scanfont Maroc (2008). [Google] [More]  ⦿

    Hrant H. Papazian
    [The MicroFoundry]

    [MyFonts] [More]  ⦿

    Huda Smitshuijzen AbiFarès

    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) 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
    [Typographic Matchmaking]

    [More]  ⦿

    Hussein Al Azaat

    Designer of an Arabic Opentype font in 2007. [Google] [More]  ⦿

    Hussein Alazaat

    Arabic typeface designer located in Amman, Jordan. Behance link. In 2011, he created the children's face Tajheez. [Google] [More]  ⦿

    Hussein Ebrahimy
    [Hamoon Soft]

    [More]  ⦿

    Ibn al-Bawwab

    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]  ⦿

    Ibn Muqlah

    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]  ⦿

    Ibrahim Hamdi

    Egyptian type designer in Alexandria who made the commercial face Arabica (2011) and Cocon Next (2001, Arabic and Latin). His full name is Ibrahim Hamdi Mohamed Ali, and his company is called Team Solutions.

    In 2012, he designed the Solutions Next Arabic type family.

    Handel Gothic ITC Arabic is promised for 2013.

    Zakariya Saleh and Ibrahim Hamdi codesigned Kufiyan Arabic (2012).

    Typefaces from 2013: Lava Arabic [the Latin letters were made by Bumbayo; help by Abdullah Aref].

    Behance link. Home page. [Google] [More]  ⦿

    Ibrahim Hassan

    Giza, Egypt-based creator of modern Arabic typefaces in 2012-2013. [Google] [More]  ⦿

    ICB fonts

    Iqraa: Free Arabic truetype font by ICB Fonts. [Google] [More]  ⦿

    Ideas Union Adv

    Studio in Riyadh, Saudi Arabia, which created the Arabic typeface Ara Assaf (2013). Behance link. [Google] [More]  ⦿

    Idehnegar Network

    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]  ⦿

    Idikhut

    Designer of the Uyghur fonts UKIJTuzTor-Bold and UKIJTuzTor at the Uyghur Computer Science Association in 2004. Download here. [Google] [More]  ⦿

    Igor Labudovic

    Vienna-based type designer who made the stencil type family Brilliant in 2010 at Facetype.

    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 text type family that support Latin and Cyrillic.

    Wiener is an upright italic created with a bamboo-pen.

    Typo Passage is a high-contrast piano key display typeface.

    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.

    Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ihsan Hammoury
    [Ihsan Type Foundry]

    [MyFonts] [More]  ⦿

    Ihsan Type Foundry
    [Ihsan Hammoury]

    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.

    Bio.

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Imoir.org

    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]  ⦿

    International Systems Consultancy

    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

    The name of the font is "Indo-PersianBitStreamCharter" (IPbschtr). It is a TrueType font, modified by Richard J. Cohen, from "HACC Indic" by Thomas Ridgeway, which is based on "BitStreamCharter," a font in the public domain. Downloads not functional. [Google] [More]  ⦿

    Iran Vision Fonts

    Two free truetype fonts, iranVision1, IranVision2. [Google] [More]  ⦿

    iranet

    A free mixed Farsi/Roman font based on Times. Truetype. [Google] [More]  ⦿

    Iranian Cultural and Information Center

    Farsi fonts and editors. [Google] [More]  ⦿

    Iranian typography

    Behrouz writes in Ping Mag about Iranian typography and calligraphy. [Google] [More]  ⦿

    Iranian Typography Now

    2006 article in Ping Mag dealing with Iranian typography. The typophiles follow up. [Google] [More]  ⦿

    Iransys

    Download Iransys. [Google] [More]  ⦿

    Irmug.org

    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. [Google] [More]  ⦿

    IRNA

    Ten Arabic truetype fonts called Irnafont: COMPBLD, Comp_3, Froz_1, Naz_bld, Nazan, Nazan_s, Tradi, Yaghot_bld, Yekta, Yekta_bld. [Google] [More]  ⦿

    Islam Zayed

    Cairo-based designer and typographer. He created a nice typographic ampersand in 2011. [Google] [More]  ⦿

    Islamic Calligraphy with Mohamed Zakariya

    Mohamed Zakariya gives us an Islamic calligraphy lesson. [Google] [More]  ⦿

    Islamic Downloads Archive

    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]  ⦿

    Islamic Downloads Archive

    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]  ⦿

    Ismail Bel Kharchouf

    FontStructor who made the Arab dot matrix typeface Al Sarrab (2010). [Google] [More]  ⦿

    Israel Seldowitz
    [Fontworld]

    [More]  ⦿

    Izzat Kreidieh

    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]  ⦿

    Jaghbub Font Package

    On the Arabic Mac site in Norway kept by Knut S. Vikor. Three fonts for transcription of Arabic, Jaghbub, Koufra and Bairut. [Google] [More]  ⦿

    JAIS1

    JAIS1 TTW is a free Arabic font family. Free fonts here include diacritic versions of Times: JAIS1TTW, JAIS1TTWBoldItalic, JAIS1TTWBold, JAIS1TTWItalic. [Google] [More]  ⦿

    Jamal Enterprise (Badrul Vajihuddin)

    50 TrueType fonts: P.O. Box 8061, Fremont CA 94537-8061, USA. [Google] [More]  ⦿

    Jamal Saleh

    During her studies at the American University of Beirut, Jamal Saleh codesigned the fat outlined Arabic typeface Tabboush (2014, with Ruba Mashtoub), which is inspired by children's books illustrations. [Google] [More]  ⦿

    Jan Gerner
    [Yanone]

    [MyFonts] [More]  ⦿

    jannah.com

    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]  ⦿

    jasarat.com
    [Adil Rehan]

    Free Urdu.ttf, made by Adil Rehan, Karachi, Pakistan. [Google] [More]  ⦿

    Jasper Habicht

    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.

    Behance link.

    Jasper was born in 1986 in Duisburg, Germany, and is affiliated with the University of Köln, where he specializes in Modern Chinese Studies. [Google] [More]  ⦿

    Jawaher

    Designer in Bahrein. He used the logo of Bahrein Air to change a few glyphs in Clarice (the font used by Bahrein Air) in order to make the names of the destinations stand out. [Google] [More]  ⦿

    JH Fonts
    [Joe Mahfouz Hatem]

    Joe Hatem (JH Fonts, Beirut, Lebanon) created these Arabic typefaces in 2013: JH Beirut, JH Firas, JH Farid, JH Dalya, JH Paola, JH Khalil (squarish), JH Hala, JH Diwany (a calligraphic font that took three years to complete), JH Fares.

    Behance link. Facebook link. [Google] [More]  ⦿

    Joe Mahfouz Hatem
    [JH Fonts]

    [More]  ⦿

    Jogi Weichware

    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]  ⦿

    Johannes Giesecke

    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]  ⦿

    John Hudson
    [Brill]

    [More]  ⦿

    Jonathan Kew
    [Summer Institute of Linguistics: Nastaliq]

    [More]  ⦿

    Jonathan Perez
    [Typographies.fr]

    [More]  ⦿

    Joseph Maalouf

    Graphic design student from Beirut, Lebanon. He created the bellydancer silhouette alphabet Alphabet vs Venus (2011). [Google] [More]  ⦿

    Joumana Medlej

    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]  ⦿

    Jozoor

    Tanta, Egypt-based Arabic typeface foundry. Creators of the Arabic signage typeface Jozoor (2013). Ramadan (2013) is a free set of Arabic fonts in AI format. Behance link. [Google] [More]  ⦿

    Julia Petretta (Kaestle)

    [More]  ⦿

    Juzar Shk. Yusuf Mandviwala

    A sheik who owns the copyright of the Arabic font Taheri. [Google] [More]  ⦿

    KACST

    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

    Kamal Mansour 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, 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 Arabic-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. Speaker at TypeCon 2012 in Milwaukee. [Google] [More]  ⦿

    Kameel Hawa

    Lebanese 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. [Google] [More]  ⦿

    Karbala font
    [Shaun Astarabadi]

    Free Arabic font developed by Ahlul Bayt for the Digital Islamic Library Project (DILP). [Google] [More]  ⦿

    Karim Adam

    Egyptian graphic designer who made some wonderful Arabic language book covers in 2013. [Google] [More]  ⦿

    Karim Hegazi

    Cairo-based typographer who created Beeaty (2011; experimental Arabic). [Google] [More]  ⦿

    Karolina Lach

    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.

    She used FontStruct to create Coney Island Baby (2008: Victorian circus font), Temptation (2008, a crispy serifed face), this Tuscan wood type (2008, done outside FontStruct) and Innocent When You Dream (2008, a dotted lines face).

    She She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a new York firehouse. Arbutus (2011, a free spiky slab face at Google Web Fonts; see also Arbutus Slab made in 2012) is a sturdy medium contrast slab serif cactus skin font.

    In 2012, she designed Amarante (art nouveau, Google Font Directory) and Courgette (signage script, Google Font Directory and Sorkin Type).

    Behance link. Home page in New York City. Behance link. Klingspor link. [Google] [More]  ⦿

    Katuwa Suryaya 2000

    SyriacWriter 2000 comes with Syriac, English, Persian, and Arabic fonts. [Google] [More]  ⦿

    KBS Japan

    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 Arab (Geezah, Nadeem, LotusTT, Yakoot, DedanAB). [Google] [More]  ⦿

    Kenneth Hirst
    [Cosmorama]

    [More]  ⦿

    Khajag Apelian

    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 face 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).

    His typefaces: Arek, Hagatir, Boujour (2008, piano key typeface), Mulsaq (2008, Arabic), Moudwi, Nuqat (2010: a dot matrix typeface by René Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini).

    Typecache link. [Google] [More]  ⦿

    Khaled Hosny
    [Khaled Hosny]

    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. Sourcefirge 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.

    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.

    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 here and at OFL. [Google] [More]  ⦿

    Khaled Hosny
    [Khaled Hosny]

    [More]  ⦿

    Khaled Hosny
    [Arabeyes.org]

    [More]  ⦿

    Khaleelullah Chemnad

    Anatomic Arabic calligrapher. Creator of the free Latin typefaces Versaniah (2013, in Bold, Light, Medium and Thin styles), Chemnad (2013).

    Behance link. Home page. [Google] [More]  ⦿

    Khalid Jassim

    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). [Google] [MyFonts] [More]  ⦿

    Khatt Books

    Book publisher in the Middle East that specializes in typography and type design, both for Latin and Arabic. [Google] [More]  ⦿

    Khatt Foundation Type Design Workshop

    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]  ⦿

    Kholoud Al-Sada

    Qatar-based designer of the Arabic typeface Indimaaj (2012), which combines the modernity of the contemporary Arabic typeface, and the originality of the geometric Kufic style. [Google] [More]  ⦿

    Khosivanch Al Makhosnki

    Omani type designer. [Google] [More]  ⦿

    Khpala Pashto

    Free Pashto fonts Pashtu-Abdaali, Pashtu-Asad, Pashtu-Kandahar, Pashtu-Preghal, Pashtu-Waziristan, Pashtu-pa'-Storee. All designed in 2000-2001 by Khpala Pashtu Inc. Alternate URL. [Google] [More]  ⦿

    Khyber.org

    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]  ⦿

    Kif Caliph

    Designer of the free Arabic face Scheherazade (2004-2007, OFL). Named after the heroine of the classic Arabian Nights tale, it was designed in the style of traditional typefaces such as Monotype Naskh, extended to cover the full Unicode Arabic repertoire. Lateef (2004-2008) 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.

    Google Web Fonts download page. [Google] [More]  ⦿

    King Fahad Complex

    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

    King Fahd Glorious Quran Printing Complex relaeased a free font in 2010-2011 called Hafs Uthmanic Script. Alternate URL. [Google] [More]  ⦿

    King Fahd Glorious Quran Printing Complex
    [Ashfaq A. Niazi]

    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 face 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.

    Typedia link. [Google] [More]  ⦿

    Kitabat Arabic Calligraphy and Typography Conference

    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]  ⦿

    Klaus Lagally
    [ArabTex]

    [More]  ⦿

    Knut S. Vikør: Arabic Macintosh site

    Centre for Middle Eastern and Islamic Studies, University of Bergen, Norway. Fantastic page on Arabic fonts and font software. [Google] [More]  ⦿

    Konouz

    Arabic font links. [Google] [More]  ⦿

    Kristyan Sarkis

    Sarkis has a BA in Graphic Design from Notre Dame University, Lebanon, and a Master's from the Design in Type and Media program at the The Royal Academy of Art in The Hague, The Netherlands. He has worked in the fields of graphic design and branding/advertising, and has taught at Virginia Commonwealth University (in Qatar). Currently he is an independent graphic and type designer based in The Hague, The Netherlands. Flickr page.

    In a KHTT interview, he writes: My first real experience with type was when I was working with Mohtaraf Beirut Graphics (2007), one of the leading design houses in Lebanon. Mohtaraf has a strong affinity to Arabic type and has produced several beautiful Arabic typefaces. Back then, I was given a task to start drawing a typeface. I was hesitant at first, but got very quickly into it. The design director Yara Khoury noticed that I 'have a knack for this', and encouraged me to go on with it. I was delighted to have the opportunity to understand a lot more about type under Yara's direction, and with some eye-opening sketches from Ali Assi, to research the calligraphic styles and explore the beauty of the Arabic script. I had very limited technical knowledge in font development at the time, therefore after I did the original digital drawings on Adobe Illustrator, Greta Khoury, my colleague at the time, who was and remains one of my biggest sources of inspiration, took over the project, did her magic tricks with it, and produced it into a working font in Fontlab Studio. I owe my start in type design to Yara Khoury and Greta Khoury and to an endless fascination with the Arabic script and the ethereal art of Arabic calligraphy. This drove me to work on self-initiated typefaces which eventually culminated in pursuing a higher education in Type Design at The Royal Academy of Art in The Hague. There, it all went to a whole new level, with countless additional inspirations: from the great teachers that we had, to all the lecturers and the amazing amount of information that was given to us.

    His typefaces:

    • Thuraya (2010) is his thesis project at KABK: Thuraya is a display Arabic typeface that explores a contemporary context for the Diwani script. It won an award at TDC2 2011.
    • Still at KABK, he did a revival called Almost Didot (2010).
    • Coco (2010) is a rounded serif text face under development.
    • About Vespertine Arabic, he writes: Vespertine is a linear font designed specifically for the icelandic artist Björk by M/M Paris. Though seemingly a childish handwriting, the typeface is unusual, tricky and cursive with intricate curves. These characteristics, along with the thickness, x-height, counters and hand movement were meticulously studied and implemented in the Arabic version without undermining its legibility.
    • He also created Always Arabic, an Arabic companion of the Latin house font Always used by the feminine hygiene product company by the same name.
    • Amale is a modern Arabic display typeface suitable for newspaper headlines, book titles and logotypes.
    • Designer of Colvert Arabic (2012, Typographies.fr).
    • Louvre Abu Dhabi Logotype (2013).
    • Greta Arabic (2011), which was designed for newspapers, won an award at TDC 2012.

    Behance link. [Google] [More]  ⦿

    Kror Pashto

    The Pashto font Kror Pashto (1997). [Google] [More]  ⦿

    Kufic script

    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]  ⦿

    Kurt Weidemann

    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 1965-1985, 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.

    FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him.

    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:

    • Biblica (1979). Commissioned by the German Bible Society.
    • The extensive Corporate A (serif), E (slab) and S (sans) series (1985-1990), available from URW (since 1998), MyFonts, and Berthold. The Corporate series was exclusively designed for DaimlerChrysler as a corporate font. URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe. Corporate ME for the Middle East was released by URW in 2012.
    • ITC Weidemann (1983, a digital version of Weidemann's Biblica face.

    Klingspor link.

    Kurt Weidemann's typefaces. [Google] [MyFonts] [More]  ⦿

    Laila Goubran

    Egyptian creator in Cairo of a geometrically constructed Arabic font (2012). She also made an experimental 3d Latin typeface in 2012. [Google] [More]  ⦿

    Land Hope

    Creator of the Arab face Uyghur Naskh (1996). [Google] [More]  ⦿

    LangBox International Arabic Support for UNIX

    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

    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 face Tabati (2010) won an award at TDC2 2011. [Google] [More]  ⦿

    Lara Khatib

    Beirut-based designer of the Arabic school project font Al Shaeb (2014). [Google] [More]  ⦿

    LaserSindhi fonts from Linguist's Software

    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]  ⦿

    Lateef Sagar Shaikh

    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. A nice effort. The font can in principle also be used for ordinary Western text. Total number of glyphs: 1815. Compliant with many Unicode tables. See also here and here. [Google] [More]  ⦿

    Lateef Sagar Shaikh
    [PakType - Pakistani Typography]

    [More]  ⦿

    Laval Chabon

    Québec City-based creator of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 3,000 glyphs. The language coverage is quite large: 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.

    Dafont link. Fontspace link. Aka Leaurend-Lavie-Hyppere (Laval) Chabon and as Joseph Rosaire Laval Frandey Leaurend Lavie Hyper Chabom. [Google] [More]  ⦿

    Layout

    From Beirut, Lebanon: sellers of ArabicXT, Kalimat, and Zakhrafat. They also sell a CD-ROM (v1.1) with 150 Arabic fonts. [Google] [More]  ⦿

    Lea Abou Rjeyli

    Balloune, Lebanon-based designer of the Arabic typeface Murad (2012) and the gothic Latin typeface Lea Tsu (2012). [Google] [More]  ⦿

    Letterjuice
    [Pilar Cano]

    Letterjuice is the British typefoundry 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:

    • Edita (2006), an informal sans family that also covers kana for Japanese. This typeface was finally published in 2009 at Type Together. It was followed in 2011 by additional weights in Edita Book.
    • Techarí (2006, +Extra) comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means free in Caló, the language of the Spanish gypsies---it also has a stencil version.
    • In 2010, she is working on an elliptical sans that covers Latin, Cyrillic and Greek.
    • Techarí (2010) is an extremely elegant custom family.

      Xuppis (2012) is a commissioned logotype for a candy shop in El Masnou, Barcelona.

      Together with Lluis Sinol, she designed the custom sans typeface SEAT (2013) for Latin, Greek and Cyrillic.

    • Quars (2013). This angular typeface family, codesigned with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
    • Sampi (2013). A custom typeface for the Sami children.
    • Baldufa (2014, Ferran Milan Olivares): an award-winning flared, calligraphic and subtly rounded serif typeface family for Latin and Arabic.

    Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More]  ⦿

    Linguist's Software

    LaserArabic and Farsi commercial fonts. Gene Sorensen: P.O.Box 580, Edmonds, WA 98020-0580, USA. Four fonts: Lateefi, Kitabi, Nargisi, Sarmast. [Google] [More]  ⦿

    Links to Arabic fonts.

    http://rapidshare.com/files/19686890/Arabic_1-6.rar | http://rapidshare.com/files/19687363/Arabic_7-12.rar | http://rapidshare.com/files/19696922/Arabic_13-16.rar | http://rapidshare.com/files/19697396/Arabic_17-20.rar. [Google] [More]  ⦿

    Linotype

    Arabic faces 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]  ⦿

    Linotype Arabic types

    Commercial Arabic fonts at Linotype: Ahmed, Al Harf Al Jadid, Hassan, Hisham, Karim, Lotus, Maged, Mariam, Mofid Mahdi, Nazanin, Qadi, Yakout. [Google] [More]  ⦿

    Linotype-Hell

    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]  ⦿

    Linotype's 1st Arabic Type Design Competition

    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:

    • Text 1st Prize: "Sultan Free" by Sultan Maktari (Yemen), an open, dynamic design suitable for large displays but also as a text face.
    • Text 2nd Prize: "Midan" by the studio Al-Mohtaraf Assaoudi (Lebanon): the large body height and open counters make it suitable for body texts in brochures and magazines.
    • Display 1st Prize: "Isra" by Almamoun Ahmed (Sudan): condensed geometric forms make it ideal for headlines or short texts.
    • Display 2nd Prize: "Sultan Nahia" also by Sultan Maktari (1st Prize Text): bold, geometric design well-suited to large advertising displays.
    • Calligraphy 1st Prize: "Hakim Ghazali" by Hakim Ghazali (Morocco/France): its long, fluid curves and fresh style mean it can be used both in headlines and text.
    • Calligraphy 2nd Prize: Firas by Abbas Al-Baghdadi (Iraq): the contrasting, geometric design is ideal for large advertising displays.
    [Google] [More]  ⦿

    Lloyd Anderson
    [Ecological Linguistics]

    [More]  ⦿

    Loai Gammo

    Was working with Al-Alamiah and might have access to their (Sakhr) fonts. [Google] [More]  ⦿

    Lojain Hisham

    Spanish designer (b. 1990) of Foshia (2009), an Arabic alphabet. [Google] [More]  ⦿

    Lyubov Alexeyevna Kuznetsova

    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:

    • Arabic type, often designed in cooperation with the Persian calligraphers Azarbud and Zarrin Hatt and other calligraphers from Egypt and Lebanon. Her typeface PTMariam (1994) is showcased in Huda Smitshijzen AbiFarès' book "Arabic Typography" (Saqi Books, 2001). Other Arabic faces: Cairo (1959-1960), Naskhi Aswani (1960), Naskhi Book (1962), Kuznetsova's Ruqaa (1963), Azarbud Display (1972), Zarrin Hatt (1972), Vostok (1972), Kuznetsova's Abridge (1974), Beyrouth (1977), Grot (1977), PT Mariam (1994), PT Hafiz (1994), PT Naskh Ahmad (1994), PT Basra (1994, based on her own Grot typeface), PT Damascus (1994; based on Beirouth, 1977, of Polygraphmash, also by her), PT Nast'aliq (1995), PT Thuluth (1995), and PT Kufi (1997, ParaType), winner of an award at the Type Directors Club in New York in February 1998.
    • Cyrillic faces:
      • ParaType Academy (1989). Academy was designed near 1910 at the Berthold type foundry (St.-Petersburg) based on the typeface Sorbonna (H. Berthold, Berlin, 1905), which represented the American Typefounders' reworking Cheltenham of 1896 (designers Berthram G. Goodhue, Morris F. Benton) and Russian typefaces of the middle of 18th century. The modern digital version is created in 1989 by Kuznetsova. The decorative style was added in 1997 by A.Tarbeev. Tarbeev link.
      • Bannikovskaya (1946-1951) was revived by Kuznetsova as ParaType Bannikova (1999-2001). Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman humanist typefaces of the Renaissance. URW states: With the archaic features of some characters the face is well recognized because of unique shapes. It is one of the best original typefaces of the Soviet typography. The typeface is useful in text and display composition, in fiction and art books. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.
      • ParaType Bazhanov (2000). URW writes: "PT Bazhanov TM was designed at Polygraphmash type design bureau in 1961 by Michael Rovensky (1902-1996). Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
      • ParaType Elizabeth (1999). A great modern face about which URW writes: "The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of 1840s, though some characters' shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
      • ParaType Kuzanyan (2001). This modern typeface was designed at the Design Studio of Igor Nastenko by Igor Nastenko, and was based on Granit (1966, Pavel Kuzanyan). Digitized at Paratype in 2001.
      • ParaType Literaturnaya (1996), after a 1937 original by A. Shchukin and T. Breyev. URW writes about this Elzevir typeface: Designed at NII OGIZ type design bureau circa 1940. Based on Latinskaya (St.-Petersburg, 1901), Cyrillic version of Lateinische. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova. The favorite text typeface of Soviet typography. Allen Hutt writes in A revolution in Russian typography (Penrose Annual, Volume 61. New York: Hastings House, 1968): The survival of this De Vinne-style type, from the worst design period of old Imperial Germany, in the premier Socialist country in the latter part of the twentieth century, is a typographical phenomenon as unique as it is deplorable.
      • ParaType Neva (2002). URW: "Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova."
      • ParaType New Journal (1997). Antiqua family. URW: "The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text face of the Ionic - "Legibility" group."
      • ParaType Quant Antiqua (1989). Antiqua family. URW: The typeface was designed at the Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. Based on the typeface Literanutnaya (Latinskaya) (Berthold, St.-Petersburg, 1901), a version of Lateinisch typeface (of Berthold in Berlin, 1899. For use in text matter.
      • ParaType Svetlana (1996). Antiqua family. URW: "Designed in 1976-81 by Michael Rovensky (1902-1996) as the body text companion of his Bazhanov Display typeface (1961), of Polygraphmash typefoundry. Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). With old-fashioned flavor, this design recreates the Soviet hand-lettering style of the 1940s. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova."
      • ParaType Telingater Display (2001). Elegant display family based on Telingater Display, by Solomon Telingater, 1959, Polygraphmash. URW: "The typeface was awarded the Silver Medal at the International Book Art Exhibition (IBA-59) at Leipzig (Germany) in 1959. Light flared sans serif with calligraphic flavor and low contrast between main strokes and hairlines."
      • ParaType Xenia (1990). Heavy slab serif. Paratype link.
      • ParaType Xenia Western (1992). Condensed version of the Egyptian face Xenia.
      • She made a Cyrillic version of ITC Bookman (1993).
    • Paratype Bachenas (2003), after work by Violdas Bachenas.
    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mac OS Farsi text encoding

    [More]  ⦿

    Mac OS text encoding: Arabic

    [More]  ⦿

    MacFarsi

    Designers of the Persian fonts X Andalus (2004), X Aria (2004), X Arabic (2004) and X Moj (2004), which can be found here. [Google] [More]  ⦿

    MacFarsi / Irmug

    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 faces.

    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]  ⦿

    MacOS versions of IRNA fonts

    About ten Mac versions of the Islamic Republic News Agency (IRNA) fonts are downloadable from this site maintained by George Maschke. [Google] [More]  ⦿

    Maggie Edelman

    Saint Louis, MO-based designer of the Arabic simulation typeface Pangur Ban (2014). [Google] [More]  ⦿

    Maha Abdelrazek

    Cairo-based graphic designer. Creator of Bird Man (2012, a simple sans) and some Arabic typefaces. [Google] [More]  ⦿

    Maher A. Housn

    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).

    Home page. [Google] [More]  ⦿

    Mahmood MazaheriTari

    Teheran-based typographer. At Typography Day 2012 he speaks on Abilities Of Persian Typefaces&Persian Calligraphy In Stencil Type Design. [Google] [More]  ⦿

    Mahmoud Hamdy

    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]  ⦿

    Maiwand Computer Lab

    Creators of a number of Arabic decroative fonts all named Afghatype (2009). Download here. [Google] [More]  ⦿

    Majid Al-Otaibi

    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]  ⦿

    Majid Vazirpour
    [Nasim Network]

    [More]  ⦿

    Majlis Research Center
    [Reza Arani]

    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. [Google] [More]  ⦿

    Mamoun Sakkal

    Born in Aleppo, Syria, Mamoun Sakkal is a respected calligrapher and typeface designer. He emigrated to the United States in 1978. He is the founder and principal of Sakkal Design in Bothell, Washington. Providing graphic design solutions to major US corporations, Sakkal Design has focused on Arabic calligraphy and typography since the 1990s. His Arabic fonts often cover all related scripts---Arabic, Sindhi, Kurdish, Uighur, Urdu and Persian/Farsi. He designed the beautiful Sakkal Sameh Calligraphic font family, Sakkal Shilia (Linotype: an elaborate type system created to match Univers), Sakkal Maya, Sakkal Seta, Sakkal Kufi, Al-Futtaim, Arabtek, Sakkal Majalla (2005), Hasan Alquds (2004, with Hasan Abu Afash), MS Uighur (for Microsoft), and Baseet.

    Winner with Paul Nelson and John Hudson at the TDC2 2003 competition for Arabictype. He was also awarded there for the Arabic display font Sakkal Seta Pro.

    In 2004, his MS Uighur (Sakkal Design&Microsoft) won an award at TDC2 2004.

    In 2006, he wins First Prize in the Letter Arts Review Annual International Competition: The winning artwork Rich and Poor, No. 8 is a computer-manipulated image of Square Kufi calligraphy, produced by the artist as a limited edition print in 2005. Square Kufi is a style of Arabic calligraphy that developed in the thirteenth century. [Google] [MyFonts] [More]  ⦿

    MAN

    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]  ⦿

    Marcellin Legrand

    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]  ⦿

    Marga Blanco Llorden

    Freelance graphic designer in Dublin, who created the chalky script face English Breakfast (2013) and the techno typeface Superclean (2013). [Google] [More]  ⦿

    Margaret Tan

    Designer of Jalal (1977, Linotype), a commercial Arabic font.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mariam Rustom

    Mariam Rustom (Cairo) designed an Arabic typeface in 2012. She graduated from the German University in Cairo. [Google] [More]  ⦿

    Marian Karam

    Graphic and web designer in Cairo. Creator of the Arabic typeface Antika (2012). [Google] [More]  ⦿

    Marian Misiak

    Graduate from the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles. Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw. [Google] [More]  ⦿

    Marina Emad

    Graphic designer in Cairo who made an untitled Arabic typeface in 2013. [Google] [More]  ⦿

    Mark Leisher
    [Unicode BDF fonts]

    [More]  ⦿

    Mark Williamson

    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:

    • Hanunó?o (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)

    Dafont link. [Google] [More]  ⦿

    Mary Rizk

    Graphic designer and illustrator in Beirut. Designer of Al Nab (2012), a corporate Arabic typeface. In 2013, she created the beveled typeface Crane. [Google] [More]  ⦿

    MaryamSoft

    Arabic font company. One of their products, MirEmad, includes beautiful Nastalikh typesetting.

    QalamBartar is a tool built by them for typesetting Arabic text and headlines. [Google] [More]  ⦿

    Masoud Aghaie

    Designer of the Ostovar typeface for Persian in 2011. He lives in Sari, Iran. [Google] [More]  ⦿

    Masoud Aghaie

    Iranian graphic designer and calligrapher. [Google] [More]  ⦿

    Masoud Mazar
    [Mazar Fonts]

    [More]  ⦿

    Mathieu Réguer

    Frenchman who obtained an MA in typeface design from the University of Reading in 2008. His graduation type family, Cassius, won the sole award in the Text System category at TDC2 2009. [Google] [More]  ⦿

    Mazar Fonts
    [Masoud Mazar]

    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]  ⦿

    MCS (or: Almaalim Computer Systems)

    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 Soft Arabic Fonts

    Designers of MD_Farsi_1 (1993) and MD_Farsi_2 (1993), which can be downloaded here. [Google] [More]  ⦿

    Media Type Foundry
    [Sonia da Rocha]

    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 Typefoundry in Paris. Earlier, her name was Sonia Caramelo, and under that name she designed the Galadriel script face in 2008. With Aurélie Gasche, she designed the dot matrix face Insight in 2009. She also has some calligraphy on her web site. From 2010-2012, she studied at ESAD Amiens, France.

    Typefaces:

    • Aldi Roman (Sonia da Rocha, 2010): a garalde family.
    • Gallus Titling (Sonias da Rocha, 2010): a classical roman era titling face.
    • Asmaa (2012) is an araboc-Latin typeface family developed during her studies at ESAD Amiens. She writes: Asmaa retains the robustness and the rapidity of mark making. The Latin has a seriffed version for longer texts, and a cursive version (semi-serif) which is closer to modern day writing styles, designed for using with Arabic, as well as an italic version. The family is named after Asmaa Mahfouz, a well-known Egyptian activist involved in the Arab spring.

    Home page. [Google] [More]  ⦿

    Media4all

    Arabic font archive with about 700 truetype fonts. [Google] [More]  ⦿

    Mellel

    Fonts for many languages, including Greek and Arabic. [Google] [More]  ⦿

    Meor Ridzuan

    Designer of fonts especially made for setting the Quran: me_quran (2005), mry_KacstQurn (2006). [Google] [More]  ⦿

    Meor Ridzuan

    Designer of the free Arabic fonts me_quran (2005), specifically designed for rendering the Quran like the Madinah Mushaf, and mry_KacstQurn (2006). [Google] [More]  ⦿

    Merck

    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]  ⦿

    Metafilter

    Links on Arab calligraphy. [Google] [More]  ⦿

    Michael Parson
    [Typogama]

    [MyFonts] [More]  ⦿

    Michel Salloum

    Based in Damascus, Michel Salloum designed MS Ugarit (2013, Arabic typeface) at the height of the civil war in Syria. [Google] [More]  ⦿

    Micro Systems International

    Creators of Arabic fonts such as Quran Madina and Quran standard (1994). Download site. [Google] [More]  ⦿

    Microsoft: New Fonts in Windows 7

    The list of new fonts in Windows 7 in 2009:

    • Aparajita, Aparajita Bold, Aparajita Bold Italic, Aparajita Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
    • Ebrima, Ebrima Bold: Microsoft fonts from 2008 with many symbols and special characters.
    • Gabriola: Script face by John Hudson (2008).
    • IskoolaPota Bold.
    • Khmer UI, Khmer UI Bold: By Microsoft (2008).
    • Kokila, Kokila Bold, Kokila Bold Italic, Kokila Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
    • Meiryo UI, Meiryo UI Bold, Meiryo UI Bold Italic, Meiryo UI Italic:
    • Microsoft New Tai Lue, Microsoft New Tai Lue Bold: A 2008 family by Microsoft, DynaComware and Ascender.
    • Microsoft PhagsPa, Microsoft PhagsPa Bold: A 2008 family for Mongolian by Microsoft, DynaComware and Ascender.
    • Microsoft Tai Le, Microsoft Tai Le Bold: A 2008 family by Microsoft, DynaComware and Ascender.
    • Raavi Bold: Gurmukhi face by Raghunath Joshi (Type Director) and Apurva Joshi (2008).
    • Sakkal Majalla, Sakkal Majalla Bold: Arabic family by Mamoun Sakkal (2008).
    • Segoe UI Light, Segoe UI Semibold, Segoe UI Symbol: Controversial family by Microsoft (2008), said to be corporate theft on the part of Microsoft, with as victim Frutiger---Segoe is basically identical to the typeface Frutiger.
    • Shonar Bangla, Shonar Bangla Bold: Bengali face by Microsoft (2008).
    • Shruti Bold: Gujarati face by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
    • Tunga Bold: Kannada face by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
    • Utsaah, Utsaah Bold, Utsaah Bold Italic, Utsaah Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
    • Vani, Vani Bold: Telugu family by Muthu Nedumaran (2008).
    • Vijaya, Vijaya Bold: Tamil family originally designed in 2001 by Modular Infotech, Pune, India.
    • Vrinda Bold: Bengali face by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
    [Google] [More]  ⦿

    Mirjam Somers

    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. 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.

    Ruq'ah (2011) won an award at TDC 2012. [Google] [More]  ⦿

    Mirza Ali

    Farsi and Arabic font links. [Google] [More]  ⦿

    Mofid Mahdi

    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.

    FontShop link.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mogtahid

    Mogtahid is a 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). [Google] [MyFonts] [More]  ⦿

    Moh Ibra

    Cairo-based designer of the Arabic typeface Hak (2012). [Google] [More]  ⦿

    Mohad Asy

    Sadat City, Egypt-based designer of the free wavy Arabic typeface El Hamd (2014). [Google] [More]  ⦿

    Mohamed Abdulrub

    Arabic calligrapher, graphic designer and digital artist. Located in Sheffield, UK. [Google] [More]  ⦿

    Mohamed Eissa

    Cairo, Egypt-based designer of the experimental Arabic font Tasleem (2011). [Google] [More]  ⦿

    Mohamed Elyaakoubi

    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]  ⦿

    Mohamed Gaber

    Cairo-based visual artist who created the Arabic script typefaces Wasm (2013) and Fold Type (2012). Behance link. [Google] [More]  ⦿

    Mohamed Ibrahiem

    Cairo-based designer of the Arabic typeface Tiwen (2013). [Google] [More]  ⦿

    Mohamed Ibrahiem

    Tanta, Egypt-based designer of a Latin/ Arabic logotype called Neon and of the Arabic techno fonts Bono and Sawra in 2013. [Google] [More]  ⦿

    Mohamed Ibrahim

    Cairo-based creator of a rounded Arabic typeface called Anas (2012). [Google] [More]  ⦿

    Mohamed Nabil

    Egyptian graphic and type designer. [Google] [More]  ⦿

    Mohamed Nabil Labib

    Cairo-based designer of Smashbox (2012), an Arabic custom typeface for a cosmetics company.

    Behance link. [Google] [More]  ⦿

    Mohamed Sheeraz

    Designer of the free Arabic fonts A Utheem, A Waheed, A Faseyha and A Ilham, 1995-1996. [Google] [More]  ⦿

    Mohammad Al Shalfan
    [Motken.com (or: Maleksoft Developer Co)]

    [More]  ⦿

    Mohammad Alagha
    [Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts, or: AGA Fonts)]

    [More]  ⦿

    Mohammad Al Shalfan

    Designer of these Arabic fonts: Mohammad-Dawlat (1996), Mohammad-Laha (1996), mohammad bold art 1 (2001). Download here. [Google] [More]  ⦿

    Mohammad Esmat Abdullhalem
    [Arabian Company for Advanced Computer Systems]

    [More]  ⦿

    Mohammad Hanif

    Designer of the glyphs of the free Urdu unicode font PakType Tehreer (2005), which can be found at the PakType project. [Google] [More]  ⦿

    Mohammad Mohammadi

    Designer in 2006 of the Arabic fonts S_ALYERMOOK, S_AMEEN, S_HANI, S_KHALID, S_OUHOD, S_SHMOOKH-01, S_TARABLUS, which can be downloaded here. [Google] [More]  ⦿

    Mohammed Ezzat Kamel

    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.

    In 2013, we find him in Alexandria, Egypt, where he speclaizes in brand and logo designs. Eid Arabic (2013) is a geometric display typeface for Eid Greeting Cards. [Google] [More]  ⦿

    Mohammed Saleem
    [Pakistan Data Management Services]

    [More]  ⦿

    Mohsin Shafeeque Hijazee

    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]  ⦿

    Mojtaba Kia Darbandsari

    Iranian dingbat font designer, b. 1985. His creations include Besmellah (2008, five fonts) and Mohammed RasoolAllah (2008). His fonts have calligraphic scripts, and religious icons. Alternate URL.

    Designer of the Arabic font Mj __ Tikeh, which can be found here. [Google] [More]  ⦿

    Monotype

    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]  ⦿

    Monotype: Arabic

    Arabic fonts sold by Monotype as of July 2009: Akhbar, Andalé Arabic, Jawhar, Monotype Koufi, Lakhdar Ghazal, Monotype Madrasah, Mudir, Monotype Naskh, Noori Nastaliq, 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]  ⦿

    Monotype Arabic fonts

    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, 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]  ⦿

    Mothanna

    Free OFL typeface for Arabic / Urdu / Pashto. [Google] [More]  ⦿

    Motken.com (or: Maleksoft Developer Co)
    [Mohammad Al Shalfan]

    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]  ⦿

    Mouneer Al-Shaarani

    Arab type designer who has embarked on a project with Lucas De Groot to design some Arabic fonts that fit de Groot's designs. [Google] [More]  ⦿

    Mourad Boutros
    [Boutros Arabic Typefaces]

    [MyFonts] [More]  ⦿

    MR Desing

    Saudi designer of Besmellah (five fonts for Arabic). I am confused because I always thought that these fonts were made by Mojtaba Kia, an Iranian. Alternate URL. [Google] [More]  ⦿

    Muhammad Hacen
    [HacenType]

    [More]  ⦿

    Muhammad Noor

    Designer of the free Arabic fonts Rohingya Gonya Leyka Noories (2012, OFL) and Rohingya Kuna Leyka Noories (2012, OFL). [Google] [More]  ⦿

    Muhammad Zuhair Albazi

    Lahore, Pakistan-based type designer who made a Naskh font, Musa Albazi Naskh (2009).

    He also created Adobe Naskh.

    His main Arabic typeface to date is Zuhair Albazi Naskh, an advanced OpenType Arabic typeface, which is based on the Ottoman manuscript. He writes: This unique typeface contains an unmatched range of features known from the Arabic script. It is not merely a font but an ultimate typesetting and design tool for the Arabic script in classic Naskh style, with letters variants and calligraphic styles, specifically developed to take advantage of the extensive functionality for Naskh Arabic typography. The typeface allowd many controls such as shape alternates, space adjustments, mark placements, and swashes. Two very special features: Calligraphic Naskh kashida (Tatweel) upto three levels of elongations, so the Kashida distribution and frequence can be precisely controlled to create Arabic calligraphic documents without a calligrapher; thousands of kerning pairs for the fine adjustment of letters specially after Raa, Zaa, Waw and before Kaaf. [Google] [More]  ⦿

    MUI

    This Iranian university has many Farsi fonts. We find

    • From Eastern Language Systems: Akram, AlMutanabi-1-Italic, AlMutanabi-1, AlMutanabi-2-Italic, AlMutanabi-2, AlMutanabi-Italic, AlMutanabi, Baasem, Diwani-2, Diwani-3, Diwani, Diwht, ELS-Help-1-Bold, ELS-Help-1, ELS-Help-2-Bold, ELS-Help-2, Ferdosi-Italic, Ferdosi, Grand-Kufi-1, Grand-Kufi, Help-One, Help-Two, Husseini-1-Bold, Husseini-1-Italic, Husseini-1, Husseini-2-Bold, Husseini-2-Italic, Husseini-2, Husseini-3-Italic, Husseini-3, Husseini-Italic, Husseini, K_Thuluth-1, K_Unwan-Farsi, K_Yaqouti, K_Zeena-1, Kufi-1, Kufi, Ll, Majalla-1-Italic, Majalla-1, Majalla-Condensed-1-Italic, Majalla-Condensed-1, Majalla-Condensed-Italic, Majalla-Condensed, Majalla-Italic, Majalla, Majiid-1-Italic, Majiid-1-Outline-Italic, Majiid-1-Outline, Majiid-1-Shadow-Italic, Majiid-1-Shadow, Majiid-1, Majiid-Italic, Majiid, Majsh, Mashq-Jadiid-1, Mashq-Jadiid, Munir-2-Italic, Munir-2, Munir-3-Italic, Munir-3, Munir-Italic, Munir, Murht, Naght, Najah, Nasjht, Naskh-1-Italic, Naskh-1, Naskh-Italic, Naskh-Jadiid-2-Bold-Italic, Naskh-Jadiid-2-Bold, Naskh-Jadiid-2-Italic, Naskh-Jadiid-2, Naskh-Jadiid-3-Bold-Italic, Naskh-Jadiid-3-Bold, Naskh-Jadiid-3-Italic, Naskh-Jadiid-3, Naskh-Jadiid-Bold-Italic, Naskh-Jadiid-Bold, Naskh-Jadiid-Italic, Naskh-Jadiid, Naskh, Raqht, Ruqaah-1, Ruqaah-2, Ruqaah-3, SDC-Akram-Scale, SDC-Akram-Stripe, SDC-Grand-Kufi-Scale, SDC-Kufi-Scale, SDC-Majalla-Cond-Stripe, SDC-Majiid-OutCactus, SDC-Majiid-Outline-Scale, SDC-Majiid-Shadow-Scale, SDC-Majiid-Stripe, SDC-Munir-College, SDC-Munir-Outline, SDC-Najah-Stripe, SDC-Naskh-Jadiid-College, Sahafa-2-Bold-Italic, Sahafa-2-Bold, Sahafa-2-Italic, Sahafa-2, Sahafa-Bold-Italic, Sahafa-Bold, Sahafa-Italic, Saht, Samht, Samiik-2-Italic, Samiik-2, Samiik-Italic, Samiik, Shafiq-2-Italic, Shafiq-2, Shafiq-3-Italic, Shafiq-3, Shafiq-Bold-Italic, Shafiq-Bold, Shafiq-Italic, Shafiq, Shaht, Shiraz-Italic, Shiraz, Siavash-Italic, Siavash, Tawfiq-1-Bold-Italic, Tawfiq-1-Bold, Tawfiq-1-Italic, Tawfiq-1-Outline-Italic, Tawfiq-1-Outline, Tawfiq-1, Tawfiq-2-Italic, Tawfiq-2, Tawfiq-3-Italic, Tawfiq-3, Tawfiq-Bold-Italic, Tawfiq-Bold, Tawfiq-Italic, Tawfiq-Outline-Italic, Tawfiq-Outline, Tawfiq, Thames-New-Italic, Thames-New, Thuluth-1, Thuluth, Tra, Unwan-Farsi-Italic, Unwan-Farsi, Unwht, Yaqouti-Italic, Yaqouti, Zeena-1-Italic, Zeena-1, Zeena-Italic, Zeena, Zibaa-Italic, Zibaa, Zr.
    • From SinaSoft: Andalus, Badr-Bold, Badr-Normal, Compset-Bold, Compset-Normal, F_Sina, Homa-Normal, Homa-s, Jadid-Bold, Jadid-s, Kaman-s, Kamran-Bold, Kamran-Normal, Kamran-s-Bold, Koodak-Bold, Koodak-s-Bold, Lotus-Bold, Lotus-Normal, Mitra-Bold, Mitra-Normal, Nasim-Bold, Nazanin-Bold, Nazanin-Normal, Roya-Bold, Roya-Normal, SDC-Sina-Cactus, SDC-Sina-Mangle, SDC-Sina-Scale, SDC-Sina-Stripe, Sina-Bold, Sina-s-Bold, Titr-Bold, Traffic-Bold, Traffic-Normal, Yagut-Bold, Yagut-Normal, Yagut-s-Bold, Yagut-s, Zar-Bold, Zar-Normal, Zar-s-Bold, Zar-s, Badr-s-Bold, Badr-s, Compset-s-Bold, Compset-s, Lotus-s-Bold, Lotus-s, Mitra-s-Bold, Mitra-s, Nasim-s-Bold, Nazanin-s-Bold, Nazanin-s, Roya-s-Bold, Roya-s, Titr-s-Bold, Traffic-s-Bold, Traffic-s.
    • From Systems Designers Group: F_Andalus, F_Badr, F_Compset, F_Ferdosi, F_Lotus, F_Mashgh, F_Mitra, F_Mudir, F_Nasim, F_Nazanin, F_Shiraz, F_TRAFIC-Outline, F_Titr, F_Trad, K_TRAFIC, K_ZAR, K_ZIBAA, SDC-Andalus-College, SDC-Andalus-Outline, SDC-Badr-College, SDC-Compset-College, SDC-Ferdosi-Stripe, SDC-Hussaini-College, SDC-Hussaini-Scale, SDC-Lotus-Outline, SDC-Lotus-Scale, SDC-Mitra-College, SDC-Mudir-College, SDC-Nasim-College, SDC-Nasim-Skew, SDC-Nazanin-College, SDC-SIAVASH-College, SDC-SIAVASH-Outscale, SDC-SIAVASH-Skew, SDC-SIAVASH-Stripe, SDC-SIAVASH-Thin, SDC-Shiraz-Scale, SDC-TRAFIC-College, SDC-TRAFIC-Outskew, SDC-TRAFIC-Skew, SDC-TRAFIC-Thin, SDC-Titr-Cactus, SDC-Titr-College, SDC-Titr-Scale, SDC-YEKAN-Scale, SDC-ZAR-College, SDC-ZAR-Mangle, SDC-ZAR-Scale, SDC-ZIBAA-Scale, SDC-ZIBAA-Stripe, SDG_HUSSEINI-Bold, SDG_HUSSEINI-Italic, SDG_HUSSEINI, SDG_MAJALLA, SDG_SIAVASH-Italic, SDG_SIAVASH-Outline, SDG_SIAVASH, SDG_TRAFIC-Outline, SDG_TRAFIC, SDG_YEKAN-Bold-Italic, SDG_YEKAN-Italic, SDG_YEKAN-Thin, SDG_YEKAN, SDG_ZAR, SDG_ZIBAA-Italic, SDG_ZIBAA, TRAFIC-Scale, F_Koodak, F_Reyhan, F_Sadeh, Numskill, ReneLouis, SDC-Koodak-College, SDC-Koodak-Outline, SDC-Reyhan-Outline, SDC-Reyhan-ScCollege, SDC-Reyhan-Scale, SDC-Reyhan-Sccol, SDC-Reyhan-Shatter, SDC-Sadeh-College, SDC-Sadeh-Fat, SDC-Sadeh-Scale.
    [Google] [More]  ⦿

    Muliple Baselines

    Articles on Arabic type by Edo and Huda Smitshuijzen. [Google] [More]  ⦿

    Multilingual Macintosh Resources: Arabic
    [Andreas Prilop]

    Andreas Prilop's Arabic font links. [Google] [More]  ⦿

    Multilingual Macintosh Resources: Arabic

    Andreas Prilop's Arabic font links. Plus plenty of information. [Google] [More]  ⦿

    Muna Nofal

    Amman, Jordan-based designer of the Arabic typeface Chabur (2014). [Google] [More]  ⦿

    Music of the Ancient Near East
    [Richard J. Dumbrill]

    Richard Dumbrill's page. Find a free font Akkadian-1, and a commercial family, RD-Akkadian (cuneiform signs). Plus RD-Times Scholar (commercial). Furthermore, custom font design for Syriac, Ugaritic, Hittite cuneiforms, South Arabian, Phoenician. [Google] [More]  ⦿

    Mustapha Asbbar

    Creator of the dingbat face Arab TV logos (2009). Dafont link. Fonts2u link. [Google] [More]  ⦿

    Myriad

    Myriad is a large humanist sans serif family developed from 1990-1992 by Carol Twombly at Adobe with the help of Robert Slimbach and Fred Brady. Originally a multiple masters font, it continues its life as Myriad Pro (opentype) today. It is used for both text and display. Since the launch of the eMac in 2002, Myriad has been replacing Apple Garamond as Apple Computer's corporate font. Adobe states: An Adobe Originals design first released in 1992, Myriad has become popular for both text and display composition. As an OpenType release, Myriad Pro expands this sans serif family to include Greek and Cyrillic glyphs, as well as adding oldstyle figures and improving support for Latin-based languages. The full Myriad Pro family includes condensed, normal, and extended widths in a full range of weights. Designed by Robert Slimbach&Carol Twombly with Fred Brady&Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro's clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read, while the wide variety of weights and widths in the family provide a generous creative palette for even the most demanding display typography.

    John Berry published two PDF files at Adobe with descriptions of Myriad Arabic and Myriad Hebrew. [Google] [MyFonts] [More]  ⦿

    N. Narudi

    Egyptian designer of Arabic faces associated with Linotype&Machinery in the late 1950s. [Google] [MyFonts] [More]  ⦿

    NABD for design services

    Arabic font archive. [Google] [More]  ⦿

    Nabdh

    Arabic font archive:

    • From Boutros International: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEEast-ExtraBold, GEElegantBold-Bold, GEElegantMedium-Medium, 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, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GETasmeem-Medium, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. All fonts made in 2004.
    • From Majid Al-Otaibi: 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.
    • From Mourad Boutros, 1997-2001: BoutrosAdsProBold, BoutrosAdsProBoldCondensed, BoutrosAdsProLight, BoutrosAdsProMediumItalic, BoutrosAdsProMedium.
    • From Linotype: Mariam Linotype (2002).
    • By Fazlur Rahman Quraishi: 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.
    • From Motken in Riyadh, 2001: 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.
    • By Sultan Almaktari in Aden (Yemen), 2003: Sultan-Medium, Sultan-bold, Sultan-koufi-Bold-2, Sultan-koufi-Bold, Sultan-koufi-circular, Sultan-koufi, Sultan-light, Sultan-light2, Sultan-musnad, Sultan-normal, Sultan-rectangle, Sultan Free.
    • From Future Soft Egypt, 2000: FS_Abdo, FS_Africa, FS_Ahram, FS_Alex, FS_Alex, FS_Egypt, FS_Free, FS_Point, FS_Rajab, FS_Wood.
    • By Maleksoft Developer Co: 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.
    • From MAK Alagha, Applied Graphic Arts, 1994-1995: 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.
    • By Almaalim Computer Systems (or MCS), 1996-1999: 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.
    • By Hesham Darweesh, 1993: 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.
    • By Abdullah Naser Al Mawash: Al Mawash Shatt Al-Arab.
    • By Mohammad Esmat Abdullhalem, Arabian Company for Advanced Computer Systems, Egypt, 1992: ACS Akeek Bold, ACS Akeek, ACS Topazz Bold, ACS Topazz, ACS-Akeek-Extra-Bold, 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-Extra-Bold, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod.
    • By Mohammad Al Shalfan, 1996: Mohammad-Dawlat, Mohammad-Laha, mohammad bold art 1 (2001).
    • By Ali Ahmed Al Buainain, 2005: Boahmed AlHarf Bold.
    • By Bassam Al-Mohammadi, Riyadh, 2000: Bassam Ostorah.
    • By Glyph Systems and Monotype, 1993: Adarghal 1.
    [Google] [More]  ⦿

    Nada Al-Siyabi

    Student in Muscat, Oman, in 2013. Creator of an Arabic typeface (2013) and of two Arabic simulation (Latin) typefaces, Islamic Font (2013) and Omani Khanjar Font (2013). [Google] [More]  ⦿

    Nada Hassan

    During her graphic design studies in Cairo, Egypt, Nada Hassan created the modular typeface Arabic Faltura (2013). [Google] [More]  ⦿

    Nadeen Tawfik

    Cairo-based designer of the school project typeface Majoram Arabic (2013, avant-garde and circle-based), Extremity (2013, squarish), Speech Bubble (2013, modular), Neo Kufic (2013, squarish Arabic). [Google] [More]  ⦿

    Nadim Shaikli

    The Thabit family of Arabic fonts was designed from 2002-2008 by Khaled Hosny. It was regenerated in 2008 by Nadim Shaikli.

    OFL link. Download link at Google Web Fonts. [Google] [More]  ⦿

    Nadine Chahine

    Nadine Chahine (b. 1978) is a Lebanese graphic designer with a special interest in Arabic type design. She started her research on Arabic typography, theory and practice, at the American University of Beirut and at The University of Reading, UK (MA in Typeface Design), where she designed Koufiya (2003). She did a Ph.D. on legibility in the Arabic script. She spoke at ATypI 2003 in Vancouver on Arabic typography. She taught Arabic typography as a visiting lecturer at the American University in Dubai and is currently working at Linotype, Germany, as the Arabic type expert.

    In 2004, she started a coop project with Gerard Unger to develop Big Vesta Arabic, a companion of Unger's Big Vesta. At ATypI 2008 in St. Petersburg, she ran the Linotype type design student workshop.

    She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic (2007) with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC in 2008. For Palatino Sans Arabic, she won at TDC2 2011.

    In 2009, she published Neue Helvetica Arabic at Linotype.

    In 2011, she published Univers Next Arabic (with Adrian Frutiger, Linotype).

    She is working on Zapfino Arabic.

    Bio. Interview. Speaker at ATypI 2010 in Dublin, where her talk tackled psycholinguistics and type design. Speaker at ATypI 2011 in Reykjavik.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Nadine Kobayter
    [Penguin Cube]

    [More]  ⦿

    Nagham Ghanem

    Beirut-based designer of an unnamed heavy squarish Arabic typeface (2013). Behance link. [Google] [More]  ⦿

    Naghi Naghachian
    [Naghi Naghashian]

    Naghi Naghashian's foundry (called Naghi Naghachian, with a c) is located in Frankfurt. Quoting MyFonts, where we can buy his fonts: Naghi Naghashian was born in Teheran. After completing his school education in Iran, he studied illustration and book design at the Hochschule für Gestaltung (HfG), an academy of design, in Offenbach, Germany. Thereafter he was engaged as art director in various advertising agencies in Germany, Switzerland and England. He also worked as a freelance graphic designer with focus on illustration and brand designing for leading producers of brand articles in Europe, and also for broadcasting stations in Germany and other European countries. He was occupied with theoretical work in the field of color and research in the passive perception of color and "after image" phenomena. He carried out an analysis of the letters of the Arabic alphabet and a definition of their structure, enabling him to design a number of modern types of Arabic script. He designed the monoline face Aban (2010), which covers Latin, Arabic, Persian and Urdu. Jasna (2010) is a monoline rounded family with the same support. Avesta Extra Bold (2010) and Anahita Extra Bold (2010) are headline faces. Bi Bi (2010) is a squarish (Bank Gothic style) face that also covers Arabic, Persian, and Urdu.

    Ahoura (2011) is an Arabic font family. Decora One (2011) is a curly ornamental all caps face. Decora Two (2011) is another ornamental caps face. Bamdad Extra Bold Condensed (2011) is an Impact-like face Bamdad that supports Latin, Arabic, Persian, and Urdu. Parsi (2011) is an elliptical sans family that supports Latin, Arabic, Persian, and Urdu. Novin (2011, +Shadow) is an elliptical face that supports Latin, Arabic, Persian, and Urdu.

    Typefaces from 2012: Parto (elliptical).

    Typefaces made in 2013: Iranica, Avid Pro, Nima (a latin/ Arabic techno family named after Persian poet Nima Yooshij, 1896-1960), Decora Arabic, Decora Pro (and its Arabic / Farsi / Urdu companion, Parvin), Ekbatana (for Latin, Arabic, Farsi and Urdu), Apadana (for Latin, Arabic, Persian and Urdu), Roumi Pro (an elegant inline typeface), Surprise Pro (headline rounded sans), Mocca Pro, Nana Pro, Nana Rounded Pro, Nana Arabic, Petrol Stencil (an Arabic / Urdu / Latin stencil typeface).

    Klingspor link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Naghi Naghashian
    [Naghi Naghachian]

    [MyFonts] [More]  ⦿

    Nahib Jaroudi

    Designer of the Arabic font family Yakout (1964, Linotype). Linotype staff developed it further. Fiona Ross writes: In the 1950s, the Arabic typeface design Yakout was developed. It was produced in 1956 by Linotype&Machinery for hot-metal typesetting, being specifically intended to function as a newspaper text face (dispensing with diacriticals and ligatures). With the dual intention of fitting the Arabic script onto a Linotype linecasting machine for setting type for rotary printing, and of maximizing keying speeds in creating copy for daily newspapers, much effort was concentrated on reducing the normal Arabic character set of over 100 characters. Yakout was designed in a similar manner to Arabic typewriter fonts created during this period: used a limited range of letterforms to represent the full Arabic character set. The resultant style of type design became known as 'Simplified Arabic'. The number of characters was reduced to 56, which enabled the typeface to fit into one 90-channel magazine. A brochure at the time claimed that 'the output of work may be increased by as much as 30 per cent'. Yakout was manufactured in six different point sizes and became, indeed remains, one of the most popular Arabic typefaces. When I joined Linotype in 1978 as research assistant, the typographic department, under the management of Tony Bisley, was converting existing type designs such as Yakout, or implementing new designs like Badr, for film composition. New Arabic in-house designs, such as Lotus, were being developed under Walter Tracy's consultancy. [...] Yakout was one of the first Arabic typefaces to be digitised. The design was revisited by the typographic department, and additional forms were introduced since the Light and Bold fonts no longer needed to be 'simplified' for the Linotron 606 machine. Perhaps this was the only design which was treated fairly conservatively in its initial adaptation to digital technology: the typeface was in daily use by major newspapers which did not want a significantly different appearance or word count to affect their columns.

    Fontshop link. [Google] [MyFonts] [More]  ⦿

    Nardine Shenouda

    Egyptian font designer. [Google] [More]  ⦿

    Naseem Amjad

    Designer of Arabic fonts, such as AlKatib1 (2001). See also here. [Google] [More]  ⦿

    Naser Azarshab

    Creator of the ultra-bold Arabic display face F Jadid (1996). [Google] [More]  ⦿

    Nasim Network
    [Majid Vazirpour]

    Designer in 1998 of the Arabic fonts NasimWebArial, NasimWebComposet, NasimWebHoma, NasimWebKamran, NasimWebMitra, NasimWebNasim, NasimWebRoya, NasimWebSadeh, NasimWebTrafic, NasimWebZar. [Google] [More]  ⦿

    Nasri Khattar

    Nasri Khattar (1911-1998) was an architect and designer who studied at the American University of Beirut and the Yale School of Architecture, where he obtained an MA in Architecture in 1940. He worked with Frank Lloyd Wright in Spring Green, WI, and Scottsdale, AZ. In 1947, he submitted his Unified Arabic designs to the U.S. Patent and Trademark Office resulting in a patent for the printed form of Arabic in 1950. He designed the first Arabic computer font, Unified Arabic Neo N. [Poster by Brittany Cox].

    I am quoting verbatim the biography submitted to Arabic Type by his daughter: Architect, Type Designer, Inventor, Painter, Sculptor, Poet, 1911-1998. Nasri Khattar, architect, practiced his profession for thirty-five years in the United States; in Colombia, South America; and in his country of origin, Lebanon, where he pursued his early education at the American University of Beirut (AUB) with a B.B.A. awarded in 1930. In 1940, he earned an M.A. in Architecture from Yale University, in New Haven, Connecticut. In 1939, he was associated with Frank Lloyd Wright's Fellowship in Taliesin, Spring Green, Wisconsin; and in Taliesin West, in Scottsdale, Arizona.A dual American-Lebanese national, Mr. Khattar was an Arabic consultant to IBM in the fifties, and architect, Arabic calligrapher, and Arabist to Arab-American Oil Company (Aramco) in New York City, 1950-1957. During this time, he made innumerable calligraphic works for both Aramco and the Arabs. He received a Ford Foundation grant for the years 1958-1961, to promote his Unified Arabic, UA system. Unified Arabic is Mr. Khattar's Arabic type system that simplifies the printing and teaching of Arabic, Urdu, Farsi, and other languages utilizing the Arabic alphabet. As he continued to work on his Unified Arabic, Mr. Khattar designed new Arabic typefaces, practiced architecture, and lectured at the American University of Beirut. His topics were Frank Lloyd Wright's architectural achievements and principles of design, and his own work on the writing and design of Arabic type. Impressed by Mr. Khattar's versatility, Martin Giesen of AUB's Architectural Department, called him "the Renaissance Man", for being architect, calligrapher and type designer, painter and caricaturist, poet, and inventor (30-40 patents and copyrights). "It's been a long time since I've seen such perfection," wrote Mr. Giesen in 1977. In 1986, Reverend Dennis Hilgendorg and Dr. Ben Wood, Director of Educational Research at Columbia University, nominated Mr. Khattar for the Nobel Peace Prize for his life's visionary achievements and their vast implications for the fields of linguistics, literacy, printing, computers, and telecommunications. Mr. Khattar is survived by his spouse, Jacqueline Hedrick Khattar, and by his twin daughters, Alexandra Khattar and Camille Khattar Hedrick. His son, Christopher Khattar, passed away in 1992 after a long illness.

    As for digital revivals, we can cite Pascal Zoghbi's 29LT UA Neo B (or UA Beirut Modern) and UA Neo N (or UA Neo Nashki) (2007-2013). It can be purchased at 29 LT. [Google] [More]  ⦿

    Nastaliq

    A cursive style developed in the late 14th century in Iran, which allows very dense compositions and is very fluid and expressive. Letters run into each other, float, and can move up or down on a line. Shekaste Nastaliq (broken Nastaliq) is a style born out of Nastaligh. It is more angular and suitable for fast writing. [Google] [More]  ⦿

    Nasta'liq script

    From Encyclopaedia Britannica: Predominant style of Persian calligraphy during the 15th and 16th centuries. The inventor was Mir 'Ali of Tabriz, the most famous calligrapher of the Timurid period (1402-1502). A cursive script, nasta'liq was a combination of the naskhi and ta'liq styles, featuring elongated horizontal strokes and exaggerated rounded forms. The diacritical marks were casually placed. [Google] [More]  ⦿

    Nayera Abusteit

    Based in Cairo, Nayera Abesteit created an Arabic typeface using compass and ruler in 2013. [Google] [More]  ⦿

    Nazanin

    A pair of Persian fonts called Nazanin (1998). [Google] [More]  ⦿

    Neda Rayaneh

    Neda Rayaneh (Neda Network) offers the Nimrooz font for Latin&Arabic for free. It was made for Oriental Newspaper Ltd in 2000. [Google] [More]  ⦿

    Neda Rayaneh Download Center

    Persian font Sepehr (by Monotype). [Google] [More]  ⦿

    Nefel

    Designer of A_Nefel_Sereke_Qelew (2002), a beautiful modern Latin/Arabic font derived from Agfa Simplified Arabic Bold. [Google] [More]  ⦿

    Nesf2

    Nesf2 is aUnicode-compliant Urdu font, copyright Oriental Newspaper Ltd, 2000. The unicode part was done by Mehran Mehr. [Google] [More]  ⦿

    Nevisa & Zeetova

    Iranian typefoundry. One can download the Arabic / farsi typeface Iran Sans at Open Font Library. It was made jointly by Hadi Navid, Hooman Mehr, and Salman. Hadi Navid and Hooman Mehr created Iranian Serif (2014) and Iranian Sans (2014) as well.

    Link for Nevisa. [Google] [More]  ⦿

    Nimbus

    In their Global Type collection, URW++ has Nimbus Sans (2005, 5 fonts, 2000 Euros) and Nimbus Roman (2005, 2 fonts, 2000 Euros). The former is based on Helvetica, the latter on Times New Roman. Meant as workhorses, these fonts cover Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Noëlie Maignan

    French graphic designer who lives in Chateaubriant. Devian Tart link. Her typefaces (ca. 2011) include Heimiotas, Arabno (Arabic, to match Univers), Gantoise, Laborine (text face), Mécatique (angular, almost blackletter). [Google] [More]  ⦿

    Noha El Taher

    Graphic designer in Cairo, who created an Arabic typeface in 2012. [Google] [More]  ⦿

    Non-Latin Type Design at Linotype

    Fiona Ross tells about the development of mainly Arabic and Indic type at Linotype in the 20th century. [Google] [More]  ⦿

    Norman de los Santos

    Designer in Southern California (b. 1971), aka Nordenx. Creator of free Baybayin fonts (for Philippine) in 2006, downloadable from Devian Tart: BaybayinModernMindoro (2010), BaybayinMindoro (2010), BaybayinModernBlock, BaybayinModernScript, BaybayinModernPrint, BaybayinModernRound, Baybayin Modern Kufic. In 2007, he made BaybayinModernBrush1. In 2009-2010, this was followed by BaybayinModernDivine, Baybayin Modern Mono, and Baybayin Modern Sinta. In 2010, he made Baybayin Modern Kana, BaybayinMangyanHanubrush and MangyanHanuBrush: Surat Mangyan, also known to local Mindoreños as Sulat Mangyan, the Hanunóo script is one of three surviving pre-Hispanic forms of writing in the Philippines--it is a version of the island's ancient script collectively known as Baybayin. Baybayin Modern Font (BMF) Unicode Mono. Another URL. [Google] [More]  ⦿

    Official Home of Gerdsooz

    Ahmed Alavi and Mahyar Rahmatian offer various free formats of the Farsi font Gerdsooz. [Google] [More]  ⦿

    Omar Chafai

    Omar Chafai (b. 1977) graduated in 2009 with an MA in graphic design from KASK (the Royal Academy of Fine Arts in Gent, Belgium), with a thesis project entitled De ontwikkeling van het Arabische schrift in relatie tot het Latijns schrift. His graduation project involved the development of the very readable text typeface Nelson. Before that, he designed Duo, a typeface that was influenced by Josef Albers' Kombinationsschrift. Currently he is a freelance graphic designer. [Google] [More]  ⦿

    Omer Taher

    Designer in Cairo who created the techno face Tawla for Arabic in 2012. [Google] [More]  ⦿

    Orient

    Cyrillic and Arabic truetype fonts: WL-ArabicNaskh (Gamma Productions, 1995), Diacritics (by ParaGraph, a nice Cyrillic font), SymbolMT, TimesNRCyrMT, TimesNRCyrMT-Inclined. [Google] [More]  ⦿

    Oriental Fonts

    Free fonts for Chinese (MS Song, MingLiu), Arabic (ArabicKufiSSK, ArabicKufiSSKBold, ArabicKufiSSKItalic, WL-ArabicNaskh-Bold-Italic, Riyadh, WL-ArabicNaskh, WL-LatinALA-LC1Times, WL-PersianNaskh, WL-ArabicNaskh-Bold, WL-ArabicNaskh-Italic), Phags (Phags-pa-Unicode-Reference, Phags-pa, Phagspa, hPhags-pa-(rotated)). The Phags-Pa font is by Babelstone1357 (2003). [Google] [More]  ⦿

    Oriental Newspaper Ltd

    Owners of the free font Nesf2 (2000), a single Geeza-like font for Arabic. [Google] [More]  ⦿

    Oriental Newspaper Ltd.

    Iranian owner of a free Arabic font Nesf (2000). [Google] [More]  ⦿

    Osman Husseini

    Creator of Badr (1970), an Arabic version of Linotype's Cochin, published by Linotype. The two Badr fonts incorporate the basic Latin and the Arabic (+Persian, +Urdu) character sets. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular Latin numerals.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ostad Saeed Mohammad Ehsaei

    Iranian master calligrapher, known for many intricate Farsi logotypes and calligraphic paintings. [Google] [More]  ⦿

    Owly

    Arabic font archive. It includes this:

    • From Boutros International: GE-Box-Bold, GE-Cap-Medium, GE-Contrast-Bold, GE-Curves-Medium, GE-East-ExtraBold, GE-Elegant-Bold, GE-Elegant-Medium, 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-Two-Bold, GE-SS-Two-Light, GE-SS-Two-Medium, GE-SS-Unique-Bold, GE-SS-Unique-Light, GE-Tasmeem-Medium, GE-Unique-Expanded-Bold, GE-Wide-ExtraBold, all made in 2004. Also, Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, Boutros-Ads-Pro-Medium-Italic.
    • From Agfa: A-Badie-Shahba (1990).
    • From A. Badie Hammami in Aleppo, Syria: Joude, ABH-Ogaret-Light, Badie-Dimah-Normal, Badie-Falcon, Badiefont-Dima, Badiefont-Sabeel, SAHBA-NEW. All made between 1993 and 2003.
    • From MAK Alagha, Applied Graphic Arts: 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. All made in 1994-1995.
    • From Al-Hakami: AL-Dorrh, AL-Masaa, khalaad-AL-Dorrh.
    • From Applied Arabic Limited, 1994-1995: AXtADvertBoldCond, AXtAdvertMedItalic, AXtAdvertisingBold, AXtAdvertisingExtraBold, AXtAdvertisingLight, AXtAdvertisingMedium.
    • From Elias Designer: Ah-moharram-bold, Ah-moharram-light.
    • From Al-Hassoun: Al-Ekbariah-Font.
    • By Al-Amri (cracked, he says): Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam.
    • By Abdullah Naser Al-Mawash: Al-Mawash-Shatt-Al-Arab, Al-Rashed-Riyadh.
    • From Mohamed Amer: Al-Mwaheb4, Mohamedamer_Al-Salaf, Mohamedamer_EBN-ELNILE.
    • From Mohammed Al-Rashed ADV: Al-Rashed-Sayidty.
    • From Bassam Al-Mohammadi, Riyadh: Bassam-Ostorah (2000).
    • From Ali Ahmed Al Buainain: Boahmed-AlHarf-Bold (2005).
    • From Paradise Corp, 2000-2001: H_Esfahan, H_Sima.
    • From M. Hacen, 2006-2007: Hacen-Beirut-Heading, Hacen-Beirut-Light, Hacen-Beirut, Hacen-Casablanca-Heavy, Hacen-Casablanca-Light, Hacen-Casablanca, Hacen-Dalal-St, Hacen-Dalal-Text, Hacen-Dalal, Hacen-Digital-Arabia-LT, Hacen-Digital-Arabia-XL, Hacen-Digital-Arabia, Hacen-Egypt, Hacen-Extender-X-Slant, Hacen-Extender-X4-Deeper, Hacen-Extender-X4-Super-Fit, Hacen-Extender-X4, Hacen-Extender, Hacen-Freehand, Hacen-Jordan, Hacen-Lebanon, Hacen-Liner-Print-out-Light, Hacen-Liner-Print-out, Hacen-Liner-Screen-Bd, Hacen-Liner-Screen, Hacen-Liner-XL, Hacen-Liner-XXL, Hacen-Newspaper, Hacen-Promoter-Lt, Hacen-Promoter-Md, Hacen-Promoter, Hacen-Qatar, Hacen-Sahafa, Hacen-Samra-Lt, Hacen-Samra, Hacen-Saudi-Arabia-XL, Hacen-Saudi-Arabia, Hacen-Sudan-Bd, Hacen-Sudan, Hacen-Tehran, Hacen-Tunisia-Bold, Hacen-Tunisia-Lt, Hacen-Tunisia, Hacen-Typographer-Bold, Hacen-Typographer-Book, Hacen-Typographer-Heavy, Hacen-Typographer, Hacen-Vanilla-Ultra-Light, Hacen-Vanilla.
    • From Hesham Darweesh, 1993: Hesham-AlSharq-Normal-Traditional, Hesham-Bold, Hesham-Cortoba-Normal-Traditional, Hesham-Fostat-Normal-Traditional, Hesham-Free-Normal-Traditional, Hesham-Ghorn-Italic, Hesham-Gornata-Normal, Hesham-Kashkool-Normal-Traditional, Hesham-Kufi, Hesham-Nagham-Normal-Traditional, Hesham-Normal.
    • From Linotype: Isra-Regular, Isra-Thin-Regular (2006), Mariam-Linotype.
    • From Maleksoft Developer Co: K-Elham, K-Farnaz, K-Homa, K-Kamran, K-Nasim, K-Sina, K-Tabassom, K-Traffic.
    • By Silicon Soft for King Abdulaziz City for Science and Technology (KACST): KacstTitle (2002).
    • From Agfa Alawi Hashim Bafageeh: MCS-Haramain.-2000, MCS-Haramain.-Band-2000, 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, MCS-Hor-8-S_I-Normal-2000, MCS-Hor-8-S_U-Normal-2000, MCS-Tholoth-1-S_U-Normal-2000.
    • From Nawel: MO_Nawel.
    • From MARIA: Mahdi (2006).
    • From MJ farsi Fonts: Mj_Afaaq-Bold.
    • From Mohammad Al Shalfan in Riyadh: Mohammad-Bold-Normal (1996), Mohammad-Dawlat, Mohammad-Head, Mohammad-Naskh, khalaad-Dawlat.
    • From Motken in Riyadh: Motken-AL-Rafidain-Art, Motken-daeira, Motken-noqta-ii, Motken-noqta. All made in 2001.
    • From Hamoonsoft: Poolad-Bold, Poolad-Light, Poolad-Outline, all made in 2004.
    • From Fazlur Rahman Quraishi (at Shmookh Computer in Riyadh): 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. All dated 2001.
    • From Sakkal: Sakkal-Maya-Pro, Sakkal-Seta-Pro.
    • From Sultan Almaktari in Aden, Yemen: Sultan---3-LINE, Sultan---Aden1.
    • From Sinasoft: Zeytoon-Bold, Zeytoon.
    • From Bader Moftah El Jarow Misurata in Libya: bader_al-gordabia (2004).
    • From Majid Al-Otaibi: khalaad-Abeer, khalaad-Diala, khalaad-Hadeel, khalaad-Noora, khalaad-Sara, khalaad-Sima, khalaad-Susan, khalaad-Wafa, khalaad-al-arabeh-2.
    • From Khaled: ma3ali-aqsa.
    [Google] [More]  ⦿

    Oyghan

    Designer of the Uyghur fonts UKIJTuz-Bold, UKIJTuz, UKIJTuzBasma-Bold, UKIJTuzBasma, UKIJTuzGezit-Bold, UKIJTuzGezit, UKIJTuzKitab-Bold, UKIJTuzKitab, UKIJTuzNeqish, UKIJTuzQara-Bold, UKIJTuzQara, UKIJTuzTom, UKIJTuzTor-Bold, UKIJTuzTor at the Uyghur Computer Science Association in 2004. Download here. [Google] [More]  ⦿

    Padrnya Naik

    Graphic and type designer in Mumbai, who made the Latin display typeface Deputsa (2013), and custom typefaces Vodafone Urdu (2013, to match Vodafone Latin) and Virgin Mobile Gujarati (2013, for for Virgin Mobile India, to match the Virgin Mobile Distro font).

    Padrnya studied type design in the TypeMedia program at KABK in Den Haag, 2011-2012. Before that, in 2009, she graduated from Sir J. J. Institute of Applied Art, Mumbai.

    Her KABK graduation project in 2012 consisted of the development of Lehiya about which she writes: Lehiya is a Devanagari text typeface which is designed for extended reading in Hindi and Marathi. With a compact, squarish look, it is inspired primarily by the calligraphic style of old Jain manuscripts. [Google] [More]  ⦿

    Pahlavi alphabet

    From Encyclopaedia Britannica: Pahlavi also spelled Pehlevi, writing system of the Persian people from the 2nd century Bc until the advent of Islam (7th century AD); the Zoroastrian sacred book, the Avesta, is written in a variant of Pahlavi called Avestan. The Pahlavi alphabet developed from the Aramaic alphabet and occurred in at least three local varieties: northwestern, called Pahlavik, or Arsacid; southwestern, called Parsik, or Sasanian; and eastern. All were written from right to left. [Google] [More]  ⦿

    Pakistan Data Management Services
    [Mohammed Saleem]

    Karachi-based company. In 2007, they published a beautiful font specially designed for the Quran. Their announcement: akistan Data Management Services is pleased to announce the release of an OpenType Font for writing Holy Quran text based on Unicode standard. The font features high quality glyphs and has support for all aeraabs/mark placements at proper places. All waqfs (special symbols) used for identifying different pauses in reading are also provided. PDMS Saleem Quran Font provides advanced Arabic typography - close to calligraphy while retaining the beauty and legibility of Quran Majeed Arabic text. This font is developed according to rules used in Quranic calligraphy in Pakistan, following the style of Yameen Dehlvi, who is one of the finest Quran calligraphers of Pakistan. Guidance and calligraphy of basic glyphs for the font has been provided by Mr. Mohammed Saleem. He is a student of Mohammed Iqbal Saeed (founder of Dar-ul-Tehreer Academy), Yameen Dehlvi and Shafiq-uz-Zaman. Mohammed Saleem is inspired by work of Shafiq-uz-Zaman (master calligrapher for Masjid Nabbawi) and frequently consults him for guidance. Another Arabic font family, PDMS Jauhar, is a 1700-ligature Nastalkiq script type family costing 250 dollars. [Google] [More]  ⦿

    Pakistan Data Management services

    Creators of Arabic fonts such as PDMS_Saleem_QuranFont (2007). Download site. [Google] [More]  ⦿

    PakType - Pakistani Typography
    [Lateef Sagar Shaikh]

    Pakistani Typography or PakType is an open source project run by a group of volunteer designers and font developers for making Unicode based open source OpenType fonts supporting Arabic Script under the terms of the GNU GPL was published by the FSF. The project leader is Lateef Sagar. Free fonts include PakType Naqsh (2004: Glyphs designed by Umar Rashid and Lateef Sagar Shaikh. OTF made by Lateef Sagar Shaikh) and PakType Tehreer (2005: Glyphs designed by Mohammad Hanif. OTF made by Lateef Sagar Shaikh).

    MJ Talat anD MTR Talat can be downloaded from Open Font Library. [Google] [More]  ⦿

    Palmyrenian alphabet

    From Encyclopaedia Britannica: Semitic script used in Palmyra, a city on the trade routes between Syria and Mesopotamia, from the 3rd to the 2nd century BC until shortly after the conquest of the city by the Romans in AD 272. Developed from the Aramaic alphabet, Palmyric had 22 letters and was written from right to left. It occurred in two forms: a rounded, cursive form derived from Aramaic about 250 BC and a decorative monumental form. [Google] [More]  ⦿

    Paolo Daniele Corda

    Paolo Daniele Corda was born in Milan in 1975. He is currently operations room coordinator of the Central Briefing Office for the national air traffic services of northern Italy. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More]  ⦿

    ParaType

    The main digital type foundry from Russia. It also develops and distributes font oriented and localization software. Products include FastFont, a simple TrueType builder, ParaNoise, a builder for PostScript fonts with random contours, FontLab, a universal font editor and ScanFont, a font editor with scanning module. Random, customized fonts. Multilingual fonts including, Latin, Cyrillic, Arabic, Greek, Georgian and Hebrew fonts for Macintosh and Windows.

    Catalog. Designers. Alternate URL.

    Famous typefaces by Paratype include Academy, Pragmatica, Newton, Courier, Futura, Petersburg, Jakob, Kuenstler 480, ITC Studio Script, ITC Zapf Chancery, Amore CTT (2004, Fridman), Karolla, Inform, Hafiz (Arabic), Kolheti (Georgian), Benzion (Hebrew).

    The PT Sans, PT Serif and PT Mono families (2009-2012) are free. PT stands for Public Type. Another download site. PT Sans, for example, consists of PTSans-Bold, PTSans-BoldItalic, PTSans-Caption, PTSans-CaptionBold, PTSans-Italic, PTSans-Narrow, PTSans-NarrowBold, PTSans-Regular.

    Other free ParaType fonts include Courier Cyrillic, Pushkin (2005, handwriting font), and a complete font set for Cyrillic.

    Type designers include Vladimir Yefimov, Tagir Safayev, Lyubov Kuznetsova, Manvel Schmavonyan and Alexander Tarbeev.

    The history of the foundry as told by MyFonts: ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union all typeface development was concentrated in one rather small group which belonged to a state research institute, Polygraphmash. It had the most complete and in fact the only one collection of Cyrillic typefaces. The collection included revivals of Cyrillic typefaces developed by Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg and artworks of Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType. In the beginning of 1998 ParaType was separated from the parent company and established two companies: ParaType Inc. in California and ParaType, Ltd. in Russia that inherited typefaces and font software from ParaGraph. Both companies are directed by Emil Yakupov, former head of the font department of ParaGraph. The main directions of ParaType design are: i) new original typefaces for the Russian design and publishing community; ii) revivals of historical Russian typefaces; iii) Cyrillic extensions of the best of Latin typefaces. They continue with this description of the 370+ library: The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty face to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType also excels in adding Cyrillic characters to existing Latin typefaces -- if your company is ever going to do business with Eastern Europe, you should make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, and Zapf Elliptical 711.

    Finally, ParaType offers a handwriting font service out of its office in Saratoga, CA: 120 dollars a shot.

    View the ParaType typeface library. Another view of the ParaType typeface collection. [Google] [MyFonts] [More]  ⦿

    Paria Alizadeh

    At the University for the Creative Arts in London, Paria Alizadeh created an Arabic typeface in 2014. [Google] [More]  ⦿

    Parsfont

    Iranian font designer who has made 30 Arabic fonts thus far. He works as a font designer for Hamoonsoft. His fonts: PF Bardia, PF Rojan, PF Khass, PF Paliz, PF FarzanehBold, PF Farzaneh, PF Form, PF Barbod, PF IranNastalig, PF Logo, PF Graphic, PF Graph, PF Kufa, PF Mohaghegh, PF Symbol Tablo, PF Typo. He also does custom font and logo work. [Google] [More]  ⦿

    Parsfont
    [Hossein Zahedi]

    Hossein Zahedi runs Parsfont in Tehran. In 2007-2008 he designed the Unicode-ready Farsi font IranNastaliq, a free typeface owned by scict.ir. At Parsfont, we can download Mola, and IranNastaliq for free. His commercial Arabic faces include Paliz, Khass, Faraz, Form, Kufa, Bardla, Barbod, Narin, Rojan, Zar, IranNastaliq (full version), ShekastehNastaliq, and Farzaneh. Scans: i, ii, ii. [Google] [More]  ⦿

    ParsNegar

    Free Win95, Win3 utility for right-to-left scripts, contextual analysis. [Google] [More]  ⦿

    Pasant Elhadary

    Dubai-based designer of the decorative Latin / Arabic typeface Alphabeast (2013). [Google] [More]  ⦿

    Pascal Naji Zoghbi
    [29 Letters]

    [More]  ⦿

    Paul Khera

    Author of the article Abbar: building bridges (Eye Magazine, 2003), about Arabic type. [Google] [More]  ⦿

    Paul Nelson

    Developer at Microsoft who specializes in Arabic and other complex scripts. Designer with George Kiraz of the Syriac font EstrangeloEdessa (2000, Syriac Computing Institute). This font was used in the Unicode charts. Winner with Mamoun Sakkal and John Hudson at the TDC2 2003 competition for Arabictype. See also here.

    OFL link. [Google] [More]  ⦿

    Paulo Coelho

    A free Arabic truetype font, Yekan-Iran-System (Hussein Ebrahimy, Hamoon Soft, 1997). [Google] [More]  ⦿

    Payal Juthani
    [Gandhiji Font]

    [More]  ⦿

    Paymaan Jafari Taayameh

    Tehran-based computer engineer who runs Paymaan Advanced Technologies. At his old site, you can find Amiga bitmap and scalable fonts for Farsi. [Google] [More]  ⦿

    Penguin Cube
    [Nadine Kobayter]

    Penguin Cube seems to be a design studio in Lebanon that serves the Middle Eat since about 2004. One of its people, Nadine Kobayter, designed the dingbat face Stereotype-wkg30 (2010). [Google] [More]  ⦿

    Persian Calligraphy by Yadolah Kaboly-Khansari

    Gorgeous Nastalique writing. [Google] [More]  ⦿

    Persian Fonts

    Persian/Arabic font archive (includes some Latin types too): 1-2-3GO!, 1942report, 2006Team, 28-Days-Later, 4YEOmonstrum, AF_Hijaz-Normal, AGA-Arabesque, AardvarkCafe, Abbey-Medium-Extended, AccentWetNoodle, AceCrikey, AdineKirnberg-Script, AdventureNormal, AmpedForEvil, AngloText, AnimeAce2.0BB-Bold, AntraxjaGoth1938, Aram, BAria, BKaveh, BMajidShadow, BMoj, BSooreh, BaadkonakBold, Babycakes, BadaBoomBB, BasicFont, BasicFont, Bubblegums, BudHand, Catull-Regular, Class1Bold, CocaineSans, DaisyScript, Dali, Daniel, DanielBold, Dark11, Dart, DeniseSans, DinosaurJrPlane, Doctor, El&Font!Brush, Electronics-Regular, Folks-Bold, Folks-Light, Folks-Normal, FolksShades, Forelle, FrancophilSans-Bold, FrancophilSans, FreakoutGobananasNormal, Gilgongo, GilgongoSledge, Godfather, HusseiniMazar, JadidBold, Jalal, JalalBold, JaridahItalic, Karim, KarimBold, LokiCola, LotusBold, LotusNormal, MagicSchoolTwo, Miltown, MitraNormal, Mj-__-Tikeh, Modern, MonotypeKoufi-Bold, NASTNormal, NasimBold, NazaninBold, New_1, NokianvirallinenkirjasinREGULAR-Regular, Paatch, PlainBlack-Normal, RingbearerMedium, SFMoviePoster-Bold, SFMoviePoster-BoldOblique, SFMoviePoster, SFMoviePosterCondensed-BoldOblique, SFMoviePosterCondensed-Oblique, SFMoviePosterCondensed, SFWillamette-Bold, SFWillamette-BoldItalic, SFWillamette-Italic, SFWillamette, SFWillametteExtended-Bold, SFWillametteExtended-BoldItalic, SFWillametteExtended-Italic, SFWillametteExtended, S_ALYERMOOK, S_AMEEN, S_HANI, S_KHALID, S_OUHOD, S_SHMOOKH-01, S_TARABLUS, Schrift, ShafighMazar, SinaBold, Steelfish-Bold, Steelfish, SteelfishOutline, TitrBold, Traditional-Arabic, WaltDisneyScriptv4.1, XAndalus, XArabic, XAria, XMoj, XmasTerpieceSwashes, YasminBold, ZarBold, ZarNormal, ZenFraxFreestyleCondensed, Zenda, ZendaEmbossed, Zrnic, a-bug's-life, bubble, delarge-marker-pen, el&fontgohtic!, pHallsKamand, pHallsKhodkar, pHallsTannaz, soroush, suede. [Google] [More]  ⦿

    Persian Fonts

    About ten free Farsi truetype fonts: Nasim (by Aidin Tavakkol, Rostam, Sepehr and Yekta (Monotype), and WEB_Yazd (from The Apadana Farsi WEB Fonts Collection by John Yaralian). Also, Web Rostam, Web Thulth, Web Trafic, Iran System Navid. [Google] [More]  ⦿

    Persian Halls

    Designers of the Persian fonts pHalls Kamand (2005), pHalls Khodkar (2005), pHalls Tannaz (2005), which can be found here and here. [Google] [More]  ⦿

    Persian internet Tools

    Some Persian fonts can be downloaded here: Forouzan, and Khorshid, both by Eastern Languages design (1996). PC and Mac. [Google] [More]  ⦿

    Peter Bilak
    [Typotheque]

    [MyFonts] [More]  ⦿

    Peter R. Wilson
    [archaic]

    [More]  ⦿

    Peter Wiegel
    [CAT Design Wolgast]

    [More]  ⦿

    Philip Kelly

    Type designer who runs Philip Kelly Digital Design in the UK. He worked for Letraset from 1959-1994 as a type designer. His type design work there included Arabic and Hebrew letterforms. From 1994-1997, he designed typefaces at Signus, and became an independent designer in 1997. His typefaces:

    • Codesigner with Mike Daines of the well-known University Roman (1972, Letraset), which is now offered in a myriad of digital libraries, such as Scangraphic, where it is called University SH.
    • Gillies Gothic Extra Bold Shaded (1982).
    • Cortez (1977). An exaggerated flashy copperplate.
    • Pump EF (1980). This family has rounded simple letterforms including a triline style.
    • Croissant (1978, ITC or Elsner+Flake). Rounded and almost an oriental simulation face. See Croissant SH at Scangraphic).
    • The often copied Algerian (1988). See, e.g., Algerian SB.
    • Emporium (Letraset). A circus font.
    • Spritzer (1987, Letraset). A shadowed face.
    • Impress (1983, Letraset).
    • Sendai (2010). A gracious copperplate-influenced 6-weight sans family.
    • Fantail (2012). An arts and crafts style all caps face inspired by an RO monogram used during a Roy Orbison concert at the now defunct Cocoanut Grove nightclub in Los Angeles.
    • Elan Greek and Elan Cyrillic to match ITC Elan (1985, Albert Boton).
    • Elegant hand-drawn numeral typefaces based on calligraphic samples by illustrator Sarah Jane Coleman (2009).
    • The italics for IR Modena (IR stands for Inland Revenue).
    • Calligraphic typefaces done for Mandalay in 2009.
    • Sendai (2001-2010).

    Linotype link. FontShop link. Klingspor link. Portfolio. Testiminial of Kelly's days at Letraset. [Google] [MyFonts] [More]  ⦿

    Phontografics

    100-font Swedish archive. Has an Arabic shareware font section. In the Asian font section, grab Arakawa (katakana), and a few far-from-complete Chinese fonts. [Google] [More]  ⦿

    Pilar Cano
    [Letterjuice]

    [MyFonts] [More]  ⦿

    Protimient.com
    [Ben Jones]

    Ben Jones (b. 1980, Buckinhamshire, UK) is a student of typography and graphic communication in Reading (2000-2004). He got his Masters in Typeface Design from the University of Reading in 2011. MyFonts link for Protimient.

    His typefaces:

    • a href="http://www.myfonts.com/fonts/protimient/billingsley/">Billingsley (2005, Protimient: a script based mainly on a writing specimen of the penman Martin Billingsley, originally published in 1618).
    • Buxus (2005, T26: a shaded display family).
    • Cale (2004).
    • Caligne (2004), Caligne Sans (2004).
    • Clarence (2007) is a sturdy 2-style serif family.
    • Eksja (2009) is a humanist slab serif family which to me feels a lot like a sans family---the slabs added as an afterthought.
    • Emrys (2011) is his graduation typeface at Reading: Emrys is a modulated sans face for scripts including Latin, Greek, Armenian, Arabic and Cyrillic. Emrys won Third Prize at Granshan 2011.
    • Gilibert (2005, T-26, a decorative didone face).
    • Greenwood (2006, Protimient: a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904).
    • ModernModern (2004, Protimient: a squarish didone).
    • Nosta (2006, a nice modern text family).
    • NotanuthaSerif1 (2005, text face; see also here).
    • Pasquinade (2005, blackletter).
    • Stobart (2006) is a script font based on the characters written in a letter by Henry Stobart, dated 1899. It is an Opentype handwriting face with 1200 glyphs with heavy character substitution.
    • Travis (2005, Protimient: a legible sans family).

    Klingspor link.

    View Ben Jones's typefaces. [Google] [MyFonts] [More]  ⦿

    Psychonomicon Library

    Archive with fonts for Hebrew, Greek, alchemy, Persian, Sanskrit, Coptic and runes. [Google] [More]  ⦿

    Qassim Haider

    Designer of the Adhari Park Fonts (2010), an Arabic type family. [Google] [More]  ⦿

    QHS Soft

    An interesting outfit. Listed as being from Pirmam (or Permam) in Kurdistan, and from FLK, they "made" some Latin fonts by renaming them. I provide a "translation list" below. List: the Arabic script fonts QHS-Arabic-lettersB, QHS-Arabic-letters_A,, and the Latin fonts QHS Arabic lettersB (Bookman Old Style Regular), QHS Arabic letters_A (Bookman Old Style Regular), QHS Arial Narrow (Arial Narrow Regular), QHS Avista One (TrafficITC-Normal), QHS Avista two (URW:AlgerianBasD:1994), QHS Bihzany One (ITC Pioneer, Decorated 081), QHS Bihzany Two (Snell Bold, English 401), QHS Bookman Old Style (Bookman Old Style Regular), QHS Lalish One (Amelia, Computer 651), QHS Lalish Three (Bertram LET Plain), QHS Lalish two (ITC Bauhaus Bold, Geometric 752), QHS Lucida Handwriting (Lucida Handwriting Italic), QHS Nadejda (Wedding Text, Blackletter 681), QHS Times (Monotype: Times New Roman Regular), QHS Zeradesht One (QuicksilverITC-Normal), QHS Zeradesht One (URW:BuxomD:1994), QHS Zeradesht Three (Hazel LET Plain), QHS Zeradesht Two (URW:CroissantD). [Google] [More]  ⦿

    Quran Standard

    The Quran Standard truetype font, by Micro Systems International (1994). [Google] [More]  ⦿

    Rahmi Tura

    Designer of some Arabic fonts such as Quran (2012, Hizmet Vakfi Naskh, Ottoman Typ) and Evrad (Bulaq Press, Ottoman Type Naskh) (2012). [Google] [More]  ⦿

    Ramdaoui

    Berber fonts. From Dar Al-Computer (1995): Amazigh Standard, AmazighEtenduPS, Amazigh-Sahafa, Amazigh-Sahafi, Amazigh Jarida. From Djamel Bouaziz, a rune font, Tifina (1993). From Monotype, TimesAmazighPS. [Google] [More]  ⦿

    Rami Hoballah

    Designer in Hawalli, Kuwait. Creator of the calligraphic Arabic typeface Muhammad (2012), which includes outlined, shadow and 3d versions.

    In 2013, he created the Latin typeface Pills. In 2014, he created the Latin typeface Folded Paper and the calkligraphic typeface Aramisque. [Google] [More]  ⦿

    Ramna

    A free Pashto font (2000). [Google] [More]  ⦿

    Ramzi Ibrahim

    Art director in Beirut. His type family Exquisite (2011) started out from Latin letters and developed an Arabic family from those roots. [Google] [More]  ⦿

    Ramzi2005

    Creator of Arabic Font 2013 and Arabic R 2013. [Google] [More]  ⦿

    Rana Abou Rjeily

    Codesigner with Mourad Boutros of Boutros Maghribi (2009), a font family based on the Arabic calligraphy bamboo classical Maghribi style. [Google] [More]  ⦿

    Rana Bulbul

    Rana Bulbul (Beirut) created the DNA typeface for Latin and Arabic in 2012. It is based on the structure of DNA. Rana also drew the experimental typeface Fuse 2 Use (2012, a circuit board font for Latin and Arabic). [Google] [More]  ⦿

    Randa Abdel Baki

    Randa Abdel Baki is a scholar, graphic designer and artist, currently living in Beirut. She chairs the Graphic Design Department and is an Assistant Professor at Lebanese American University. Among the courses she teaches are Intro to Typography and Advanced Typography classes with an emphasis on Arabic type and layout design. Currently, her interest is on highlighting successful bilingual compositional methods, solving the challenges of Arabic and Latin bilingual type layouts. Speaker at ATypI 2010 in Dublin where she explained bilingual (Latin&Arabic) layout systems. [Google] [More]  ⦿

    Raneem Ghourab

    During her studies at the German University in Cairo, Raneem Ghourab created several typefaces such as Araben (2013, an Arabic simulation face with a brushy feel), Yadour (2013, Arabic) and Construct (2013, a Latin/Arabic techno face). [Google] [More]  ⦿

    Rawan Hammad

    Khobar, Saudi Arabia-based designer of Arabic Greeky (2014). [Google] [More]  ⦿

    Rayan Abdullah

    Type designer (b. 1957, Mosul, Iraq) who took part in the Linotype International Type design Contest in 2000 and lives in Germany, where he set up Markenbau in 2000. Author (with Roger Hübner) of Pictograms and Icons (2005, Herman Schmitz, Mainz) and Arabische Schriftkunst (1993, Hochschule der Künste Berlin). [Google] [More]  ⦿

    RedleX

    Free Farsi and Arabic fonts by Borna Rayaneh, SinaSoft and MacFarsi. This is also a page with font links for a variety of languages. [Google] [More]  ⦿

    Reza Abedini

    Contemporary Teheran-based designer who has explored and expanded the possibilities of Farsi typography. He composes text into figures, posters and paintings. Speaker at ATypI 2010 in Dublin. [Google] [More]  ⦿

    Reza Arani
    [Majlis Research Center]

    [More]  ⦿

    Reza Bakhtiarifard

    Graphic designer in Tehran, Iran. Creator of the nine weight Arabic / Persian typeface Milad (2013). [Google] [More]  ⦿

    Richard J. Dumbrill
    [Music of the Ancient Near East]

    [More]  ⦿

    Richard Weltz

    From the TDC web site: After several years as an advertising agency copywriter and account executive, Dick joined his family's advertising typography firm, and has been involved in typeshop management ever since - working his way over some four decades through all the technology changes from hot metal to today's Postscript. He served as President of Typographers International Association, is the author of dozens of published articles on the typographic business, and has presented seminars to typographic groups in many cities around the country and abroad. Over time, Dick narrowed his efforts to the field of foreign language typography and translation and now heads up the New York City firm, Spectrum Multilanguage Communications. While not laying claim to being a typeface designer by vocation, several Arabic fonts Dick designed were licensed and produced by Berthold; and a number of others were marketed by VGC as fonts for the PhotoTypositor. Dick holds a degree in Public and International Affairs from the Woodrow Wilson School, Princeton University. [Google] [More]  ⦿

    Riham Hassan

    At the Academie Libanaise des Beaux Arts in Beirut, Riham Hassan created the decorative caps typeface Poison (2014, Latin and Arabic), Arabic Flotsam (2014), and the textured Latin typeface Scribble Type (2014). [Google] [More]  ⦿

    Riwaj

    Riwaj is a unicode-compliant Arabic font. Free at this site. [Google] [More]  ⦿

    Robert Slimbach

    After a start at Autologic in Newbury Park in 1983, this prolific American master craftsman (b. Evanston, IL, 1956) helped pioneer digital type design at Adobe (which he joined in 1987) and created

    • ITC Slimbach (1987).
    • ITC Giovanni Book (1988).
    • Adobe Garamond (1989-1991): A bit of the history of Adobe Garamond revealed.
    • Adobe Jenson (1996).
    • Utopia (1989-1991) [the Utopia Opticals were released in 2002].
    • Minion (1990-1991): Minion was first released in 1990, and became later the first Adobe Opentype font. It has support for Greek and Cyrillic, including polytonic Greek. Minion Cyrillic is from 1992.
    • Myriad (1992, with Carol Twombly). Myriad Arabic and Myriad Hebrew were first published in 2011.
    • Poetica (1992). In 2010, Paulo Heitlinger compared Poetica, in its smooth perfection, with P22 Operina, which is closer to the original chancery models of the 20th century, and he thinks Poetica lacks the vigor and dynamism of the originals (and P22 Operina does not).
    • Sanvito (1993).
    • Caflisch Script (1993, not my favorite script).
    • Cronos (1996). Image by Jamie Groenestein). modeled after Kuester's Today Sans. Image of Cronos Pro Display.
    • Kepler (1996).
    • Warnock Pro (2000), which won an award at the Type Directors Club (TDC2) 2001 competition.
    • Brioso (2002). A calligraphic/renaissance family comprised of over 40,000 glyphs. Images of Brioso: A poster by Kristina Reinholds, a poster by Nick di Stefano.
    • Garamond Premier Pro (2005), based on originals found in the Plantin Museum in Antwerp. Weights include GaramondPremPro-BdItalic, GaramondPremPro-Bold GaramondPremPro-Italic, GaramondPremPro-Medium, GaramondPremPro-MediumIt, GaramondPremPro-Regular, GaramondPremPro-SbIt, GaramondPremPro-Semibold. Greek, Latin and Cyrillic are covered.
    • Arno Pro (2007: typophile discussion) is in the style of Adobe Jenson. Review by Typographica Thomas Phinney: Arno is what you might call a modernized Venetian oldstyle. I think of it as having the same relationship to Adobe Jenson that Minion has to Garamond Premier.
    • Adobe Clean (2009). David Lemon: After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it has been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There is no plan to make it available for licensing, but you will be seeing more of it in Adobe materials and products as time goes on. Our initial question was "Why not just keep using Myriad Pro and Minion Pro?" These faces were designed to be timeless, and they are among our most popular families. But that second part points to the catch in this situation: Myriad, in particular, is used to represent many other companies, including businesses close to Adobe's (such as Apple and Verizon). Adobe wanted a fresh look that could remain unique. While some typeface designers do much of their work for corporate clients, this area was new to us. Robert&I met with the leaders of Adobe's Experience Design and Brand teams to develop a design brief. They wanted a 21st-century feel combined with an earnest readability. As the project grew, Christopher Slye led regular follow-up meetings with the client teams to keep them up to date and tease more input out of them. Robert's accustomed to aiming his work at the more general case, so it was an interesting challenge to have a very specific set of design goals. What he produced is as classic as all his other designs, but with an uncharacteristic blend of contemporary touches for on-screen rendering and a more progressive feel. More scans: i, ii, iii, iv.
    • Adobe Text (2010), a transitional family included in the standard font set for Adobe Creative Suite 5.
    • Trajan Pro 3 (2011, with Carol Twombly) and Trajan Sans (2011). The Trajan Sans family comprises six weights, ranging from Extra Light to Black (matching the weight range in Trajan Pro 3), with language coverage for Pan-European Latin, Cyrillic, and Greek. Maxim Zhukov advised on the design of the Cyrillic portion of the family, and Gerry Leonidas advised on the Greek, while Frank Grießhammer provided technical production support.

    For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.

    View Robert Slimbach's typefaces. [Google] [MyFonts] [More]  ⦿

    Roozbeh Pournader
    [FarsiWeb (or: Sharif FarsiWeb Inc)]

    [More]  ⦿

    Rosetta Type Foundry

    Rosetta is an independent foundry, set up in 2011 by David Brezina, José Scaglione and Veronika Burian, with a strong focus on multi-script typography. It is headquartered in Brno, Czechia. Other designers include Amélie Bonet and Titus Nemeth. They specialize in multilingual typefaces.

    Fonts at the time of the start-up include Aisha (Titus Nemeth: Arabic, Latin), Maiola (Cyrillic, Greek, Latin), Nassim (Arabic, Latin), Roxane (Devanagari, Latin), and Skolar (Cyrillic, Greek, Latin, Gujarati).

    In 2011, they published Neacademia (by Sergei Egorov). Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.

    In 2012, Arek (Latin/Armenian) by Khajag Apelian was published by Rosetta Type Foundry.

    Interview by MyFonts. [Google] [MyFonts] [More]  ⦿

    Roxanne Zalloum

    Graphic designer in London, who created the blackletter typeface Schrift (2013), which has ball terminals on some glyphs. She also made Eyeless (2013) and Shourook (2013, an Arabic typeface). [Google] [More]  ⦿

    Rozina Maki

    Gilgit, Pakistan-based creator of a Burushaski language font (2014) in a thesis project. [Google] [More]  ⦿

    Ruh Al-Alam

    London-based designer of an Arabic Didot typeface in 2013. Behance link. [Google] [More]  ⦿

    Rumi Gallery Persian Calligraphy

    Iranian calligrapher Ali Rouhfar at work. [Google] [More]  ⦿

    Saad Dean Abulhab
    [Arabetics]

    [MyFonts] [More]  ⦿

    Sacha Rein

    Designer of Aldo (2005) and Spastika (2006, octagonal) at the Trypo foundry in Brussels, which he set up with Gilles Pegel in 2005. Both graduated in 2005 from the ERG (Ecole de Recherche Graphique Brussels) and were born in Luxembourg. In 2006, he created the dot matrix-style face Calix (free), which is inspired by Arabic culture and pixel grids. It was intended for a cybercafe named prog, located at La Maison du Citoyen, Schaerbeek, Brussels. Alternate URL. [Google] [More]  ⦿

    Sadiqnet

    The Arabic font SADIQNET (2001). [Google] [More]  ⦿

    Saed Feizy

    Designer at AreanGraphics (Esfahan, Iran) of Arab and Farsi truetype fonts. [Google] [More]  ⦿

    Sahil Online

    Urdu font archive: Nafees Nastaleeq, UL Sajid Heading, Nafees Web, Nafees Naskh. [Google] [More]  ⦿

    Sakhr Software

    Font package: Al-Khatout Al-Haditha ($30) offers 53 true type fonts, plus shading, shadow, and outlined styles. For more information, contact Digitek at 180033sakhr or fax 7038830137. [Google] [More]  ⦿

    Sakkal Design

    Arabic calligraphy pages by Mamoun Sakkal, an award winning architect and designer, born in Aleppo, Syria. Recommended visit. Has particularly nice description of the cursive styles like Naskh, Thuluth, Muhaqqaq, Nastaliq, and riq'a. Mamoun Sakkal's company touches on every aspect of Arab calligraphy and design. Calligraphy and font services. DecoType Professional Naskh (31 truetupe fonts, available in Word 6.0 for Windows). Sakkal lectures on Islamic art and architecture at the University of Washington. [Google] [More]  ⦿

    Saleh Al-Kharashi
    [Saleh Al-Kharashi Arabic Fonts]

    [More]  ⦿

    Saleh Al-Kharashi Arabic Fonts
    [Saleh Al-Kharashi]

    Designers of the Arabic fonts Al-Kharashi 52 (1993, based on AF_Hijaz-Normal), Al-Kharashi 65 (1993, based on JaridahItalic; said to have been done by Hisham Diab and Hassan Loutfy), Al-Kharashi 66 Koufi (1993, maybe a copy of Monotype Koufi Bold) and Al-Kharashi 20 (1993), which can be found here. [Google] [More]  ⦿

    Salehi

    Free truetype fonts created for Persian Windows by "EveryBody": BadrNormalPS, CompsetNormalPS (1998). [Google] [More]  ⦿

    Salem Al-Qassimi

    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]  ⦿

    Sally Alzaza

    Dubai and damascus-based calligrapher and graphic designer who hand-drew some promising alphabets, such as this blackletter set and this calligraphic beauty.

    In 2012, she drew the Arabic display typeface Zaza.

    Home page. [Google] [More]  ⦿

    Sam Arts IDG

    Creators of the Arabic script font Sambad (2001). [Google] [More]  ⦿

    Sam Siavash Anvari

    MFA graphic design student at OTIS College of Art and Design. Speaker at ATypI 2010 in Dublin, where he addressed the topic of the emergence of a sub language called P-English by which chat and email users utilize Roman English characters to convey messages in Persian language. This led him and Spiekermann to design appropriate OpenType faces with smart glyph replacements. Sam lives in Los Angeles. [Google] [More]  ⦿

    Samion

    Free Arabic fonts: MCS-Abha-S_I-curve., MCS-Abha-S_U-curve., MCS-Diwani0-S_U-normal., MCS-Diwany1-E_I-normal., MCS-Jeddah-E_U-3d., MCS-Jeddah-S_U-3d., MCS-Jeddah-S_U-curve., MCS-Kofi-E_U-normal., MCS-Mamloky-S_I-adorned., MCS-Kufy-madany-S_U-normal., MCS-Diwany1-S_I-adorned., MCS-Modern-S_U-normal., MCS-Ophor-S_U-normal., MCS-Omalgora-S_I-adorned., MCS-Taif-E_I-3d., MCS-Basmalah-italic., MCS-Basmalah-normal. [Google] [More]  ⦿

    Sanaa Rahman

    Doha, Qatar-based designer of the simple Arabic font Nayya (2013).

    Behance link. [Google] [More]  ⦿

    Santhosh Thottingal

    Palakkad, Kerala-based computer scientist. He is responsible for Autonym Font (2013). He explains: A font that can render all language autonyms. If we want to show a large number of languages written in their own scripts (autonyms), we cannot apply the usual webfonts to it. This is because when each script requires a webfont, we will end up using a large number of webfonts. This can cause large bandwidth usage. An example of this use case is a language selector on a website. Autonym font tries to solve this. The font contains glyphs and opentype rules for rendering the language autonyms. And it contains only those glyphs for a language. The glyphs for the font are taken from a large number of free licensed fonts.

    The sources for the glyphs, by language, are:

    • Main: FreeSans.
    • Arabic: Droid Arabic Naskh
    • Tibetan: Jomolhari
    • Bengali: Lohit Bengali
    • Telugu: Lohit Telugu
    • Tamil: Meera Tamil
    • Odia: Lohit Odia
    • Malayalam: Meera
    • Kannada: Lohit Kannada
    • Gujarati: Lohit Gujarati
    • Devangari: Lohit Devangari
    • Khmer: Hanuman
    • Thai: Droid Sans Thai
    • Chinese: WenQuanYiMicroHei
    • Lao: Phetsarath
    • Divehi: FreeFontThaana
    • Javanese: TuladhaJejeg
    • Myanmar: TharLon

    Open Font Library link. [Google] [More]  ⦿

    Sara Elsayaad

    During her graphic design studies in Cairo, Sara Elsayaad created Float (2013, a brush face for Latin), Shams (2013, an Arabic typeface) and Egyptienne Ultra Light (2013, a Latin / Arabic typeface). She also published Cairo Pictograms (2013) as a proposal for Cairo's subway. [Google] [More]  ⦿

    Sara El Shamy

    Cairo-based graphic designer who created an unnamed Arabic typeface in 2013. [Google] [More]  ⦿

    Sarah Abdallah

    Sharjah, UAE-based designer of a hand-drawn Latin / Arabic typeface in 2014. [Google] [More]  ⦿

    Sarah Anwar

    Cairo-based creator of an untitled Arabic typeface in 2013. [Google] [More]  ⦿

    Sarah Gebril

    Cairo-based graphic designer who created a stylish Arabic display typeface called Nouveau Arabic (2013). She also made Consolas Arabic (2013), an Arabic version of Lucas de Groot's Consolas. [Google] [More]  ⦿

    Sarah Mossallam

    During her graphic design studies in Cairo, Sarah Mossallam created the blocky Arabic typeface Rozma (2014) and the DIN Pictogram Set (2013). In 2013, she created an Arabic extension of the Titillium font. [Google] [More]  ⦿

    Saria Iqbal Qureshi

    During her graphic design studies in Karachi, Pakistan, Saria Iqbal Qureshi created a geometric Urdu typeface called Khatt (2013). [Google] [More]  ⦿

    Sean Moldenhauer
    [Art and Fonts by Sean (aka The BlackBox)]

    [More]  ⦿

    Sebastian Losch

    German type designer, who created the informal bouncy sans face Jolly in 2011.

    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. [Google] [MyFonts] [More]  ⦿

    Shahab Siavash

    Iranian graphic designer who dabbles in experimental Arabic type design. One of his types is called Nasim Distorted.

    Behance link. [Google] [More]  ⦿

    Shahab Siavash

    Iranian designer (from Rasht) of an Arabic grunge face (2009). He is a type and graphic designer there who has made over 30 fonts, including ReZar. Behance link. [Google] [More]  ⦿

    Shahad AlAsfour

    Student in Kuweit. Pure geometry (circles and lines) and a rigorous design process led to Shahad AlAsfour's Turns of a Tensile Typeface (2012) for Latin and Arabic. [Google] [More]  ⦿

    Shahrvand Font

    A two-weight TrueType Arabic font family called Shahrvand, by Eastern Languages. Free. [Google] [More]  ⦿

    Shamel Net

    A Latin font archive, and a substantial Arabic font archive. [Google] [More]  ⦿

    Shapour

    Free OFL typeface for Pahlavi (Middle Persian). The designer is "behaafarid". OFL link. [Google] [More]  ⦿

    Shariati

    A free Farsi truetype font. [Google] [More]  ⦿

    Shaun Astarabadi
    [Karbala font]

    [More]  ⦿

    Shawkat Abed-Alazeez Kuger

    Designer of the Arabic and Kurdish fonts AF_DeyarBaker-KurdishMNB, AF_Diwany-Kurdish-MNB, AF_Diwany-MNB, AF_Dohuk-Kurdish-MNB, AF_Dohuk-MNB, AF_Halabja-KurdishMNB, AF_Hijaz-Normal, AF_Jeddah-Normal-Traditional, AF_Jizan-Normal-Traditional, AF_Najed-Kurdi, AF_Najed-Normal-Traditional, Kurdi-_shiva-Kure, Zanest-_Arabic-Dyar-Bakr, AF_Nakesh-KurdishMNB, AF_Quseem-Normal-Traditional, AF_Riyadh-Normal-Traditional, AF_Tabook-Normal-Traditional, AF_Tholoth-Normal-Traditional, AF_Unizah-Normal-Traditional, AF_Halabja-KurdihsMNB, Zanest-_-Ghlbish, AF_Unziq-KurdishMNB, from 1993-1997. [Google] [More]  ⦿

    Shehzad Ali
    [Urdu Nastaliq Unicode]

    [More]  ⦿

    Shehzad Ali&Tabish

    Developers of UrduNastaliqUnicode (2002), a Windows True-Type Urdu font which uses Unicode Arabic coding. In the public domain. Home page. [Google] [More]  ⦿

    Sherif Ghoname

    Digital artist from Cairo who made Psycho Typo (2011), a calligraphic Arabic lettering piece. [Google] [More]  ⦿

    Shiasearch

    This Arabic font archive has fonts from Sinasoft: Zar (1997), Yagut (1997), Homa (1995). We also find Aalf (1998, International Systems Consultancy), Ghadir, Koodak Mazar (1993, Glyph Systems), SADIQNET (2001), Sepehr (1996, Monotype), and Traditional Arabic (1990, Agfa). [Google] [More]  ⦿

    Shiree Williamson

    Tel Aviv-based designer of a set of Arabic / Hebrew icons and a Hebrew typeface in 2013. [Google] [More]  ⦿

    Shirine Kazan

    Beirut, Lebanon-based designer of the wire-inspired Latin / Arabic typeface Msharbak (2014). [Google] [More]  ⦿

    SilverSoft International

    Karachi-based group which is working on the very scripty Urdu font Rana. [Google] [More]  ⦿

    Simon Hanna

    Simon Hanna (Beirut, and/or Doha, Qatar) created Warrior, an Arabic typeface, and Wonder Circles (2013). [Google] [More]  ⦿

    Sina Dadras

    Designer of the Persian font Sin-Titr-Bold (1997). [Google] [More]  ⦿

    SinaSoft

    Arabic font maker. Badr (1997), Homa (1997) and Zar (1997) are here. This page has MitraBold, MitraNormal, NazaninBold, NazaninNormal, YagutBold, YagutNormal, ZarBold, ZarNormal, all made in 1997. The fonts Aram, BaadkonakBold, Class1Bold, JadidBold (1997), Jalal (2002), JalalBold (2002), Karim (2002), KarimBold (2002), LotusBold (1997), LotusNormal (1997), MitraNormal (1997), Modern (2002), NASTNormal (1997), NasimBold (1997), NazaninBold (1997), Paatch (2002), SinaBold (1997), TitrBold (1997), YasminBold (2002), ZarBold, ZarNormal are here. RedleX carries these: Kamran-Bold, Kamran-Normal, Nazanin-Bold, Nazanin-Normal. [Google] [More]  ⦿

    Software Ignegneria

    Italian site which offers a free Courier face: CourNewIngeSoft. This has Greek, Arabic, Cyrillic and East-European blocks of glyphs. [Google] [More]  ⦿

    Sogdian

    I quote: "The Sogdian language belongs to the eastern group of the middle iranian languages, along with Sacian, or Saka (spoken in Khotan, China), Bactrian (spoken in present-day Afghanistan) and Chorasmian (spoken in present-day Northern Uzbekistan). It was originally spoken in Sogdiana, a historical region situated around Samarkand. Other languages of this group are Avestan in the old times and Pashto and Ossetian in the modern times. In the first millennium A.D. it has served as a lingua franca of Central Asia, and it was used both as a means of oral communication and for written purposes, in fact since the beginning of the XX century many excavations have brought to light numberless documents composed in this language, that testify its outmost importance and diffusion in that area. It was a literary language for Buddhism in Central Asia, but also for Nestorian Christianism and Manichaeism. This language has not died out after its decadence, but it has evolved into the Yaghnobi language, spoken in Tajikistan by a few thousand people, and it has been replaced as a cultural language by Persian, a western iranian language." See also here. [Google] [More]  ⦿

    Sonia da Rocha
    [Media Type Foundry]

    [More]  ⦿

    Soroush Abbassi

    Designer of the Persian font soroush (2006), which can be found here. [Google] [More]  ⦿

    South Asia Language Resource Center (SALRC)

    Based at the University of Chicago, links and suggestions for free fonts are given for Urdu (and Baluchi, Brahui, Kashmiri, Lahnda, Panjabi Shahmukhi). [Google] [More]  ⦿

    South Asia Language Resource Center (SALRC)

    Based at the University of Chicago, links and suggestions for free fonts are given for these languages: Assamese, Baluchi, Bengali, Brahui, Dzongkha, Gujarati, Hindi, Kannada, Kashmiri, Kodagu, Lahnda, Malayalam, Marathi, Nepali, Oriya, Panjabi (Gurmukhi), Panjabi (Shahmukhi), Pashto, Sanskrit, Sindhi, Sinhala, Tamil, Telugu, Tibetan, Tulu, Urdu. [Google] [More]  ⦿

    SouthArabian
    [Alan M. Stanier]

    From Essex University, Alan M. Stanier's metafont for South Arabian. "% This font was used for several languages in Southern Arabia in the second millenium BC." It was made into a type 1 font in 2005 by Peter Wilson. [Google] [More]  ⦿

    Southern Software Inc. (SSi)

    SSi sells foreign fonts for Arabic, Urdu, Greek, Hebrew, Armenian, Baltic, Burmese, Cherokee, Cyrillic, Cree, Simplified Chinese, Ethiopian, Inuktitut, Gaelic, IPA, Japanese, Korean, Laotian, Mayan. Farsi, Punjabi, Sanskrit, Syriac, South Arabian, Tamil, Thai, Tibetan, Turkish, Ugaritic, and Vietnamese. Plus musical dingbats. Of course, they did not make a single of these fonts themselves. [Google] [More]  ⦿

    Stefania Cantù

    Stefania Cantù was born in Gallarate (Milan) in 1985. In 2012, she obtained a Masters degree in Languages and Culture for International Communication and Cooperation, Arabic and Chinese languages. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More]  ⦿

    Stepan Roh
    [DejaVu Fonts]

    [More]  ⦿

    Steve Matteson
    [Droid font collection]

    [More]  ⦿

    Steve White
    [GNU Freefont (or: Free UCS Outline Fonts)]

    [More]  ⦿

    Studio Al-Mohtaraf Assaoudi

    Lebanese design studio which created the Arabic text typeface Midan, which won the second prize for Arabic text type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [More]  ⦿

    Studio Rosenberg (or: Masterfont)
    [Zvika Rosenberg]

    Zvika Rosenberg (b. 1949, a graduate from Bezalel Academy of Design in Jerusalem) designs the Hebrew fonts at Tel-Aviv's Studio Rosenberg (est. 1975, his own design studio) and Masterfont Ltd (est. 1986 in Tel-Aviv). Commercial Hebrew, Arab, Latin and barcode fonts for Mac and PC. 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. Vendor for Bitstream, Agfa, Adobe and many others. MyFonts page. Designers at Masterfont include Zvi Narkiss, Yaakov Agam, Asher Oron, Pini Hamou, Asher Gat, Yigal Feurstein, Ada Yardeni and many others. Zvika Rosenberg himself designed these faces: Abirim MF, Agada MF, Agudal MF, Aharoni Polished MF, Alilon MF (2009, handprinted), Almenat MF (2008), Balonim MF (2005), Etzada MF (2005), Ribuim MF (2009), Selihot MF, Tachsheet MF (2008), Aluma MF, Autograph, Ayalon, 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, 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, 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, handprinted), 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, 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, MFTVilna, 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. [Google] [MyFonts] [More]  ⦿

    Sultan Almaktari
    [Sultan Fonts]

    [MyFonts] [More]  ⦿

    Sultan Fonts
    [Sultan Almaktari]

    Located in Aden (Yemen), Sultan Almaktari (or Maqtari) created these Arabic fonts in 2003: Sultan-Medium, Sultan-bold, Sultan-koufi-Bold-2, Sultan-koufi-Bold, Sultan-koufi-circular, Sultan-koufi, Sultan-light, Sultan-light2, Sultan-musnad, Sultan-normal, Sultan-rectangle, Sultan Free. Download here. Sultan Maktari created the Arabic text typeface Sultan Free, which won the first prize for Arabic text type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. The web site was overhauled in 2009, and Sultan Fonts now offers both traditional and modern Arabic fonts. The list in 2009: Aden, Nada, Shamsan, Sultan, Sera, Balloon, Yemen, Noha, Maeen, Free, Mona, Nahia (2005, Linotype), Waddah, Sana'a, Hemear, Belqees, Mohammed, Hadramut, Mareb, Saba, Thuyazan, Zabeed, Mahra, Digital, Mobil, Ausan, Musnad, Ruqah.

    List of typefaces as of 2013: Pumice (Latin / Arabic typeface family for text and screen), Sultan Hussein (angular, contains Latin as well), Sultan Aden-black, Sultan Alweeam, Sultan Change, Sultan Free, Sultan Hemear-black, Sultan Hemear-bold, Sultan Hemear-light, Sultan Kufi, Sultan Kufi2, Sultan Mareb, Sultan Mohammed, Sultan Nahia, Sultan Naskh, Sultan Naskh2, Sultan Qatar-Spirit, Sultan Shabwa, Sultan Shamsan, Sultan Tahrer, Sultan Thuyazan-Bold, Sultan Tihama, Sultan-naskh-Handwriting, Sultan Ruq'ah-Bold, Sultan Ruq'ah-Light, Sultan Ruq'ah-Regular.

    Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

    Summer Institute of Linguistics: Nastaliq
    [Jonathan Kew]

    Nastaliq font for QuickDraw GX. Available as shareware from Jonathan Kew, who released it in 1997 at the Summer Institute of Linguistics. It allows Arabic, Urdu, and similar languages to be written using the elegant Nastaliq style of calligraphy. URW write-up. [Google] [More]  ⦿

    Syed Jameel-ur-Rehman
    [CRULP: Center for Research in Urdu Language Processing]

    [More]  ⦿

    Sylvain Mazas

    Born in 1980 in Chambéry, France, he studied at the Kunsthochschule Berlin-Weißensee in 2007, and has been working in Berlin since then, mainly as a type designer at LucasFonts, where he specialized in Arabic type, as a graphic designer at the mückenschwein publishing house, and as a freelance graphic designer and illustrator. Personal site.

    His typefaces: Bikini (2010, fatty poster face), Skizzenfont (2009), Palast Black (2008, ultra fat), Pestorino (2008). He also did a great typographic job in his Foch Flyer (2010) and Mückenschwein logo (2008).

    Arapix12 (2012) is a Latin-Arabic pixel font with very special capabilities: every Latin and Arabic glyphs are designed within just 12 pixels, which is especially reduced for fitting Arabic extended ascenders and descenders. [Google] [MyFonts] [More]  ⦿

    Syntax digital
    [Ahmad Humeid]

    Syntax Digital is located in Amman, Jordan, and run by Ahmad Humeid. Ahmad developed his Arabic font Ahmad in 1996 for use in Byte Middle East magazine, where he was creative director at the time. It is a legible geometric Arabic face. In the years after BYTE Middle East closed down, it became a trendy and popular face. Check for samples in Huda Smitshijzen AbiFarès' book "Arabic Typography" (Saqi Books, 2001). [Google] [More]  ⦿

    Tabrizu

    Farsi fonts archive:

    • From Vsc Team (2003): Alborz5-Aban, Alborz5-Abgine, Alborz5-AbgineBold, Alborz5-Akram, Alborz5-Amir, Alborz5-Andolos, Alborz5-Arash, Alborz5-Arya, Alborz5-AryaItalic, Alborz5-Babak, Alborz5-BabakBold, Alborz5-Badr, Alborz5-BadrBold, Alborz5-Bahar, Alborz5-Bardia, Alborz5-Bidad, Alborz5-Bita, Alborz5-ClassAval, Alborz5-Compset, Alborz5-CompsetBold, Alborz5-DastNevis, Alborz5-Divani, Alborz5-DivaniOutline, Alborz5-Ehsan, Alborz5-Elham, Alborz5-Elnaz, Alborz5-Fantezi, Alborz5-Fariba, Alborz5-Ferdosiltalic, Alborz5-Hadi, Alborz5-Hesab, Alborz5-Homa, Alborz5-Hosseini, Alborz5-Iran, Alborz5-IranItalic, Alborz5-Jalal, Alborz5-Kamran, Alborz5-KamranBold, Alborz5-KazemOutline, Alborz5-Khoramshahr, Alborz5-KhoramshahrBold, Alborz5-Koodak, Alborz5-Koufi, Alborz5-KufiBold, Alborz5-KufiOutline, Alborz5-Laleh, Alborz5-Lotus, Alborz5-LotusBold, Alborz5-Mahtab, Alborz5-Marjan, Alborz5-Mashgh, Alborz5-Mehrdad, Alborz5-Mina, Alborz5-Mitra, Alborz5-MitraBold, Alborz5-Mobarak, Alborz5-Modern, Alborz5-Morvarid, Alborz5-Nasim, Alborz5-NasimShadow, Alborz5-Naskh, Alborz5-Nazanin, Alborz5-NazaninBold, Alborz5-Negar, Alborz5-Nilufar, Alborz5-Nima, Alborz5-Parisa, Alborz5-ParisaOutline, Alborz5-Parvaneh, Alborz5-Peyman, Alborz5-Poolad-Black, Alborz5-PooladLight, Alborz5-PooladOutline, Alborz5-Pooneh, Alborz5-Quran, Alborz5-QuranItalic, Alborz5-Rogheh, Alborz5-Rooz, Alborz5-Roshan, Alborz5-Roya, Alborz5-RoyaBold, Alborz5-Saba, Alborz5-Sahand, Alborz5-Salar, Alborz5-Saman, Alborz5-Sepideh, Alborz5-Setareh, Alborz5-Shabnam, Alborz5-Shadi, Alborz5-ShadiBold, Alborz5-Shafagh, Alborz5-Shafigh, Alborz5-Shirazi, Alborz5-Shirzad, Alborz5-Siamak, Alborz5-Siavash, Alborz5-SiavashItalic, Alborz5-Sima, Alborz5-Simin, Alborz5-Sina, Alborz5-System, Alborz5-SystemBold, Alborz5-Taraneh, Alborz5-Tawfigh, Alborz5-Tehran, Alborz5-Titr, Alborz5-TitrJadid, Alborz5-Traffic, Alborz5-TrafficBold, Alborz5-Vahid, Alborz5-Yaghoot, Alborz5-YaghootBold, Alborz5-Yalda, Alborz5-Yashar, Alborz5-YasharDrops, Alborz5-Yekta, Alborz5-Zahra, Alborz5-Zar, Alborz5-Ziba, Alborz5-Zohre.
    • From Monotype: FixedMiriamTransparent, Miriam, MiriamFixed, MiriamTransparent.
    • From Sinasoft Co (1997): MitraBold, MitraNormal, NazaninBold, NazaninNormal, YagutBold, YagutNormal, ZarBold, ZarNormal.
    [Google] [More]  ⦿

    Taexna Studio

    Ablikim Sulayman's page in which you can download his Taexna truetype font for the Uyghur language. [Google] [More]  ⦿

    Talia Douaidy

    Talia Douaidy (Beirut) created the Latin / Arabic knot-based typeface Laced (2012). [Google] [More]  ⦿

    Ta'liq script

    From Encyclopaedia Britannica: In Arabic calligraphy, cursive style of lettering developed in Iran in the 10th century. It is thought to have been the creation of Hasan ibn Husayn 'Ali of Fars, but, because Khwajah 'Abd al-Malik Buk made such vast improvements, the invention is often attributed to him. It has rounded forms and exaggerated horizontal strokes. [Google] [More]  ⦿

    Tamara Yasser

    Graphic designer and illustrator in Beirut, who created the corset-themed typeface Tighten Up (2012) for Latin and Arabic. [Google] [More]  ⦿

    Tanseek

    Monotype's Tanseek typeface family (2008, in Traditional and Modern subfamilies) is one of the first multi-style typeface systems to create a balanced blend of Arabic, Latin, serif, and sans serif. The designers are Arlette Boutros, Mourad Boutros, Richard Dawson, and Dave Farey. [Google] [More]  ⦿

    Tarek Atrissi

    Arab type site by Tarek Atrissi, a Beirut-born Lebanese professional designer, who is located in Hilversum, The Netherlands. He holds a BA in Graphic Design from the American University of Beirut, Masters of Arts in Interactive Multimedia from Utrecht School of Arts in Holland and an MFA in Design from the School of Visual Arts in NY. A Designer of the 6-weight Arabic family called AT, The Spirit of Doha (2004, for the Asian Games 2006), Al-Ghad (for the Jordanian newspaper Al-Ghad), the Ghad TV font (for the Jordanian station ATV), Etisalat (custom type for Etisalat Communications), Ayna (a squarish face done for Ayna.com), and Ambesque (2006, for the Amwaj Islands of Bahrain). He manages Arabtypography.com, a site dedicated solely to Arab typography. In 2008, he created Atrissi Sans. In 2007, he embarked on a project with Peter Bilak to develop Fedra Arabic to accompany Bilak's Fedra family. In 2010, he designed a custom Arabic font for the new BBC Arabic TV channel and custom Farsi face for the new BBC Farsi TV channel. [Google] [More]  ⦿

    Tasmeem
    [Thomas Milo]

    Tasmeem is an entire Arabic typesetting package integrated within Adobe's InDesign. This Adobe product returns to the beautiful Arabic typography, and is a big step forward, in my view. It includes two new font sets, Emiri and Naskh. Emiri is a revival of the typeface of the Emeeriyyah printing house in Cairo. Adobe's plug: With this typeface it is possible to create Unicode-based searchable Koran text with the familiar appearance of todays printed editions. Tasmeems shaping and spacing controls makes Emiri particularly effective for literary and creative productions. Please note that this font can only be used in Tasmeem. The last sentence is ominous and perhaps a first step towards a new trend---fonts that can only be used in one product. They won't sell you a Mercedes radio if you won't buy a Mercedes. The Nasqh font, in contrast, can be had for 200 dollars. Thomas Milo of DecoType ACE explains: Tasmeem is not from Adobe as such, but Adobe InDesign ME with a DecoType ACE-based user interface plugin, made by WinSoft. Naskh is made by me and Mirjam Somers, my partner. Emiri is made by Mirjam Somers and me.<.i> New Tasmeem developments, all be DecoType ACE: Nassim Alef by Titus Nemeth, Qarandash Beh by Mirjam Somers, Mehdi by Saad Abulhab, Ruqah. Blogroll on Tasmeem. [Google] [More]  ⦿

    Tero Kivinen

    Finnish designer of the bitmap font Sshlinedraw (Tero Kivinen and SSH Communications Security Oy, linedrawing characters for VT100 terminal, 1997). He also discussed the Microsoft truetype collection, EstrangeloEdessa (by Paul Nelson and George Kiraz, 2000, Syriac Computing Institute), ITC Franklin Gothic, Gautami (Microsoft, 2001), Latha (Microsoft, 2001), LucidaSansUnicode, MV Boli (Agfa-Monotype, 2001), Mangal (Microsoft, 2001), PalatinoLinotype (1998, a Unicode font), Raavi (Microsoft, 2001), Shruti (Microsoft, 2001), Sylfaen (Microsoft, 1999). All of these fonts are basically Unicode for all European languages, Cyrillic, Armenian, Hebrew, Arabic, basic mathematics, and Greek. But the site disappeared. [Google] [More]  ⦿

    The 5th color

    A group of four Iranian designers, Majid Abbasi, Saed Meshki, Alireza Mostafa Zadeh, and Bijan Sayfouri, who since 2003 have organized almost annual exhibitions of Iranian typography. [Google] [More]  ⦿

    The MicroFoundry
    [Hrant H. Papazian]

    From the Center for Digital Innovation at UCLA, Hrant Papazian designs and works with type, and is a specialist of Armenian. He has even done multiple master fonts for Armenian. Born in 1968 in Beirut, Hrant specializes in Armenian fonts and legibility issues in general. Designer of Linotype Maral. Founder of The Microfoundry, where he practices type design for Latin, Arabic, Cyrillic, Hebrew, Armenian and Georgian. The company is located in Glendale, CA. Latin faces: TMF Daam (with sub-version Domination, Brutaal and Cristaal, all useful as dungeon typefaces), TMF Paphos, TMF Patria (serif). Armernian fonts: Linotype Maral, TMF Arasan (see here for a download), TMF Roupen. Georgian: TMF Akhalkalak. Other fonts: Brutaal, Cristaal, Trajic NotRoman (unpublished, a destructured version of Trajan, submitted to and rejected by Emigre), and DominationAvailable. In 2004, he joined Ultra Pixel Fonts, where he made the pixel face Mana. An entertaining speaker and all-round type boulevardier, he will be remembered for many of his insightful and entertaining quotes. He invented the word Helvomita, and once replied this to a poster: I will now Fartura in your general direction. Bio at MyFonts.com. Bio at Linotype. Bio at ATypI. Interview by Daidala. He won an award at Granshan 2008. Speaker at ATypI 2009 in Mexico City. FontShop link. Speaker at ATypI 2010 in Dublin. [Google] [MyFonts] [More]  ⦿

    The Universal Word Software

    c/o Unipro Inc., 45 River Drive South, #105, Jersey City, NJ 07310, USA. [Google] [More]  ⦿

    Thierry Fétiveau

    French freelance graphic and type designer. Thierry studied in Nantes and is presently stydying Typography & Language at ESAD in Amiens, France. His typefaces:

    • Andersen. His graduation project from Nantes.
    • Batutah (2013). A Latin / Arabic bicephalic typeface family for his graduation project at ESAD. "Batutah" refers to the Arab pilgrim Ibn Batutah who traveled from Spain to China in the thirteenth century. This Latin / Arabic typeface is intended primarily for magazines.
    • Futago (2013). A fashion mag hiragana and katakana didone. Thierry: Futago is a Japanese typeface of 141 glyphs intended to go with Latin typefaces from Didot family. Its name, which means twin, expresses clearly its objective: to be used in bilingual texts in order to create a graphic unity. This typeface has been selected by the website Typography Served in 2013.
    • Wilson (2013). A visit by Laura Mesaguer led Thierry to the development of a 3-style Tuscan stencil typeface called Wilson (2013).
    • Dark Times (2013). An extra-light revival of a gothic textura.

    Behance link. [Google] [More]  ⦿

    Thomas Milo
    [DecoType]

    [MyFonts] [More]  ⦿

    Thomas Milo
    [Tasmeem]

    [More]  ⦿

    Thomas Milo and Unicode

    Thomas Milo of Decotype presented this paper on Unicode in Arabic at the 20th International Unicode Conference Washington (2002). He sstates: "In terms of encoding, Arabic is no different from any other alphabetic script, but care has to be taken to leave its graphical structure intact. The Unicode stndard is conceived for encoding raw text, not as a glyph list. Particularly attempts to fix the repertoire of Arabic letter alternations is a gross simplification and poses a long term threat to authentic reproduction of Arabic in the IT industry. Graphic representation of text remains outside the competence of Unicode proper. The purpose of Unicode is to enable cultural diversity without imposing irrelevant constraints." [Google] [More]  ⦿

    Thomas Ridgeway

    Thomas Ridgeway (d. 2005) held a Ph.D. in Asian linguistics. He was Director of the Humanities and Arts Computing Center, University of Washington, Seattle WA, where he worked until around 2002. He is the author of

    • Poorman: Free fonts (metafont/bitmap/pk) for Chinese and Japanese, developed in 1990. As Ridgeway explained: pmC and pmJ are less than ideal implementations of Chinese and Japanese for TeX. Less than ideal because they use fonts based on 24x24 dot-matrix fonts, and don't do vertical format typesetting and so forth.
    • IPBS (Indo-Persian BitStream Charter): a free font family in truetype with these fonts: IPbschtrBoldItalic, IPbschtrBold, IPbschtrItalic, IPbschtrNormal. The fonts were modified by Richard J. Cohen, from "HACC Indic" by Thomas Ridgeway (1993), which is based on "BitStreamCharter," a font in the public domain. Richard Cohen is with the South Asia Regional Studies Department, University of Pennsylvania.
    • WNTamil: a Tamil metafont created by Ridgeway in 1990. Hal Schiffman writes: I worked together with Tom Ridgeway to design this font, at my instigation, since I needed it for my dictionary, and he knew METAFONT. (He did not know Tamil, although he did know Hindi.) We spent many Friday mornings designing the glyphs. He would write the code and run the program, and I would then critique it, and then we would run it again until we had an acceptable glyph. But I realize he thought of himself as the sole developer, which is why he registered it in his name. Afterwards we tweaked some of the glyphs, and Vasu Renganathan worked on later versions, too, so the authors of this font should be listed as myself, Ridgeway, and Vasu Renganathan. Anshuman Pandey from the University of Washington took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF). This set was used in the GNU Freefont project.
    • A phonetic typeface was designed by Thomas Ridgeway for a large subrange of American Indian languages. The first active projects using this were in Salish and Navajo. In the case of Salish, Tom's font was based on a Lushootseed alphabetic script was developed by Thomas Hess.
    [Google] [More]  ⦿

    Thomas T. Pedersen
    [Transliteration of Non-Roman Alphabets]

    [More]  ⦿

    Thuluth script

    From Encyclopaedia Britannica: In calligraphy, medieval Islamic style of handwritten alphabet. Thuluth (Arabic: "one-third") is written on the principle that one-third of each letter slopes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. It took on some of the functions of the early Kufic script; it was used to write surah (or sura; Qur'anic chapter) headings. [Google] [More]  ⦿

    Tim Holloway

    British designer who won an award at Bukvaraz 2001 for NoName. At Linotype in 1994, he designed the Arabic font Karim. His Adobe Arabic (2005) won an award at TDC2 2006. Vodafone Hindi (2007, with Fiona Ross and John Hudson) won an award at TDC2 2008. Mitra (2005, Linotype) is a modern Arabic text typeface with two weights: Mitra Light and Mitra Bold. Both of the fonts include Latin glyphs (from Optima Medium and Optima Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.

    Linotype link. FontShop link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Titus Nemeth

    Titus Nemeth runs TNTypography in Paris, and specializes in Arabic typeface design, typography and custom type. A 2006 graduate in the Master of Arts Typeface Design programme at the Department of Typography and Visual Communication, University of Reading, he also studied Arabic script at the École Supérier d'Art et de Design d'Amiens, France. Originally from Vienna, he specialises in multi-script typeface design with an emphasis on the Arabic script. He lives in Paris. His Masters thesis researched the current state of Arabic newspaper type and typography and found acclaim by experts in the field (The current state of Arabic newspaper type and typography (2006, Reading: University of Reading)). Currently, he teaches type design at ESAD Amiens, France, and is a guest lecturer in the MATD program at the University of Reading.

    The typeface Nassim (Latin/Arabic, his project at the University of Reading in 2006) was awarded the 'Certificate of Excellence in Type Design' at the TDC 2007, won the first prize in the original typeface design category of the European Design Awards 07 and was shortlisted by the Design Museum London for the exhibition "Designs of the Year 2007" in the category typography. It will be published by Rosetta Type in 2011. Titus Nemeth's research covers technological, linguistic and interdisciplinary aspects of multi-script typography and typeface design.

    Ph.D. student at the University of Reading in 2012. Thesis topic: Arabic typography 1911-2011.

    In 2008, he worked as an assistant professor of Graphic Design at Virginia Commonwealth University in Doha, Qatar and continued his work as a freelance designer and consultant. Designer of the futuristic face Wallflower (2004; he calls it a humanist stencil) and of Fra Bartolomeo (2004, based on the lettering on a sketch by Italian renaissance artist Fra Bartolomeo). Working on this serif face (2005). His talk at ATypI 2008 in St. Petersburg: Tasmeem, a new software jointly developed by WinSoft and DecoType, offers new perspectives for Arabic typeface design. Titus Nemeth was invited by the developers to be the first third party designer to get insights of the system, its methodologies and to actually design for Tasmeem. He was asked to convert his existing Nassim typeface from an OpenType based rendering, to rendering within Tasmeem. Hiba Studio interview.

    At ATypI 2009 in Mexico City, he spoke about l'arabe maghrébin.

    Since 2009 Titus has been teaching typography in Amiens. His typeface Aisha (2009) won an award in the non-Latin category at TDC2 2010, and was published at Rosetta Type in 2010. He states: Aisha is a multi-script typeface for Arabic and Latin. While the Arabic design is a revival of a metal fount inspired by Maghribi calligraphy, the Latin design was newly conceived and drawn to echoe the feel and look of the Arabic. Samples of Aisha: i, ii, iii, iv, v, vi, vii, viii, ix.

    In 2011, Rosetta published Nassim.

    Speaker at ATypI 2013 in Amsterdam.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Tninet.se

    Thuluth and Naskh truetype fonts. [Google] [More]  ⦿

    Tomas Kindahl

    Aka Rursus, this Swedish viking calls himself a nerd and a cyber vagabond---exactly my kind of guy! Designer of the slab typewriter font for Latin and Cyrillic called Rursus Compact Mono (2007-2010), an Open Font Library font that covers everything under the sun: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, Armenian, Arabic, Runic, Phonetic Extensions, Phonetic Extensions Supplement, Latin Extended Additional, Greek Extended, General Punctuation, Superscripts and Subscripts, Currency Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Optical Character Recognition, Enclosed Alphanumerics, Geometric Shapes, Miscellaneous Symbols, Miscellaneous Mathematical Symbols-A, Latin Extended-C, Lycian, Carian, Old Italic, Gothic, Phoenician. [Google] [More]  ⦿

    Tooraj Enayati

    Designer of ParsZiba (1993). See also here. [Google] [More]  ⦿

    Transliteration of Non-Roman Alphabets
    [Thomas T. Pedersen]

    From Copenhagen and Estonia, Thomas T. Pedersen's page on non-Roman alphabets. He specializes in all kinds of Cyrillic alphabets, such as Abaza, Abkhaz, Adyghe, Altay, Arabic, Armenian, Avar, Azerbaijani, Bashkir, Belarusian (Belorussian), Bulgarian, Buryat, Chechen, Chukchi, Chuvash, Crimean Tatar, Dargwa (Dargin), Dungan, Erzya Mordvin (Mordva), Eskimo - Yupik, Even, Evenki, Gagauz, Georgian, Greek, Hindi, Marathi, Nepali, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Khakass, Khanty, Kirghiz, Komi (Komi Zyryan), Komi-Permyak, Koryak, Kumyk, Lakh, Lezgian (Lezgin), Macedonian, Mansi, Mari: Hill Mari, Meadow Mari, Moksha Mordvin (Mordva), Moldovan (Moldavian), Nanai, Nenets, Nivkh, Nogay (Noghay), Ossetian (Ossetic), Ottoman Turkish, Russian, Rusyn (Lemko&Vojvodinian), Selkup, Serbian, Tabasaran, Tajik, Talysh, Tatar, Turkmen, Tuvinian, Udmurt, Ukrainian, Uzbek, Yakut, Yiddish. [Google] [More]  ⦿

    Tvine Zetlian

    Beirut-based designer of the Latin-Arabic display typeface Splash (2013). [Google] [More]  ⦿

    Typogama
    [Michael Parson]

    Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

    Most of Parson's fonts cover both Latin and Cyrillic.

    In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

    In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

    In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

    In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (blackletter), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).

    Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans),Fuera (2011, bilined face, T26).

    In 2013, he published Calvin (a sans family, T26: the weights range from hairline to heavy black), Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera, Ignorance (a calligraphic typeface), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (an elliptical sans family), Pictypo (a useful icon typeface).

    In 2014, he updated the interlocking poster display face Tinsel (T26---original from 2010).

    Behance link. Klingspor link. Hellofont link.

    View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

    Typographic Matchmaking
    [Huda Smitshuijzen AbiFarès]

    A book by Huda Smitshuijzen AbiFarès published in 2007. It describes her project, started in 2005, of matching Dutch and Arab type designers to design Arabic counterparts of Dutch typefaces. The "couples" are

    • Gerard Unger&Nadine Chahine: Working on Big Vesta Arabic.
    • Fred Smeijers&Lara Assouad Khoury: Working on Fresco Arabic.
    • Martin Majoor&Pascal Zoghbi: Sada, an Arabic companion of Sedra.
    • Lucas de Groot&Mouneer Al-Shaarani
    • Peter Bilak&Tarek Atrissi: Fedra Arabic.
    : [Google] [More]  ⦿

    TYPO.GRAPHIC.BEIRUT 2005 conference

    Type and graphic design conference, held from 28-30 April 2005 at the University of Beirut, Lebanon. Organized by Zeina El Abed, Nathalie Fallaha and Yasmine Taan, this conference was free of charge and drew 800 people.! Speakers included Ken Garland, Gerry Leonidas, Huda Smishuijzen AbiFares, Reza Abedin, Nadine Chahine, Jean-François Porchez, Heinz Widmer, Tarek Atrissi, Stephen Banham, Johannes Bergerhausen, Filip Blazek, Ashwini Deshpande, Zantides Evripides, Ben Hannam, Lazlo Lelkes, Zeina Maasri, Peter Martin, Stuart Medley, Dan Reynolds, Jennifer Spoon, and Bruno Steinert. Report by Dan Reynolds. Pictures by Porchez (change the 7 to 6, 5, 4, 3, 2, 1 for more). [Google] [More]  ⦿

    Typographies.fr
    [Jonathan Perez]

    French foundry, est. 2008, by Jonathan Perez and Laurent Bourcellier. Graduates from the Ecole Estienne in Paris, they have made the following fonts:

    • Chapitre (2013): It is based on the principle of the endless knot, a symbol used particularly in Hinduism and Buddhism. As its name implies, an endless knot has no beginning and no end. It also echoes many works in the history of writing which you must be familiar with, like Irish and Anglo-Saxon illuminations of the Middle Ages or Flemish calligraphy of the 17th century.
    • Colvert (2012): A family comprosed of four families, Colvert Arabic (by Kristyan Sarkis), Colvert Cyrillic (by Natalia Chuvatin), Colvert Greek (by Irene Vlachou) and Colvert Latin (by Jonathan Perez).
    • The free font Ifao N Copte, a Unicode-compatible font with 809 glyphs for Coptic. By Perez.
    • Unicopte (by Bourcellier) and Copte Scripte (2008, by Bourcellier and Perez; it won an award at TDC2 2009). Discussion.
    • A hieroglyphic font. By Perez.
    • Joos (2009) took its inspiration from an italic, ca. 1530, by Joos Lambrecht, from Gent, Belgium, who was one of the great printers and punchcutters of the 16th century.
    • Extensions of Syntax and ITC Slimbach for Vietnamese (with the help of Pauline Nuñez, Valentine Proust and Mathieu Réguer) for the National Museum of Asian Arts Guimet.
    Jonathan Perez is a graphic and type designer. He graduated in 2007 from Ecole Estienne in Paris with a provocatively-titled thesis, Giambattista Bodoni, génie ou assassin?. In 2009, Jonathan set up his own site, JonathanPerez.cm, where he plans to publish some Latin typefaces. Fontspace has some free fonts by Perez, such as Ifao n Copte.

    Klingspor link. [Google] [More]  ⦿

    Typophiles: Nastaliq

    The typophiles discuss options for Nastaliq in 2009. [Google] [More]  ⦿

    Typotheque
    [Peter Bilak]

    Typotheque is an initiative of Peter Bilak and ui42 out of Bratislava (Slovakia): Typotheque is an Internet-based independent type foundry. It offers quality fonts for PC and Macintosh platforms in standard European character set and in CE (central european) character set. All fonts have full (european) character sets, are thoroughly tested and manually kerned.

    Typotheque also offers its own type utilities: AccentKernMaker and FontAgent.

    Free fonts: Remix Typotheque and RaumSüd.

    Commercial fonts: Fedra Sans (2001, 30 weights), Holy Cow (2000), Champollion (2000), Eureka (2000), Eureka Phonetik (2000), Eureka Arrows (2000), Eureka Glyphs (2000), Jigsaw (Light and Stencil, 2000, by Johanna Balusikova), Fedra Mono (2002), Fedra Bitmaps (2002), Fedra Serif (2003, 48 weights, with a characteristic shy female A, toes pointing inwards), Fedra Serif Display (2006), Fedra Arabic (2006) and Greta (2006-2007, Greta Text and Greta Display), a newspaper type family designed for the main Slovak newspaper, SME. Greta Text won an award at TDC2 2007 and is also being used by the Sunday Times (along with Sunday Times Modern by Emtype and Flama by M. Feliciano). Greta Symbol (2012) is a 10-style 1200-glyphs-per-style superfamily of symbols commonly used in newspapers, magazines and online publications.

    In 2005, Collins Fedra Sans and Serif were published for use in the Collins dictionaries. A slightly modified version of Fedra Sans is used by the Czech Railways.

    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.

    In 2009, Bilak published the extensive Irma (Sans, Slab) family, which includes a hairline. Typotheque's other designer is Johanna Balusikova.

    Collection of over 90 articles on type design by by Stuart Bailey, Michael Bierut, Peter Bilak, Andrew Blauvelt, Erik van Blokland, Max Bruinsma, David Casacuberta, Andy Crewdson, Paul Elliman, Peter Hall, Jessica Helfand, Steven Heller, Roxane Jubert, Emily King, Robin Kinross, Rosa Llop, Ellen Lupton, Martin Majoor, Rick Poynor, Michael Rock, Stefan Sagmeister, and Dmitri Siegel.

    In 2011, he created Julien, a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter. It feels like a mix of Futura, Bauhaus, and geometric modular design.

    Julien (2012) is a playful geometric display typeface loosely inspired by the early 20th century avant-garde.

    Karloff (2012, Positive, Negative, Neutral) is a didone family explained this way: Karloff explores the idea how two extremes could be combined into a coherent whole. Karloff connects the high contrast Modern type of Bodoni and Didot with the monstrous Italians. The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin. Neutral, the offspring, looks like a slab face.

    Lumin (2013) is a family that includes slab-serif, sans serif, condensed and display typefaces, and no attept is made to make them uniform in style.

    Lava (2013) is a magazine typeface originally designed for Works That Work magazine. It was extended to a multilingual workhose typeface family.

    Behance link. Typedia link. [Google] [MyFonts] [More]  ⦿

    UAE Zayed

    Big Arabic font archive. It carries 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, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Mujahed-Al-Anbobi, Al-Mujahed-Classic, Al-Mujahed-Free-2, Al-Mujahed-Free, Al-Mujahed-Gift-5, Al-Mujahed-Untitled, Al-Samsam, Alawi-Hashim-Bafageeh.., Bader, Bassam-Ostorah, Haettenschweiler, Household, Humanist521BT-Bold, 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-Alsalam-S_U-normal., MCS-Andalos-E_U-3D., MCS-Arafat-E_I-3d., MCS-Arafat-E_I-normal., MCS-Arafat-E_U-3d., MCS-Arafat-E_U-normal., MCS-Arafat-S_I-normal., MCS-Arafat-S_U-normal., MCS-Badr-S_U-normal., MCS-Basmalah-normal., MCS-Diwani0-S_I-normal., MCS-Diwani0-S_U-normal., MCS-Diwany1-E_I-normal., MCS-Diwany1-E_U-3D., MCS-Diwany1-E_U-normal., MCS-Diwany1-S_I-adorned., MCS-Diwany1-S_I-normal., MCS-Diwany1-S_U-adorned., MCS-Diwany1-S_U-normal., MCS-Diwany1-S_U-round., MCS-Diwany1-S_U-round., MCS-Farisy-E_I-3D., MCS-Farisy-E_I-normal., MCS-Farisy-E_U-3D., MCS-Farisy-E_U-normal., MCS-Farisy-S_I-normal., MCS-Farisy-S_U-normal., MCS-Hashimy-S_I-normal., MCS-Hashimy-S_U-normal., MCS-Hijaz-S_I-adorn., MCS-Hijaz-S_U-adorn., MCS-Hijaz-S_U-normal., MCS-Hijon-S_U-normal., MCS-Jeddah-S_U-stars., MCS-Kofi-S_U-normal., MCS-Madina-E_I-3D., MCS-Madina-E_U-3D., MCS-Madinah-E_I-normal., MCS-Madinah-E_U-normal., MCS-Madinah-S_I-normal., MCS-Madinah-S_U-normal., MCS-Makkah-E_I-3D., MCS-Makkah-E_I-normal., MCS-Makkah-E_U-3D., MCS-Makkah-E_U-normal., MCS-Makkah-S_I-normal., MCS-Makkah-S_I-slim., MCS-Makkah-S_U-normal., MCS-Makkah-S_U-slim., MCS-Mamloky-E_I-3D., MCS-Mamloky-E_I-normal., MCS-Mamloky-S_I-adorned., MCS-Mamloky-S_I-normal., MCS-Mamloky-S_U-adorned., MCS-Mamloky-S_U-normal., MCS-Mamloky-S_U-normal., MCS-Mamloky-S_U-round., MCS-Masahif-S_I-normal., MCS-Masahif-S_U-normal., MCS-Omalgora-S_U-adorned., MCS-Ophor-S_U-normal., MCS-Taybah-S_U-normal., MCS-Tholoth-S_U-normal., MCS-mamloky-E_U-normal., MCSALHADADECO, MCSALMAALIMHIGH60, MCSALSHAMAL, MCSCLOCKFAT, MCSFARISYSPINED, MCSFREEDOM, MCSFREEDOMOUTLINE, MCSHALASHADOW, MCSISLAND, MCSISLANDHIGH, MCSKhaybarSUstriped, MCSQUDSDECO, MCSQudsSUnormal, MCSREDSEASPOTED, MCSRIVER, MCSROUND, MCSSAND, MCSSANDDECO, MCSSANDHIGH, MCSTALAYASPINED, 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-Annoktah, Othmani, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, Zokrofi. [Google] [More]  ⦿

    Uighursoft

    Designers of the Uyghur font family UKIJTuz-Bold and UKIJDiwaniKawak, UKIJDiwaniTom, UKIJSulus-Bold, UKIJSulusTom, UKIJOrxun-Yensey, UKIJBasma, UKIJNasqZilwa-Bold, UKIJNasqZilwa at the Uyghur Computer Science Association in 2004. Download here. [Google] [More]  ⦿

    Ultradragon

    A large file with a few hundred Arabic fonts. These include, for example, from Boutros International: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEEast-ExtraBold, GEElegantBold-Bold, GEElegantMedium-Medium, GEJaridaHeavy-Heavy, -Bold, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GETasmeem-Medium, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. [Google] [More]  ⦿

    Umar Rashid

    Designer of the glyphs of the free Urdu unicode font PakType Naqsh (2004, with Lateef Sagar Shaikh), which can be found at the PakType project. [Google] [More]  ⦿

    Umbreon 126

    Tamagotchi, or Umbreon 126, made several fonts with the aid of FontStruct in 2012 and 2013. These include pixel faces (FS Rebellion, FS Rept, FS Comic Mono, FS Flower Shop, FS 126 Serif), but also truly large workhorse typefaces. For example, FS 126 Sans (a pixel sans face) has 4871 characters and covers Nko, Lisu, Armenian, Tai Le, Ogham, Thaana, Georgian, Coptic, Kayah Li, Tifinagh, Samaritan, and Lao. The 3114 glyph pixel face FS Semioriginal covers Hiragana, Katakana, Arabic, Armenian, Hebrew, Bopomofo, Georgian, Greek, and Cyrillic. The 2000+ glyph pixel face FS Unoriginal covers Hiragana, Katakana, Arabic, Armenian, Hebrew, Bopomofo and Tifinagh. Other typefaces include FS Fat Piano, FS Typ Stencil (piano key face), FS Frakletter (blackletter) and FS Stupid Me (white on black typeface). [Google] [More]  ⦿

    Unicode BDF fonts
    [Mark Leisher]

    Mark Leisher at the Computing Research Lab of New Mexico State University has developed a set of (free) proportional, 12pt, 100dpi BDF (bitmap) fonts primarily for use with dense technical papers on the Web and with X11. The fonts contain about 4050 glyphs so far, including approximately 450 for coverage of the contextual forms needed for the Unicode Arabic blocks, U+0600-U+06FF. Finished are a Devanagari Unicode BDF font, and an Arabic Unicode BDF font. Quite a bit of Unicode is supported, except for the following major blocks: 1. The Hangul block. 2. The Han block (Hanja, Hanzi, Kanji, Chu Han). 3. The Indic scripts. 4. The Tibetan script. [Google] [More]  ⦿

    Unicode chart for Arabic

    [More]  ⦿

    Uqkur

    Designer of the Uyghur fonts UKIJ3D, UKIJDiwani, UKIJDiwaniYantu, UKIJEsliye-Bold, UKIJEsliye, UKIJEsliyeTom, UKIJEsliyeNeqish, UKIJEsliyeQara, UKIJJelliy, UKIJKawak, UKIJKufi, UKIJKufi3D, UKIJKufiTar, UKIJKufiUz, UKIJKufiYay-Bold, UKIJKufiYay, UKIJMerdane-Bold, UKIJRuqi, UKIJTuzGezit, UKIJTuzQara, UKIJTuzTom, UKIJTuzQara-Bold, at the Uyghur Computer Science Association in 2004. Download here. [Google] [More]  ⦿

    Urdu Channel

    Syed Adnan Ahmed's page on Urdu word processing (Sadaf word processor). Download the free Kaatib font. Dead link removed. [Google] [More]  ⦿

    URDU Khat-e-Naqsh

    Urdu font Khat-e-Naqsh for Mac, PC and Unix. [Google] [More]  ⦿

    Urdu Life

    Free Urdu fonts at this site: ULAmjad, ULAmjadOutline, ULAmjadShaded, ULBilalOutline, ItalicOutlineArt, ULNoreenBold, ULNoreenOutline, ULNoreenShaded, ULRabiaLed, ULSajidHeading, Urdulife-Italic, UrduNaskhAsiatype. These fonts were made in 2004 with the exception of Urdu Naskh Asiatype, which was developed from 1994-2001. [Google] [More]  ⦿

    Urdu Nastaliq Unicode
    [Shehzad Ali]

    Urdu Nastaliq Unicode is a Windows True-Type Urdu font which uses Unicode Arabic coding. It was developed by Shehzad Ali and unicoded by Tabish Qureshi (Department of Physics, Jamia Millia Islamia, New Delhi). Here we find more Urdu fonts: AlKatib1 (1998, Naseem Amjad Ali Khan), Umair I (1997, Umair Khan, Urdu Web, based on Neda Reyanah's Persian Font), Urdu Khat-e-Naqsh (1998, AHS), Urdu (1995, Tooraj Enayati and 1997, Adil Rehan, Karachi), Urdu Khat-e-Naqsh (Nastalique) (1999, Shehzad Ashiq Ali). [Google] [More]  ⦿

    Urdu Page by Shehzad

    Urdu word processing site by Shehzad Ashiq Ali of Ashiq Enterprises in Lahore, Pakistan. Has the fonts UrduNaqsh (truetype, Nastalique and ordinary version, made in 1999). PC, Mac and UNIX versions of these fonts, all created by Shehzad himself. [Google] [More]  ⦿

    Urdu Web

    One free Urdu font, Umair I. Installation instructions. [Google] [More]  ⦿

    Urdu.ttf

    Free Urdu truetype font by Adil Rehan, Karachi, Pakistan. [Google] [More]  ⦿

    uSOFT
    [Amanat Ali Goher]

    Site that offers these free Urdu unicode-compliant fonts: Aleem Urdu Unicode (2004, also supports Panjabi Shahmukhi), Goher Urdu Unicode (2005), Manqoosh (2005), GlobalScience (2005), Sahab (2005), Samda (2005), Urdu Naskh Unicode (2005), Jal (2005), Tafseer (2005), Nastqleek-Like (2005). uSOFT is run by Amanat Ali Goher, Alamdar Hussain and Tahir Mehmood. [Google] [More]  ⦿

    ustu.ru

    The 1.5MB rar file has the Arial and TimesRoman families (truetype) with full coverage of all European languages, Turkish, Cyrillic, Hebrew and Arabic. [Google] [More]  ⦿

    Uyghur Kompyutér Ilimi Jem'iyiti Fontliri
    [Adiljan Ab]

    Free Uyghur Unicode fonts on a page by the Uyghur Computer Science Association. Free downloads in truetype, all copyright of the Uyghur Computer Science Association, and made in 2004: UKIJ3D, UKIJBasma, UKIJChiwerKesme, UKIJDiwani, UKIJDiwaniKawak, UKIJDiwaniTom, UKIJDiwaniYantu, UKIJEsliye-Bold, UKIJEsliye, UKIJEsliyeChiwer, UKIJEsliyeNeqish, UKIJEsliyeQara, UKIJEsliyeTom, UKIJImaret, UKIJInchike-Bold, UKIJInchike, UKIJJelliy, UKIJJunun, UKIJKawak, UKIJKufi, UKIJKufi3D, UKIJKufiChiwer, UKIJKufiGul, UKIJKufiKawak, UKIJKufiTar, UKIJKufiUz, UKIJKufiYay-Bold, UKIJKufiYay, UKIJKufiYolluq, UKIJMejnun, UKIJMejnuntal, UKIJMerdane-Bold, UKIJMoyQelem, UKIJNasq-Bold, UKIJNasq, UKIJNasqZilwa-Bold, UKIJNasqZilwa, UKIJOrxun-Yensey, UKIJQolyazma, UKIJRuqi, UKIJSaet, UKIJSulus-Bold, UKIJSulus, UKIJSulusTom, UKIJTughra, UKIJTuz-Bold, UKIJTuz, UKIJTuzBasma-Bold, UKIJTuzBasma, UKIJTuzGezit-Bold, UKIJTuzGezit, UKIJTuzKitab-Bold, UKIJTuzKitab, UKIJTuzNeqish, UKIJTuzQara-Bold, UKIJTuzQara, UKIJTuzTom, UKIJTuzTor-Bold, UKIJTuzTor, UKIJZilwa. Severl, if not most, of these fonts were made by Adiljan Ab. Fonts2u link. [Google] [More]  ⦿

    Vafa Khalighi
    [FarsiTex Project Team]

    [More]  ⦿

    Vectory Hossan

    Egyptian graphic designer who created a basic Arabic typeface in 2012. [Google] [More]  ⦿

    Vera Ashkar

    Beirut-based designer of an untitled Arabic typeface in 2013. [Google] [More]  ⦿

    Viictoriii Hossan

    Nuba, Egypt-based graphic designer, who creaed an Arabic typeface in 2014. [Google] [More]  ⦿

    Viktor Kharyk

    Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts. His work:

    • At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
    • At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
    • At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving face based on a 1967 font by Iraida Chepil for Polygraphmash).
    • At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
    • Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
    • Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
    • Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 face by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval faces done at Elsner&Flake together with Marina Belotserkovskaja).

    At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 face Ladoga (+Text, +Display, +Ladoga Armenian) won an award at Paratype K2009.

    At ATypI 2005 in Helsinki he spoke about Ukrainian fonts. At ATypI 2007 in Brighton, his talk is entitled Old Slavic alphabets and new fonts. At ATypI 2009 in Mexico City, he spoke (well, was supposed to speak) on Old Roman Styles and Cyrillic. Speaker at ATypI 2013 in Amsterdam, where he explains the development and multilingual extensions of Ladoga.

    MyFonts page. Victor's friends: a Ukrainian/Russian news blog. FontShop link. Author of Non-Latin Fonts Cyrillic and Other (2004, Düsseldorf).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Viola Sbeih

    During her studies at the German Jordanian University in Amman, Jordan, Viola Sbeih created a Comic Sans style Arabic font in 2014. [Google] [More]  ⦿

    VIP600

    Arabic font archive: Hesham-AlSharq-Normal-Traditional, Hesham-Cortoba-Normal-Traditional, Hesham-Fostat-Normal-Traditional, Hesham-Free-Normal-Traditional, AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher, AL-Dorrh, AL-Hor-Outline, AL-Hor, AL-Hosam, AL-Hotham, AL-Majd, AL-Qairwan, AL-mohtrefen-2, AL_Ebdaa, AdvertisingBold, AdvertisingExtraBold, AdvertisingLight, AdvertisingMedium, Al-Hadith1, Al-Homam, Al-Mothnna, Al-Mujahed-Classic, Al-Mujahed-Free, Al-Samsam, Andalus, FS_Future, FS_Africa, FS_Ahram, FS_Alex, FS_Strip, FS_Egypt, FS_Free, FS_Point, FS_Rajab, FS_Wood, K-Elham, MCS-Alsalam-E_U-normal, MCS-Alsalam-S_U-normal, MCS-Badr-E_U-normal, MCS-Badr-S_U-normal, MCS-Diwani0-S_I-normal, MCS-Diwany1-E_I-normal, MCS-Diwany1-S_U-normal, MCS-Diwany1-S_U-round, MCS-Diwany2-S_U-normal, MCS-Diwany4-S_U-normal, MCS-Farisy-E_U-normal, MCS-Farisy-S_U-normal, MCS-Hijaz-S_U-adorn, MCS-Hijaz-S_U-normal, MCS-Khaybar-E_U-normal, MCS-Khaybar-S_I-normal, MCS-Kofi-E_U-normal, MCS-Kofi-S_U-normal, MCS-Kofi-S_U-round, MCS-Mamloky-S_I-adorned, MCS-Mamloky-S_I-normal, MCS-Mamloky-S_U-adorned, MCS-Mamloky-S_U-normal, MCS-Masahif-S_I-normal, MCS-Modern-E_I-3d, MCS-Modern-E_I-normal, MCS-Modern-E_U-3d, MCS-Modern-E_U-normal, MCS-Modern-S_U-normal, MCS-Nask-S_I-normal, MCS-Nask-S_U-normal, MCS-RedSea-S_I-normal, MCS-RedSea-S_U-normal, MCS-Rika-S_I-normal, MCS-Rika-S_U-normal, MCS-Zamzam-S_U-normal, MCS-mamloky-E_U-normal, MCS-FREEDOM, MCS-RIVER, MO_Nawel, Mobd3-Basamat-Font, Mohammad-Annoktah, Mohammad-Dawlat, Mohammad-Laha, Mokhtar-Bold, Motken-AL-Rafidain-Art, Motken-daeira, ACS-Yaqout-Bold, ACS-Yaqout, ACS-Topazz-Extra-Bold, Thulth-Bold, Thulth, ACS-Topazz-Bold, ACS-Topazz, ACS-Yaqout-Extra-Bold, almwaheb-by-A4D, mokhtar_bold, mokhtar_daiery, mokhtar_daiery_1, ACS-Zomorrod-Bold, ACS-Zomorrod, ACS-Zomorrod-Extra-Bold. [Google] [More]  ⦿

    Vistawide

    Archive of free foreign language fonts covering Arabic, Armenian, Bengali, Bulgarian, Burmese, Cambodian, Celtic, Chinese, Croatian, Czech, Estonian, Old English, Farsi, Georgian, German, Greek, Hawaiian, Hebrew, Hindi, Hmong, Hungarian, Icelandic, Japanese, Khmer, Korean, Latvian, Myanmar, Nepali, Persian, Polish, Punjabi, Romanian, Russian, Serbian, Slovenian, Tagalog, Tamil, Thai, Turkish, Ukranian, Urdu, Vietnamese and Welsh. [Google] [More]  ⦿

    Vlad Atanasiu

    Pages on language and calligraphy, in French. In 2003, Vlad wrote a doctoral thesis on calligraphy: "Le phénomène calligraphique à l'époque du sultanat mamluk" (Paris, Ecole Pratique des Hautes Etudes). [Google] [More]  ⦿

    Vladimir Tamari

    Vladimir F. Tamari studied physics and art at the American University of Beirut where he met and was inspired by Buckminster Fuller (around 1960). He invented and built 3D drawing instruments. In the 1980s he joined the Optical Society of America to keep up with the field and holds U.S. patents for inventions based on his Streamline Diffraction Theory to cancel diffraction in telescopes. He wrote Beautiful Universe: Towards Reconstructing Physics From New First Principles (2005). He paints in watercolors and has designed Arabic fonts for Adobe. He has lived in Tokyo for the past 40 years. In 2005, he made Beautiful Universe, a physics symbol font designed to illustrate his physics theory. [Google] [More]  ⦿

    Vsc Team

    Designers in 2003 of these fonts for Farsi: Alborz5-Aban, Alborz5-Abgine, Alborz5-AbgineBold, Alborz5-Akram, Alborz5-Amir, Alborz5-Andolos, Alborz5-Arash, Alborz5-Arya, Alborz5-AryaItalic, Alborz5-Babak, Alborz5-BabakBold, Alborz5-Badr, Alborz5-BadrBold, Alborz5-Bahar, Alborz5-Bardia, Alborz5-Bidad, Alborz5-Bita, Alborz5-ClassAval, Alborz5-Compset, Alborz5-CompsetBold, Alborz5-DastNevis, Alborz5-Divani, Alborz5-DivaniOutline, Alborz5-Ehsan, Alborz5-Elham, Alborz5-Elnaz, Alborz5-Fantezi, Alborz5-Fariba, Alborz5-Ferdosiltalic, Alborz5-Hadi, Alborz5-Hesab, Alborz5-Homa, Alborz5-Hosseini, Alborz5-Iran, Alborz5-IranItalic, Alborz5-Jalal, Alborz5-Kamran, Alborz5-KamranBold, Alborz5-KazemOutline, Alborz5-Khoramshahr, Alborz5-KhoramshahrBold, Alborz5-Koodak, Alborz5-Koufi, Alborz5-KufiBold, Alborz5-KufiOutline, Alborz5-Laleh, Alborz5-Lotus, Alborz5-LotusBold, Alborz5-Mahtab, Alborz5-Marjan, Alborz5-Mashgh, Alborz5-Mehrdad, Alborz5-Mina, Alborz5-Mitra, Alborz5-MitraBold, Alborz5-Mobarak, Alborz5-Modern, Alborz5-Morvarid, Alborz5-Nasim, Alborz5-NasimShadow, Alborz5-Naskh, Alborz5-Nazanin, Alborz5-NazaninBold, Alborz5-Negar, Alborz5-Nilufar, Alborz5-Nima, Alborz5-Parisa, Alborz5-ParisaOutline, Alborz5-Parvaneh, Alborz5-Peyman, Alborz5-Poolad-Black, Alborz5-PooladLight, Alborz5-PooladOutline, Alborz5-Pooneh, Alborz5-Quran, Alborz5-QuranItalic, Alborz5-Rogheh, Alborz5-Rooz, Alborz5-Roshan, Alborz5-Roya, Alborz5-RoyaBold, Alborz5-Saba, Alborz5-Sahand, Alborz5-Salar, Alborz5-Saman, Alborz5-Sepideh, Alborz5-Setareh, Alborz5-Shabnam, Alborz5-Shadi, Alborz5-ShadiBold, Alborz5-Shafagh, Alborz5-Shafigh, Alborz5-Shirazi, Alborz5-Shirzad, Alborz5-Siamak, Alborz5-Siavash, Alborz5-SiavashItalic, Alborz5-Sima, Alborz5-Simin, Alborz5-Sina, Alborz5-System, Alborz5-SystemBold, Alborz5-Taraneh, Alborz5-Tawfigh, Alborz5-Tehran, Alborz5-Titr, Alborz5-TitrJadid, Alborz5-Traffic, Alborz5-TrafficBold, Alborz5-Vahid, Alborz5-Yaghoot, Alborz5-YaghootBold, Alborz5-Yalda, Alborz5-Yashar, Alborz5-YasharDrops, Alborz5-Yekta, Alborz5-Zahra, Alborz5-Zar, Alborz5-Ziba, Alborz5-Zohre. [Google] [More]  ⦿

    Wael Morcos

    After receiving his BA in Graphic Design from the Notre Dame University (Lebanon), Wael Morcos worked for the news website NowLebanon. A year later he joined the branding and design department of Saatchi Beirut where he spent three years developing identities, bilingual typographic solutions and working in print and exhibition design.

    His typefaces include Kufam (2013): Kufam is a bilingual typeface originally commissioned by Khatt Foundation part of the Typographic Matchmaking project. The typeface is the result of the collaboration between Dutch type designer Artur Schmal and myself. The Arabic is inspired by early Kufi inscriptions (7th century) and the Latin is inspired by Dutch urban lettering of the 1920's. The font supports the Arabic and Persian scripts. [Google] [More]  ⦿

    Walter Tracy

    Born in the UK (1914-1995). He was a type designer at Barnard Press from 1935-1938, did freelance design in 1947, and worked for Linotype England as head of the typer department from 1948-1978. He continued after 1978 designing Arabic typefaces for Linotype. Fonts: Jubilee (1953-1954, Linotype), Adsans (1959, also known as Bitstream Humanist 970; with short descenders to jam as much text as possible in newspaper ads and telephone directories; revived in 2011 by Ian Lynam as Adora), Maximus (1967), Telegraph Modern (1969, for "The Daily Telegraph" newspaper), Times Europa (1972, for The Times of London, as a replacement of Times New Roman which was made in 1931), Doric (1973), Telegraph Newface Bold (with Shelley Winter, 1979), Qadi (1979, Arabic font at Linotype), Kufics (1980, Arabic font at Linotype), Oasis (1985), Sharif (1989, Arabic font at Linotype), Malik (1988, Arabic font at Linotype), Medina (1989, Arabic font at Linotype). He was a typographic advisor to The Times. He is perhaps most famous for his bestselling book "Letters of Credit, a View of Type Design" (London, 1986). He also published "The Typographic Scene" (London, 1988). For lo-fi printing types, a recommended reading is Tracy's Telephone Directories (in issue #15 of the old series of Typographica (1958), pp 4-15).

    View Walter Tracy's typefaces. [Google] [MyFonts] [More]  ⦿

    Wasan Abu Yousef

    Amman, Jordan-based designer of The Cracked Font (2013, Arabic typeface). [Google] [More]  ⦿

    Weidmüller

    A corporate URW studio sans family published in 2012. The six-font family sells for over 4000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Wene Man

    Omani type designer. [Google] [More]  ⦿

    Wics

    Sidus Micro Technology from Dubai, UAE, is involved in OpenType font development, for Arabic and other languages. Contact: Waiel H. Ali. [Google] [More]  ⦿

    William Caslon III

    British typefounder in London, 1754-1833. Son of William Caslon II, grandson of William Caslon I. He co-owned the Chiswell Street family firm from the death of his father in 1778 until 1792, when he sold his share in the foundry to his mother and his sister-in-law, the widow of his brother Henry. In the same year he purchased the Salisbury Square foundry of Joseph Jackson (apprentice to his grandfather and rival to his father), who had recently died, and called the foundry Caslon&Son. In 1807, this business was passed on to his son William Caslon IV who in turn sold up in 1819 to Blake, Garnett&Co. (later Stephenson Blake). Author of A specimen of printing types (1785, Galabin and Baker, London) and A specimen of cast ornaments (1795, C. Whittingham, London).

    Images from A specimen of printing types (1785): a crown, Double Pica Greek, English Arabic, English Italic, Five Line Pica Ships, Long Primer Roman No 1, Pica Black No. 2, Pica Coptic, Pica Ethiopic, Two Line Double Pica, Two Line Great Primer, Two Line Long Primer. [Google] [MyFonts] [More]  ⦿

    Windows archive

    Has arabttf and baghdad2. [Google] [More]  ⦿

    WinSoft Arabic Typography

    Results of a type competition held in 2010 [example: poster by Maakaron S]. [Google] [More]  ⦿

    Wissam Shawkat

    Iraqi calligrapher. Born in Iraq, Basra City 1974, started practicing calligraphy in 1984, when the primary school teacher Mr. Muhammad Ridha Suhail and his parents guided and encouraged him. and since that he became passionate to the art of Arabic calligraphy till he started his career as a professional calligrapher and graphic designer in 1990. After his graduation from the Civil Engineering Department from Basra University in 1996 he carried on self-taught by closely observing and studying the calligraphy of the masters of this art in Turkey like Sami Efindi, Mohammed Nazif, Hamid Al Amadi and Halim Efindi. A winner of many calligraphy competitions. Currently, Wissam works as a senior designer and consultant, specialized in brand identity and Arabic typography with global branding and advertising agencies in the UAE and abroad. In Dubai, his most noticeable works include a calligraphy wall at the Cultural and Scientific Association, the design of the Calligraphy at Mr. Majed Al Futtaim Mosque and the Calligraphy and design of the wall graphics at the Dubai International Financial Centre (DIFC). [Google] [More]  ⦿

    Würth

    A corporate geometric URW studio sans family published in 2012. The three-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. URW++ is authorized by the Adolf Würth GmbH & Co. KG to deliver the new corporate fonts to external service providers of Würth on the basis of royalty payment. Würth covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Yannis Haralambous

    Metafont/TEX font and font software developer, specializing in non-Latin fonts and their integration in TEX. Ran Atelier Fluxus Virus in Lille, France. Codeveloper of the Omega typesetting system which includes the Omega Font Family (type 1). Since 2001, professor of Computer Science at the École Nationale Supérieure des Telecommunications de Bretagne in Brest. He is the author of the 1000+-page text Fontes et codages (O'Reilly, 2004), which was translated by P. Scott Horne with the English title Fonts and Encodings (O'Reilly). See also here. Also author of Keeping Greek Typography Alive, an article presented at the 1st International Conference on Typography and Visual Communication held in Thessaloniki in June 2002.

    Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.

    Active participant in the GNU Freefont project. With John Plaice, he contributed to these Unicode ranges:

    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Greek (U+0370-U+03FF)
    • Armenian (U+0530-U+058F)
    • Hebrew (U+0590-U+05FF)
    • Arabic (U+0600-U+06FF)
    • Currency Symbols (U+20A0-U+20CF)
    • Arabic Presentation Forms-A (U+FB50-U+FDFF)
    • Arabic Presentation Forms-B (U+FE70-U+FEFF)
    He also added glyphs for Sinhala (U+0D80-U+0DFF). In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F). These too are in the GNU Freefont family. [Google] [More]  ⦿

    Yanone
    [Jan Gerner]

    Jan Gerner (b. 1982, Dresden) from Weimar runs Yanone. He grew up in Addis Abbeba. He studied Media at the Bauhaus Universität Weimar in 2003. He still lives and works in Weimar. He designed the (free) informal sans family YanoneKaffeesatz (2005), which is analyzed by Gerrit van Aken. YanoneTagesschrift (2005) is a serif obtained by scanning the felt tip pen traces of a printed serif face--a nice idea! The font is now at Schriftgestaltung. The pixel font Al Abdali 8 was created during his stay with Syntax in Amman/Jordan to match the growing need for joint Arabic/Latin typefaces. Dafont link.

    In 2006, Yanone started selling some fonts through MyFonts. These include Monospasz (2006, a manually produced monospace typewriter font family in 5 styles), Liebfraumilch (2009, connected hand) and Pochoir (2006, stencil). And in 2009, the popular free Kaffeesatz became a pay font, FF Kava, at FontFont.

    In 2010, Yanone published FF Amman for Latin and Arabic---a bit too angular for my taste, but it has its uses.

    In 2011, he obtained a Masters at KABK in the type and media program. His graduation typeface was Antithesis (2011)---it consists of a slab serif, a connected script and a heavy sans. All three have a hand-printed look and should be fine faces for signage. Page dedicated to Antithesis. The FontFont version, FF Antithesis, appeared in 2013.

    At ATypI 2013 in Amsterdam, he introduces Speed Punk, a learning tool to better understand the nature of Bézier curves and their curvature. See also here.

    Font Squirrel link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Yasmin Osman

    Cairo-based designer of the avant-garde Latin / Arabic sans typeface Arual (2013) and of the Arabic typeface Kutting Edge (2013). She also made a series of icons called Slurp (2013). [Google] [More]  ⦿

    Yasmina Saleh

    Student in Cairo who created the modular Arabic typeface Arabis (2012) by starting from Latin shapes. [Google] [More]  ⦿

    Yasmine Taan

    Lebanese type designer and typographer. [Google] [More]  ⦿

    Yassmin Shalby

    During her studies at the German University in Cairo, Yassmin Shalby (Giza, Egypt) created DIN Arabic (2013) and Shalbino (2013, Arabic typeface). [Google] [More]  ⦿

    Yaw Afghan

    Arif Askar Ibrahimkhil is the designer of these Pashto fonts in 2002: Afghani-Outline, Afghani, Ahmadzai, Durani, Hotaki, Kabuli, Kaoun, Khaista-Outline, Khattak, Khushal, Khyber, Laghmani, MohamadZai, Paghmani, Paktia, Pamir, Pashto-Arial, Pashto-Ibrahimkhil, Pashto-Outline, Qandahari, Rahman, Sabawoon, Shinwari, Wardaki, Zadran, Zazai. Download the fonts also here. [Google] [More]  ⦿

    Yosra AlKaff

    Graphic designer in Marl, Germany, who created the experimental Arabic typeface Yosr (2013). [Google] [More]  ⦿

    Yudit

    This site has the following truetype fonts: Braille (by Vyacheslav Dikonov), MalOtf (Malayalam font by Shaji N Vyapron, based on fonts by Jeroen Hellingman), Raghindi (National Centre for Software Technology. This font was developed by Prof. R.K. Joshi with assistance from Mr. Vinay Sayanekar), TibetanUnicode (2002, Gregory Mokhin), UrduNastaliqUnicode (2002, Shehzad Ali&Tabish), ani (2002, a Bengali font by Dr. Anirban Mitra). [Google] [More]  ⦿

    Zahar Al-Dabbagh

    Zahar Al-Dabbagh (Jeddah, Saudi Arabia) created the Arabic typeface Syoola in 2013. [Google] [More]  ⦿

    Zak Design
    [Zakariya Saleh]

    Arabic font foundry based in Ramallah, Palestine, and run by Zakariya Saleh. They made Osama (2013), Exo Sans (2013, a free Latin sans typeface---not to be condfused with Gama's Exo font), Asmaa (2013, Latin and Arabic), Ourtilane (2013), Oday (2013), AraSym Ramadan (2010, a family) which can be downloaded here.

    In 2013, he extrapolated the Sony Walkman logo into his Sony Walkman organic font. He also made the Arabic typefaces Bon Font, Saramah, Aqeeq, Graphici, Asri, Ink Drip, Arabic Script, Ink Stream, Alqusair, and Diana Extra, and the octagonal Latin / Arabic typeface Shohadaa.

    Typefaces from 2014: Al Bayan, Baghdad.

    Behance link. [Google] [More]  ⦿

    Zakariya Saleh
    [Zak Design]

    [More]  ⦿

    Zoomorphic calligraphy
    [Hassan Musa]

    A subpage of BibliOdyssey which describes the creation of animal drawings from letterforms, typically using Arabic glyphs. Many nice examples are shown by Sudan's Hassan Musa. [Google] [More]  ⦿

    Zvika Rosenberg
    [Studio Rosenberg (or: Masterfont)]

    [MyFonts] [More]  ⦿