TYPE DESIGN INFORMATION PAGE last updated on Tue Jun 18 02:54:19 EDT 2024






Typefaces and type design for Arabic


29 Letters
[Pascal Naji Zoghbi]

Madrid (and before that, Lebanon)-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.

At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:

  • 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 display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
  • 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. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
  • 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 (2010, 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. Azer won an award at TDC 2014.
  • Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
  • LT Makina. An old typewriter font.
  • LT Kaff.
  • LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
  • LT Zeyn. A great high-contrast fashion mag style typeface.
  • Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Klingspor link. [Google] [More]  ⦿


Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:

  • Astronomer (2018). An attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633).
  • Dinkie Bitmap (2018-2020). A pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese by Willie Liu.
  • Ellenda (2018). An art deco typeface by Zheng Chuyang.
  • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
  • Freundschafts-Antiqua Neue (2017), by Roman Wilhelm. Covering Latin, Vietnamese, and Hanyu Pinyin, this 6-style typeface family revives the award-winning text typeface Freundschafts-Antiqua made in 1959 by Yu Bingnan.
  • Hong Kong Street Face (2015). A Hanzi font by Roman Wilhelm that reflects the character of Hong Kong.
  • Xingkai Next (2017). A modern polygonal typeface for Hanzi, by Li Zhiqian. It was derived from cursive handwriting and Chinese calligraphy.
  • Ryan Serif (2017). A Latin display typeface by Ryan Lau.
  • Weaf Mono (2017-2018). A monospaced monolinear sans family by Zheng Chuyang and Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
  • RVS Basic (2021). A brilliant and bold reverse-contrast typeface with an emphasis on Hanzi. Commercial letterings from the Republic of China and a calligraphic style named Qishu from the Qing Dynasty jointly inspired the typeface. Award winner at 25 TDC in 2022.
[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]  ⦿

Aamnah Ahmad

As a student at Indus Valley School of Art and Architecture, Karachi, Pakistan-based Aamnah Ahmad created the Urdu typeface Qatrah (2015). [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]  ⦿

Abdallah Nasri

[MyFonts] [More]  ⦿

Abdel-Hadi Bukres

[More]  ⦿

Abd-Elrahman Ammar
[Abody Ammar]

Aka Abody Ammar. Damanhar, Egypt-based designer. Co-designer with Yousuf Gamal of the fun fluid Arabic typeface Marshmallow (2017). Free download for personal use.

In 2017, Abd Al Raoof (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Raoof. Still in 2017, Yousuf Gamal (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Caramel.

In 2018, he designed the free Arabic / Urdu / Farsi font Oya together with Avd Al Raoof (Abdoaroof Aburzizh). [Google] [More]  ⦿

Abdelrahman Farahat
[Farahat Design]

[MyFonts] [More]  ⦿

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

Abdulsamie Rajab Salem (b. 1968), the founder of Abdo Fonts, published many typefaces from 1998 until 2000 under the name Future Soft. In 2000 he created these Arabic fonts: FS_Abdo, FS_Africa, FS_Ahram, FS_Alex, FS_Alex142, FS_Alex7471, FS_Arabic, FS_Bold, FS_Egypt, FS_Free, FS_Graphic, FS_India, FS_Japan (oriental simulation face), FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Wood. They can be downloaded here and here. Here we have FS_Africa, FS_Ahram, FS_Alex, FS_Arabic, FS_Black, FS_Bold, FS_Egypt, FS_Free, FS_Future, FS_Graphic, FS_India, FS_Japan, FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Pincel, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Strip, FS_Wood, all made in 2000. See also here. Other fonts by him include FS_Cairo, FS_Diwany, FS_Modern1, and FS_Modern2.

At Hiba Studio, we find HS Futura (2011), which was based on Salem's FS Futura. Also at Hiba Studio, he co-designed 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 typeface in a simple Naskh style, designed for books and magazines. See also Abdo Title (2013), Abdo Free (2013) and Abdo Logo (2013).

Typefaces from 2014: Abdo Master (+Outline).

Typefaces from 2017: Abdo Text (Arabic Naskh font for books), Abdo Strips.

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

Abdo Mohamed
[Protype (or: Boharat Cairo)]

[MyFonts] [More]  ⦿

Abdoaroof Aburzizh

Tripoli, Libya-based designer, with Abd-Elrahman Ammar (development), of the free Arabic font family Raoof. [Google] [More]  ⦿

Abdoullah Aref

Port Said, Egypt-based designer of the free Arabic typeface Air Strip Arabic (2012, together with Ibrahim Hamdi). For Zakariya Saleh (Palestine), he programmed the Ara Ahrar font in 2011. For Abdullah Naser Alharbi (Saudi Arabia), he programmed the Arabic typeface Ara Alharbi Alhanoof in 2012. For Ibrahim Hamdi and Zakariya Saleh, he programmed the extensive Kufyan Arabic typeface mfamily, also in 2012. In 2011, he designed Aref Menna and Aref Graffiti.

In 2016, he designed the gorgeous Aref Kufi typeface, the free Aref Ruqaa (with the help of Khaled Hosny, Kalapi Gajjar and Nzar Design for Kurdish support), and the advertizing typeface Aref Albasel. [Google] [More]  ⦿

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 Arif

Designer of the monospaced Arabic typeface Kawkab Mono (2015), which is available from Open Font Library. It is paired with Source Code Pro for the non-Arabic glyphs. [Google] [More]  ⦿

Abdullah Naser Al Mawash

Designer of the Arabic fonts Al-Rashed-Riyadh and 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. Tascinorm was published in 2014. [Google] [MyFonts] [More]  ⦿

Abdulrahman Al Qaraawi

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

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

[MyFonts] [More]  ⦿

Abdurrahman Hanif
[Monocotype Studio (or: Monoco Type, or: Awal Studio)]

[MyFonts] [More]  ⦿

Abitar Mohamed

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

[Ali Almasri]

Ali Almasri is the Zarqa and Amman, Jordan-based designer (b. 1986, Zarqa) of the experimental typefaces X-Fire (2006), Relaxic (2005) and Graphiro (2005). He set up the type foundry Abjad in 2014. His typefaces include a fun inline custom typeface for the Wisam barber shop in Zaqra (in 2013), Swissra (2014, a Swiss sans-styled Arabic typeface), Swissra Condensed (2015), Molsaq Pro (2015: a rounded poster font family that features a modern Arabic Naskh with very short descenders and ascenders, and an all-caps Latin counterpart), Allabbad (2017, inspired by the fun hand lettering of Arab graphic design icon Mohieddine Allabbad), Afeesh (2017), Nogoom (2017: inspired by the titles of Egyptian Magazine Alostudio, which used to be published during the 50s-60s), Molsaq Arabic (2015), Molsaq Latin (2015), and Gerlaneu (2006, a 6-style octagonal and geometric family).

In 2020, he co-designed Palsam Pro (Abjad) with Alja Herlah. This rounded sans typeface covers Latin and Arabic. Regarding Palsam Arabic, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.

Typefaces from 2021: Manchette Fine (an Arabic typeface), Manchette (an Arabic headline typeface that was inspired by the hand-written Naskh newspaper headlines during the 1960s and 1970s).

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

Abody Ammar
[Abd-Elrahman Ammar]

[More]  ⦿

Abzari Jafar
[McJer Studio]

[More]  ⦿

Adel Banfeel
[Banfeel Type]

[MyFonts] [More]  ⦿

Adien Gunarta

Adien Gunarta is an Indonesian type designer (b. 1995) who is based in Probolinggo, East Java, and who is studying at Airlangga University, Surabaya, class of 2014. His typefaces can be found under his name or under Teras Grafika (set up in 2015) and Fontastic Indonesia. Adien Gunarta's typefaces are brimming with Indonesian cultural heritage symbols and shapes.

Typefaces from 2010, mostly made with FontStruct: the pixel typeface Benci Malaysia, the hand-printed Nyonya Gendut, the squarish typeface Hutan and the irrgularly sized Madura Regular. He also made the texture / knitting typeface Batik, FoOleD bY GaYUs, Probolinggo (organic), Smasasinema (display face), the texture typeface Serangkaian Pattern, Indo-Malay Confrontation (pixelish), Koruptor and the Bitches (gothic), Qurban Feast, and the curly native pattern typeface Mlungker.

In 2011, he made Kabupaten (a sketch font), Social Monster, Buka Pusa Bersama, Ceria Lebaran, Pajarakan Studs, Batik Gangster, Maharani (hand-printed), Lovely Eunike Hans (hand-printed), the texture typeface Kawung Textile, Wildan Izzur Gunarta, Genius Jempolan Royal (scanbats), Pray For Japan, Quantum of Bali, X-Code from East (Javanese script), Hangeul (Korean simulation face), Halidians Blockserif, Moanday Earn Bored, the paper cut typeface Malingsia, Awesome Java, Mesin Hitung (an LCD face), Eenvoudige Batik (stitching face), Antique Paleoindonesia (patterned face), Kebencian (scratchy face), Kemasyuran Jawa (a display face with an Indonesian look), Probolinggo Sans, Londo Chino, Urban (paper cut face), Bikang Struck, Chana Remedy, Indonesian Woman (pixel dings), People Diverse (pixel dings), DBA Muslim (pixel dings), Turk and Nusa (ball terminal face), Jakarta Recycle (paper fold octagonal face), Halida Sans (a swirly version of Ubuntu), Buka Puasa Bersama (Arabic simulation face), Social Monster (grunge), Ceria Lebaran Normal (lava lamp typeface), Dukungan, Dukungan, Sanjaya Epoch, and Jakarta Sunken (angular face).

In 2012, he created Halidians Blockserif, Penakut, Agoestoesan, Siti Maesaroh (Arabic simulation face), Turk and Nusa, Rest in Phuket (Thai simulation typeface), Chana Remedy, Bunaken Underwater, New Madura, Moro Seneng, Endutt Normal, Antibalon, Hayyu Kaget, Damai Kpk Polri, Damai Pelajar, Jangan Bersedih (hand-printed), Ikan Besar, Senyum (hand-printed), Catatan Perjalanan (fat finger face), Wizzta, and Quick Argani.

Typefaces from 2013: Emilio 19 (athletic lettering font), Bangkit, Faishal Bakeries, Soerjaputera (avant-garde), Soerjaputera Doea (art deco), Sang Fatchurrohmah (lava lamp face), Aceh Darusalam (Arabic simulation face), Revolusi Timur Tengah (Arabic simulation face), Nurkholis (Arabic simulation), Kopleng (alchemic), Menjelajah Halmahera (a ronde font), Jakarta Highends, Smasasinema, Sanjaya Epoch, Mlungker, Dukungan, Thohir Ke Badreah (all caps sans face), Serangkaian Pattern, Endutt (fat finger face), Boutiques of Merauke (a curly typeface), Balinese Family, Zamrud & Khatulistiwa (curly font), Awesome South Korea (great oriental-look font), Freeport Go Away (poster font), Senang Banyol, Don Aquarel, Jawadwipa Adisastra, Si Kancil (fat finger font), Wortellina, Don Butique (hand-printed), Did You See That, Bimasakti.

Typefaces from 2014: Rampung, Prabowo, Larasukma (an abstract shape font), Tafakur (Arabic simulation typeface), Syawal Khidmat (Arabic simulation face), Kurnia (curly script), Kota Surabaya (dingbats of buildings), Hutan Lestari, Kobarapi (spurred typeface), Mukadimah (Arabic simulation, based on ae Cortoba by Arabeyes), Huruf Maranti (upright connected script), Emilio 20 (athletic lettering).

Typefaces from 2015: Gurindam (Dutch art deco), Upakarti, Tyree Friendly Face (rounded sans), Berantas Korupsi, Kanisah (Hebrew simulation font).

Typefaces from 2016: Belacu, Cemong, Bungasai, Semringah, Binarung (masks), Surabanglus (beatnik style).

Typefaces from 2019: Kembang (dingbats).

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

Adil Rehan

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

Adriana Perez Conesa

Adriana Perez Conesa is a Spanish graphic and typeface designer, currently based in Barcelona. She studied art and graphic design at the University of the Basque Country. Graduate of the MATD program at the University of Reading, class of 2020. Her typefaces:

  • Subs and Stuff (2020). These are her graduation typefaces at Reading. Subs n Stuff. Subs uses squarish letterforms with low contrast, large x-height, generous apertures, pixel-traps and clear shapes, all to help reduce the chances of misrecognition and increase legibility. Subs contains two different styles: Micro, intended for low-resolution screen and small sizes, and Text, for high-resolution screens and bigger sizes. Text is also variable in the weight axis. Stuff is a variable subfamily that covers weight and optical size axes. Both typeface families are accompanied by an italic style and support Latin and Arabic scripts.
  • A revival of Augereau Gros Romain (2020).
  • Rockera (2018-2019). Rockera was designed during a four month Typography Design post-graduate course at EINA (University School of Design and Art of Barcelona).
  • Essone (2018). A didone.
  • Aurum Sans (2018). Her graduation project at the University of the Basque Country. Aurum Sans is a geometric typeface in which she combined rationality with humanism.
[Google] [More]  ⦿

Adrien Midzic

Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).

Fonts made in 2010: The ETH family (art deco sans).

Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).

At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.

In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).

In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.

Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. Velvetyne link. [Google] [MyFonts] [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]  ⦿


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]  ⦿


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


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

Ahlam Alsaqrah

Dammam, Saudi Arabia-based designer of the Arabic typeface Nadher (2017). In 2017, Ahlam Alsaqrah, Maryam Almohanna, Ashwag Madkhli, and Faten Almogeem co-designed the Book of Life font. [Google] [More]  ⦿

Ahmad Al Hindi

Doha, Qatar-based dype designer of the Arabic / Latin typeface Zamalka (2014), which won an award at The 2014 Horouf Type Design Competition. [Google] [More]  ⦿

Ahmad Humeid
[Syntax Digital]

[More]  ⦿

Ahmad Shaarawy

During his studies in Cairo, Egypt, Ahmad Shaarawy designed the Arabic typeface Nun (2017). [Google] [More]  ⦿

Ahmad Sha'ath

Arab calligrapher. [Google] [More]  ⦿

Ahmad Shawki

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

Ahmed Alahdal
[Best 76 Free Arabic Typefaces]

[More]  ⦿

Ahmed Ali

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

Ahmed Edrees

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

Ahmed El-Malah

Manama, Bahrein-based Ahmed El-Malah created a free AI-format Arabic calligraphic typeface in 2015. Behance link. [Google] [More]  ⦿

AhmED ElqSas

Cairo, Egypt-based designer. In 2020, he released the free Latin / Arabic typeface Abd ElRady. [Google] [More]  ⦿

Ahmed Eraqi

[MyFonts] [More]  ⦿

Ahmed Geaissa

In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. Behance link. [Google] [More]  ⦿

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 typeface for Latin and Arabic.

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

Ahmed Mirza Jamil

Pakistani calligrapher who developed the calligraphic Urdu script Noori Nastaliq in the 1970s. It was sold by (Agfa) Monotype but since 2009, copyright and trademark of the font has returned to Tariq Jamil Mirza / Ahmed Mirza Jamil. He has been awarded with TAMGHA-I-IMTIAZ by the government of Pakistan in 1982. [Google] [More]  ⦿

Ahmed Mohamed Galal

Cairo, Egypt-based designer of the arabic typeface Daari (2018), which is a student project modification of Asmaa done at Helwan University. [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 Sallam
[Sallam Type]

[MyFonts] [More]  ⦿

Ahmed Youness

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

Ahmed Zaza
[Zaza Type]

[MyFonts] [More]  ⦿

AIAP--Iranian Fonts

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

Aisha Sheikh

Karachi, Pakistan-based designer of a minimalist Urdu typeface in 2014. [Google] [More]  ⦿

Akira Kobayashi
[Sony Design]

[More]  ⦿

Akira Kobayashi

Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

  • Helvetica Neue eText Pro (2013).
  • Dainippon Screen: the kanji font Hiragino Mincho.
  • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
  • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
  • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Avenir Next Paneuropean (2021: 56 styles), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi and Tom Grace unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, co-designed with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
  • Fontshop: Acanthus (2000, large Fontfont family), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
  • Typebox: TX Lithium (2001, The Typebox).
  • Oddities: Skid Row (1990), Socia Oldstyle.
  • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
  • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
  • Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
  • In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
  • Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
  • SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
  • DIN Next Stencil (2017). Developed together with Sabina Chipara.
  • DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
  • Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
  • Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.
At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.

Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

View Akiro Kobayashi's typefaces.

Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [Google] [MyFonts] [More]  ⦿

Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Akram Kamil Kareem

Iraq-based type designer whose typefaces are hosted on our site. All his fonts are free for personal use. For non-personal use, please send an email to akramalzohiri@gmail.com. The list of his typefaces:

  • Akram K1 (2021). The designer writes: The font represents the first alphabet in the Mandaic language---its name is A-Atha which means "he came". This one is the first font I made. It is the base for my other fonts. The Mandaic script is thought to have evolved between the first and second century BC from either a cursive form of Aramaic (as did Syriac) or from the Parthian chancery script. It was developed by members of the Mandaean faith of southern Mesopotamia to write the Mandaic language for liturgical purposes. Download Akram K1.
[Google] [More]  ⦿

Al Bayan Company for Computer Services

Designers of the free Arabic typeface Ara Al Bayan (1992-1998). [Google] [More]  ⦿

Al Koraishy

Wasit, Iraq-based designer of the experimental Arabic typefaces Kofi Bloody (2014), Forat (2014), Basra (2014), Alaraby (2014) and Alkafeel (2014). [Google] [More]  ⦿

Al Mahbouby

Batna, Algeria-based designer of the Arabic typeface Amla (2016). [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]  ⦿

Al Qalam
[Syed Abrar Hussain Shakirulqadree]

In 2012, Syed Abrar Hussain Shakirulqadree and Ishtiaq Ali Qadree co-designed the Arabic typeface AlQalam Taj Nastaleeq. [Google] [More]  ⦿

Alaa Zakary

Dammam, Saudi Arabia-based co-designer (with Sara A. Al Suwaiygh, Al Khobar, Saudi Arabia, and Fayzah Alghamdi, Dammam, Saudi Arabia) of the Arabic typeface Fulad (2017). In 2016, she designed another Arabic typeface. [Google] [More]  ⦿

Alagha Arabic Type

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


Designer (?) in 2000 of the Arabic fonts AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam, Bader, Othmani, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, Zokrofi. They can be downloaded here. [Google] [More]  ⦿

Alan M. Stanier

Alan M. Stanier from Essex University (UK) has created the following metafonts: ams1, cherokee, cypriote, dancers (the "Dancing Men" code of Conan Doyle), estrangelo (ancient Syriac language), georgian, goblin, iching, itgeorgian, ogham (found on ancient Irish and pictish carvings), osmanian (twentieth-century font used in Somalia), roughogham, shavian, southarabian (for various languages circa 1500BC), ugaritic (ancient cuneiform alphabet). More direct access. [Google] [More]  ⦿

Alan M. Stanier

[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]  ⦿

Alanoud Alawaji

Graphic designer in Riyadh, Saudi Arabia, who created the painted Arabic alphabet Holm (2015). [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 typefaces at Arabeyes, including Tholoth, Hor, Haramain, Electron. [Google] [More]  ⦿

Alex Blattmann

UK-based type designer. The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016. [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 Alattas

[MyFonts] [More]  ⦿

Ali Almasri

[MyFonts] [More]  ⦿

Ali Almeethali
[Gheen studio (was: AType)]

[MyFonts] [More]  ⦿

Ali Almithaly

Graphic designer from Sanaa, Yemen, now loacted in Kuwait City. Creator of several Arabic typefaces in 2013: Rabi4a, Suhali, Aqeeq (Zakdesign, free), Alfarooq, Ara Alm Bon.

In 2014, he created Sheba. In 2015, he added Sanaa, Balqees and Sheba Ye. In 2016, he designed Sanaa Ye. In 2017, he added the rough brush typeface Angry Bird. [Google] [More]  ⦿

Ali Alrikabi

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

Ali Laith Kaser

Designer of the Arabic typeface Al Quran Ali (2017). [Google] [More]  ⦿

Alia Azzouz

Cairo, Egypt-based designer of the Arabic typeface Al-Motaereg (2016). For a design course, she created the Latin typeface Leafy (2016). [Google] [More]  ⦿

Aliaa Mahmoud

At the Faculty of Fine Arts in Alexandria, Egypt, Aliaa Mahmoud designed a few Arabic typefaces (2017). [Google] [More]  ⦿

[Ali Alattas]

Saudi Arabian graphic designer Ali Al-Attas began designing fonts at the end of 2020. In 2021, he published Alilato (a 9-style wayfinding sans for Latin and Arabic). [Google] [MyFonts] [More]  ⦿

Alireza Askarifar

Graphic designer in Isfahan, Iran, who created the Arabic / Persian typeface Toodeh in 2016. [Google] [More]  ⦿

Alja Herlah

Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:

  • Praz Slab and Praz Italic (2014). Developed during the 2014 Tipobrda workshop mentored by Domen Fras and Lucija Bratus.
  • Alica (2015). A cursive slab serif heavily inktrapped typeface designed at TipoBrda 2015.
  • Univerza Sans (2020, Type Salon). Univerza is not a take on Frutiger---it is Slovenian for "university". Alja writes: Univerza Sans was developed to mark the hundredth anniversery of University of Ljubljana. The style is influenced by the combination of Slovenian avant-garde with some recognizable forms that are known for Slovenian typography.
  • Palsam Pro (2020, Abjad). This rounded sans typeface covers Latin and Arabic and was co-designed by Ali Almasri and Alja Herlah. Regarding the Arabic part, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.
  • Spektra (2020, Type salon). A black condensed sans by Krista Likar and Alja Herlah that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable type with an italic axis.
  • In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke.
  • In 2021, Alja released Gizela (a dagger-edged all caps typeface), and wrote: Gizela shows her personality with a feminine, sensual, seductive and art deco vibes.
[Google] [MyFonts] [More]  ⦿

AlJohara AlSaab

Jeddah, Saudi Arabia-based designer of Arabic Znikomit (2018). [Google] [More]  ⦿

Almamoun Ahmed

Sudanese type designer who created the Arabic display typeface Isra (2005), which won the first prize for Arabic display type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [MyFonts] [More]  ⦿

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]  ⦿


Free Arabic typeface made in 2015 by a female type designer in Kuwait, aka Purity KW. Google Plus 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]  ⦿

Alya AlQarni

Dammam, Saudi-Arabia-based designer of the Arabic poster typeface Nedhal (2017). [Google] [More]  ⦿

Amal Elahi

Graphic designer in Karachi, Pakistan, who designed the experimental squarish Urdu typeface Zaavye (2016). [Google] [More]  ⦿

Amanat Ali Goher

[More]  ⦿

Amardeep Yadav

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


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

Amin Abedi

Tabriz, Iran-based designer (b. 1990) of these typefaces:

  • The paperclip typeface First Shine (2016).
  • The outline typeface AAR (2017).
  • The programming font Cherry (2017).
  • The calligraphic typeface Perfection (2017).
  • The monoline Arabic/Latin typefaces Estedad (2017-2018) and Mikhak (2018).
  • The monospaced sans typeface AzarMehr Monospaced (2018). For Arabic and Latin. It has a great arched background font.
  • The fancy Persian font Fandogh (2017).

Github link. [Google] [More]  ⦿

Amin Ebrahim Kamal
[Sughayer Foundry]

[More]  ⦿

Amine Anane
[Digital Khatt]

[More]  ⦿

Amira Al Dakroury

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

Amirmahdi Moslehi
[Bagh-e Tafarroj Studio]

[More]  ⦿

Amjad Hussain Alvi
[Alvi Technologies]

[More]  ⦿

Ammar Bouras

[MyFonts] [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]  ⦿

Anan Yassin

Cairo, Egypt-based student-designer of the curcuit typeface Circuits (2017) and the Arabic typeface Salis (2017). [Google] [More]  ⦿

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]  ⦿

Andreu Balius Planelles
[Type Republic]

[MyFonts] [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]  ⦿

Anfal M. Alzarraj

At the University of Dammam, Al Khobar, Saudi Arabia-based Anfal M. Alzarraj designed the Arabic typeface Rhuda (2017). [Google] [More]  ⦿

Angel Kwong

Angel's Chinese name is Tsz Yan Kwong. Graduate of the MATD program at the University of Reading, class of 2019, who lives in Hong Kong.

Winner of an award at the Type Directors Club's Type Design Competition 2019 for Chek Lap Sans, which won an award at the Type Directors Club's Type Design Competition 2019. Chek Lap sans was developed at the School of Design of The Hong Kong Polytechnic University. Angel wrote: Chek Lap Sans is a Traditional Chinese typeface designed specifically for signage of the Hong Kong International Airport in Chek Lap Kok, aiming for both functionality and personality. The typeface is designed with considerations of legibility under negative polarity display, to suit the need of the current blue light-box signs with white text. It has generous negative spaces within character, optical adjustments to compensate the glowing effect, and subtle features that contribute to its visual identity. It also includes relevant icons with references to the local context. Several design decisions were informed by the findings from user tests.

Her graduation typeface at the University of Reading was Tabloid (2019), which was designed for reading online material on screens. There are five styles covering three scripts (Latin, Traditional Chinese, Arabic). [Google] [More]  ⦿

Anna Tsuranova
[Letter Muzara]

[MyFonts] [More]  ⦿

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

[More]  ⦿

Apple Fonts

Alternate URL. The history of all fonts used and produced by Cupertino, CA-based Apple. A brief summary of this:

  • Corporate fonts and brand identity
    • Motter Tektura (designed by Othmar Motter of Voralberger Graphic in 1975): before the first Macintosh, Apple used Motter Tektura to accompany the Apple logo. "According to the logo designer, Rob Janoff, the typeface was selected for its playful qualities and techno look, in line with Apple's mission statement of making high-technology accessible to anyone."
    • Apple Garamond, the new corporate font used when the Macintosh was introduced in 1984. ITC Garamond (Tony Stan, 1977) was condensed to 80% of its normal width by Bitstream, who also adjusted and hinted it. Apple Garamond was used in most of Apple's marketing. The Wikipedia comment: "Many typographers consider ITC Garamond in general, and Apple Garamond in particular, to be poorly designed typefaces. A common viewpoint is that the algorithmic scaling distorted the typeface."
    • Myriad Pro: starting in 2002, Apple began using Myriad Pro Semibold (a sans serif face) in its marketing, gradually replacing Apple Garamond. MyriadPro and MyriadApple can be downloaded here.
    • Gill Sans Regular: used in the marketing of the Newton PDA.
  • Fonts of the original Macintosh All but one of these bitmap fonts were due to Susan Kare. The fonts were originally named after stops along the Paoli, Pennsylvania commuter train line: Overbrook, Merion, Ardmore, and Rosemont. Later, under pressure from Steve Jobs, names of world cities were chosen. A number of different variants of each font were algorithmically generated on-the-fly from the standard fonts. Bold, italic, outlined, underlined and shaded variations were the most common.
    • Cairo: a bitmap dingbat font, most famous for the dogcow at the 'z' character position.
    • Chicago (sans-serif): the default Macintosh system font in System 17.6.
    • Geneva (sans-serif): designed for small point sizes and prevalent in all versions of the Mac user interface.
    • London (blackletter): an Old English-style font.
    • Los Angeles (script): a thin font that emulated handwriting.
    • Monaco (sans-serif, monospaced): a fixed-width font well-suited for 912 pt use.
    • New York (serif): a Times Roman-inspired font family. Freely avaliable from Apple.
    • San Francisco: a ransom note face.
    • Venice (script): a calligraphic font designed by Bill Atkinson.
  • Fonts in Mac OS X
    • Lucida Grande: the primary system font in Mac OS X (all versions). Lucida Grande looks like Lucida Sans, but has more glyphs. It covers Roman, Cyrillic, Hebrew, Arabic, Thai and Greek. Many of its 2800+ glyphs were added by Michael Everson to the original collection.
    • Mac OS X ships with a number of high-quality typefaces, for a number of different scripts, licensed from several sources.
    • LastResort (designed by Michael Everson of Evertype): used by the system to display reference glyphs in the event that real glyphs needed to display a given character are not found in any other available font. Wikipedia states: "The glyphs are square with rounded corners with a bold outline. In the left and right sides of the outline, the Unicode range that the character belongs to is given using hexadecimal digits. Top and bottom are used for one or two descriptions of the Unicode block name. A symbol representative of the block is centered inside the square. By Everson's design, the typeface used for the text cut-outs in the outline is Chicago, otherwise not included with Mac OS X. The LastResort font has been part of Mac OS since version 8.5, but the limited success of ATSUI on the classic Mac OS means that only users of Mac OS X are regularly exposed to it."
    • Apple Symbols (2003-2006): a 4000+-glyph dingbat font that complements the symbols from Lucida Grande, inttroduced first in Mac OS X 10.3 ("Panther").
    • Zapfino (a calligraphic typeface designed by and named after renowned typeface designer Hermann Zapf for Linotype, based on an example he first drew in 1944): Zapfino utilizes the most advanced typographic features of the truetype format, and is partially included in OS X as a technology demo for ligatures and character substitutions.
    • Mac OS X Snow Leopard comes with four new fonts in 2009: Chalkduster (emulating chalk on a blackboard), Menlo (a monospaced family based on Bitstream's Vera Sans Mono that replaces Monaco for applications such as Terminal and code editors; see also Deja Vu Sans Serif Mono), Heiti SC and TC and Hiragino Sans GB.
  • Fonts used in other devices
    • Espy Sans: designed in 1993 by Apple's Human Interface Group designed the typeface Espy Sans specifically for on-screen use. It was first used for the Newton OS GUI and later integrated into Apple's eWorld online service.
    • eWorld Tight: a bitmap font used for headlines in Apple's eWorld. The metrics of eWorld Tight were based on Helvetica Ultra Compressed.
    • Chicago (see above): bitmap typeface used in Apple's iPod music player since 2001.

The Apple Design team won two awards at 25 TDC in 2022, pne for SF Arabic (a contemporary interpretation of the Naskh style with a rational and flexible design; this extension of San Francisco serves as the Arabic system font on Apple platforms. Like San Francisco, SF Arabic features nine weights and variable optical sizes that automatically adjust spacing and contrast based on the point size of text. The typeface features an extensive repertoire that covers numerous vocalization, tone and poetic marks, extended vowel signs, honorifics and Quranic annotations. SF Arabic provides support across the following languages: Arabic, Kashmiri, Kurdish, Sorani, Mazanderani, Northern Luri, Pashto, Persian, Rohingiya, Sindhi, Urdu, and Uyghur) and SF Symbols 3 (over 600 new symbols including representations of devices, game controllers, health, communication, objects, and tools; it prides greater control over how color is applied to symbols, and has a variable font srtyle as well). [Google] [More]  ⦿

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]  ⦿

[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, d. Brownstown, MI, 2021), 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. Obituary.

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.

In 2015, he published Hazim (in Mutamathil Taqlidi style), Sada (for small devices, in Mutamathil Taqlidi type style), Khatt, which follows the Arabetics Mutamathil Taqlidi style.

Typefaces from 2016 include Mashq, possibly the first typeface implementation ever of the early Quranic scripts of the Early Mashq, Mashq Kufi, and Mashq Ma'il. The font family design is primarily based on the scripts of the Quran manuscripts of the Topkapi Museum, the Bergstraesser Archive, and other scattered samples.

Typefaces from 2018: Arabetics Detroit.

Typefaces from 2020: Arabetics Aladdin.

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

[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, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Arabian Company for Advanced Computer Systems
[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]  ⦿


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]  ⦿


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 Fonts Designerlibrary

Cairo, Egypt-based vendor of about 1200 Arabic typefaces. Behance link. [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]  ⦿

[Elharrak Sumaya]

Author of the free Arabic slogan font Arabic Islamic (2022). [Google] [More]  ⦿


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]  ⦿

[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]  ⦿


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.

Al Rassam Al Arabi is the same as Kalimat but for Windows. Al Rassam AlArabi lets you add Arabic text into non Arabic photo retouching and illustration programs such as Adobe Photoshop, Illustrater, Freehand. Corel. Al Rassam Al Arabi comes bundled with 20 Arabic fonts. [Google] [More]  ⦿

[Peter R. Wilson]

Peter R. Wilson's metafont code (2000-2005) for many archaic languages: Proto-Semitic (16bc), Phoenician (10bc), Greek (6bc), Greek (4bc), Etruscan (8bc), Futharc (Anglo-Saxon, 6ad), Hieroglyphics (30bc: the hieroglf provides a Metafont version of about 80 Egyptian hieroglyphs from Serge Rosmorduc's comprehensive hieroglyph package, see here for a type 1 version called Archaic-Poor-Mans-Hieroglyphs (2005)), Cypriot (9bc). Peter also developed metafont fonts for bookhands. The Archaic ollection contains fonts to represent Aramaic, Cypriot, Etruscan, Greek of the 6th and 4th centuries BCE, Egyptian hieroglyphics, Linear A, Linear B, Nabatean old Persian, the Phaistos disc, Phoenician, proto-Semitic, runic, South Arabian Ugaritic and Viking scripts. The bundle also includes a small font for use in phonetic transcription of the archaic writings. The bundle's own directory includes a font installation map file for the whole collection. The authors are Peter R. Wilson, Uwe Zimmermann and Apostolos Syropoulos. See here for the type 1 fonts Archaic-OandS (2005) and Archaic-OandS-Italic (2005). Here we find type 1 versions called Square-Capitals (2005) and Square-Capitals-Bold (2005). He also made the type 1 typefaces Archaic-Etruscan (2005), Archaic-Runic (2005) and Archaic-ProtoSemitic (2005). Further packages of type 1 and metafont fonts: Archaic-Aramaic (2005), South Arabian (2005, for the South Arabian script, in use for about 1000 years from roughly 600 BC; based on a metafont by Alan Stanier), Archaic-Linear-B (2005: a syllabary used in the Bronze Age (15bc) for writing Mycenaean Greek), Archaic-Nabatean (2005: the Nabatean script used in the Middle East between the fourth centuries BC and AD), Archaic-Old-Persian (2005: the Old Persian Cuneiform script in use between about 500 to 350 BC.), Archaic-Ugaritic-Cuneiform (2005: the Ugaritic Cuniform script in use about 1300 BC), Archaic-Cypriot (1999-2005). [Google] [More]  ⦿

Areej Alnahdi

Riyadh, Saudi Arabia-based designer of Eid Free (2014, an Arabic typeface). Behance link. [Google] [More]  ⦿


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]  ⦿

Aring Typeface
[Måns Grebäck]

Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:

View Mans Grebäck's typefaces.

Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More]  ⦿

Arlette Boutros

Lebanese type designer who runs the London-based Boutros Foundry with Mourad Boutros. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic. It contains Tanseek Modern and Tanseek traditional.

In 2017, Arlette Boutros designed Boutros Futura, or Futura Arabic, at URW to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. URW's Futura Arabic contains, of course, as a subset, the regular Latin Futura. Still in 2017, Boutros Fonts added URW Geometric Arabic to Joern Oelsner's URW Geometric.

In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic. She also published the ten-style Latin/Arabic humanist sans typeface Boutros Angham in 2019.

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]  ⦿

Artur Schmal
[Original Type]

[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]  ⦿

Aseel Sharawy

Cairo, Egypt-based designer of the Latin display typeface The Joker (2019) and the Arabic lava lamp typeface Genie (2019). [Google] [More]  ⦿

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

[More]  ⦿


Aka Ashura. Tehran, Iran-based designer of the calligraphic Arab script dingbat typeface 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]  ⦿

Ashwag Madkhali

At the University of Dammam, Ashwag Madkhali (Ras Tanura, Saudi Arabia) designed the Arabic typeface Beneaieh (2017) and the decorative Arabic font The Book Of Life (2017). [Google] [More]  ⦿


Vendor of Korean, Japanese and Chinese software, including font packs for Mac and PC. AsiaSoft Inc./AsiaTech Inc. is located in Vero Beach, FL. Their font Urdu Naskh Asiatype (2001) for Urdu can be found here and here. Pashto Kror Asiatype (1994-2002) is here. [Google] [More]  ⦿

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]  ⦿


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

Aslam Kamal

Creator of the typeface Khat-e-Kamal Urdu, which was modified by Ishtiaq Ali in 2014. View the typeface here. [Google] [More]  ⦿

Asma Al-Helali

Dammam, Saudi Arabia-based student-designer (at the University of Dammam) of the Arabic typeface Sama (2015). [Google] [More]  ⦿

Asmaa Al-Ghalib

Graphic designer in Jeddah, Saudi Arabia, who created the Arabic typeface Al-Hzm in 2017. [Google] [More]  ⦿

Asmaa AlOmair

During her studies at the University of Dammam in Dhahran, Saudi Arabia, Asmaa AlOmair designed a creamy Arabic typeface (2016). [Google] [More]  ⦿

Assunnah ML

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

Asyan Design
[Ismail Abdurrasyid]

Bantul, Indonesia-based designer of several icon sets (Ecommerce, Football, Bathroom, Moslem Worship), and handcrafted typefaces sucxh as Kinley (2019: monoline script), Layla Script (2019), Star Medina (2019: an Arabic simulation typeface), Zamalek (2019: a script typeface), Seggo Jagung (2019: a minimalist monoline sans), Jaguar (2019: squarish), Sinau (2019: a script typeface) and Modaz (2019: an all caps brush typeface for horror applications).

Typefaces from 2020: Sharifa (script), Emyrla (2020: a minimalist futuristic sans), Samosan (2020: titling sans), and Marrowish (titling serif). Creative Fabrica link. [Google] [More]  ⦿

Atlas Font Foundry
[Christoph Dunst]

Berlin-based foundry, est. 2012 by Christoph Dunst.

Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).

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

Aurélie Gasche

Parisian designer who is part of Dépli, a design studio founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez. Her typefaces there include

  • Mondara (2011). A Latin / Arabic typeface done for l'Institut du monde arabe designed by Benjamin Gomez, Mathieu Réguer, Aurélie Gasche and c-album. The Arabic has both Naskh and Kufi styles. Both the Latin and Arabic are absolutely gorgeous.
  • Kufica (2008). Arabic typeface by Aurélie Gasche, with help of Mathieu Réguer, Antoine Barjini and Amir Dhia.
  • Insight Team (2008). A dot matrix typeface designed by Aurélie Gasche and Laurent Ungerer.
[Google] [More]  ⦿

[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, and is now based in Cathedral City, CA.

His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil.

His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998).

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]  ⦿

Avenir Next World

The original Avenir typeface was designed by Adrian Frutiger in 1988. Unlike Futura, which has partially colored Avenir, Avenir is not purely geometric---it has vertical strokes that are thicker than the horizontals and a lower case o that is not a perfect circle. And just as most fonts from the 1980s, Avenir has shortened ascenders. These nuances aid in legibility but the small x-height makes it less elegant.

In 2012, Akira Kobayashi worked alongside Adrian Frutiger on Avenir Next. Akira kept expanding Avenir to cover more languages. Avenir Next World family, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). See also Avenir Next Paneuropean (2021; 56 styles; by Akira Kobayashi). [Google] [MyFonts] [More]  ⦿

Awami Nastaliq
[Peter Martin]

In 2017, SIL International released version 1.000 and in 2019 version 2.000 of the free Awami Nastaliq font. They write: Awami is an Urdu word meaning "of the people". It is an Arabic script font specifically intended for a wide variety of languages using the Nastaliq style of southwest Asia. This font is specifically aimed at minority language support. Lesser-known languages often require more vowel diacritics than Urdu. They may use a different set of base characters and diacritics, and the base characters often include more nuqtas to represent sounds that are not present in Urdu or standard Arabic. This font includes all the vowel diacritics and base characters (that we are aware of) required for languages using the Nastaliq style of Arabic script. This makes it unique among Nastaliq fonts. Nastaliq is considered one of the most beautiful scripts on the planet. Nastaliq has been called "the bride of calligraphy" but its complexity also makes it one of the most difficult scripts to render using a computer font. Its right-to-left direction, vertical nature, and context-specific shaping provide a challenge to any font rendering engine and make it much more difficult to render than the flat (Naskh) Arabic script that it is based on. As a result, font developers have long struggled to produce a font with the correct shaping but at the same time avoid overlapping of dots and diacritics. In order to account for the seemingly infinite variations, SIL's Graphite rendering engine was extended just to handle these complexities properly. Awami Nastaliq uses the Graphite rendering technology. This is the only freely-available font to provide an authentic Nastaliq style with kerned calligraphic segments. Because of the complexities in supporting lesser known languages, we have not implemented OpenType support in Awami Nastaliq.

Awami Nastaliq was designed at SIL by Peter Martin. Github link. [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]  ⦿

Aya Barqawi

Palestinian designer based in Amman, Jordan. She created the Latin typeface Jerusalem in 2015, which is inspired by the architecture of the city. As a student at German Jordanian University, she also created the Arabic typeface Morocco (2015). [Google] [More]  ⦿

Aya Fekry

Cairo, Egypt-based designer of the Arabic typeface Arabella (2014), a typeface based on mixing square Kufic and foliate Kufic. She also made an Arabic companion to Kino MT called Kino Arabic (2014), and created ekry (2015), which was designed with tablets and smart phones in mind, thus mixing the fluidity of Naskh and the modernity of a geometric Kufic. [Google] [More]  ⦿

Aya Youssef

During her studies in Beirut, Aya Youssef created an experimental Arabic typeface (2015). [Google] [More]  ⦿

Ayah Okasha

Cairo-based designer of the straight-edged Arabic typeface Shape (2015). [Google] [More]  ⦿

Ayesha AlSharid

During her studies in Dubai, Ayesha AlSharid designed the shar-edged Arabic typeface Bakkah (2018). [Google] [More]  ⦿

Ayman Anwar

Art director in Cairo, Egypt, who designed the Arabic typeface Corpo Arabic (2016). [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 Alameddine

Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. She holds a BA in visual communication from Créapole, Paris. A graduate of the Masters in Typeface Design program of the University of Reading, she specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. In 2016, Azza joined TypeTogether as a type engineer and type designer.

The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016.

In 2017, she finished Adelle Sans Arabic at Type Together.

In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence. Catalpa was followed in 2021 by Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

At the end of 2021, she finished Bree Arabic as part of Type Together enormous Bree multiscript typeface family. [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]  ⦿

Babel Font
[Brahim Boucheikha]

Babelfont is a design studio located in Paris and Casablanca that was co-founded by Gia Tran and Brahim Boucheikha. They were later joined by Salaheddine Bellizi. Their typefaces, mostly bespoke, include:

  • Luset (2012). A font commissioned by Dragon Rouge for an actor.Their typeface family is called PSG.
  • PSG (2013). A font commissioned by Dragon Rouge to create a typeface family for the soccer club Paris Saint-Germain.
  • The Latin/ Arabic sans typeface Gibraltar (2014).
  • The Latin / Arabic sans typeface Ines (2013).
  • The Latin and Maghrebi Arabic typeface Alegia (2015).
  • Mao (2013). A decorative simplified Chinese font.

Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry Fontyou. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech.

Brahim Boucheikha (b. Morocco) studied graphic design at the ECV in Paris and was an apprentice of Arabic calligraphy expert Abdallah Akar. He joined the branding agencies Landor (Dubai) and Dragon Rouge (Paris). He has worked at the ESAV (School of Visual Arts) in Marrakech since 2009 as head of the Arabic typography laboratory.

Salaheddine Bellizi is a typographer and 3D designer at Babelfont Studio. He studied at the ESAV (School of Visual Arts) in Marrakech, Morocco, and specializes in Arabic calligraphy and typography. He also works intermittently as an assistant at ESAV Marrakech. [Google] [More]  ⦿

Bagh-e Tafarroj Studio
[Amirmahdi Moslehi]

Tehran, Iran-based designer of the Persian typeface Mirza (2017), who explains: Mirza is a contemporary Nastaliq typeface based on the hand of Mirza Gholam-Reza Esfahani, one of the most celebrated Persian calligraphers of Qajar era. This typeface is the result of an extensive study on the best specimens of Mirza Gholam-Reza's work during the last decade of his life. Mirza is a display typeface that fully supports Arabic, Persian and Urdu languages. The Nastaliq figures in this typeface are designed based on the traditional technique seen in Qajar seals. Mirza won an award at Granshan 2017 and at TDC Typeface Design 2018. [Google] [More]  ⦿


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


Arabic font archive: Al-Mujahed-Classic, Al-Mujahed-Gift-5, Al-Mujahed-Untitled, MCS-Hijaz-S_U-adorn., MCS-Hijon-E_I-normal., MCS-Jeddah-S_I-Flay., MCS-Khaybar-E_I-shadow., MCS-Khaybar-S_I-striped., MCS-Modern-E_I-3d., MCS-Mosque-S_U-normal., MCS-Tabuk-S_I-normal., MCSALMAALIMHIGHBROK, MCSFREEDOM, MCSHIJAZHIGH. [Google] [More]  ⦿

Bahia Shehab

Bahia Shehab is associate professor of practice of design and founder of the graphic design program at The American University in Cairo where she has developed a full design curriculum mainly focused on visual culture of the Arab world. She obtained a PhD in 2017 from Leiden University, The Netherlands, and a Masters in Arts degree in 2009 from American University in Cairo, Egypt. Designer of Mothalath, which won an award at ProtoType in 2016. [Google] [More]  ⦿

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.

In the TypeMedia program at KABK in Den Haag, Bahman designed the graduation typeface Tajrish (2015) for Latin and Arabic.

In 2016, he designed the low-contrast Naskh family Diodrum Arabic (Indian Type Foundry). The Latin letterforms in Diodrum are monolinear and of large x-height.

Still in 2016, he published the Naskh style Kohinoor Arabic (Indian Type Foundry).

Award winner at 25 TDC in 2022 for Amaala Arabic (published at Interval Type). The Arabic part of this custom family is designed to capture the impression of Latin which is an elegant high contrast typeface with round terminals, curly structure, and round counters. The type system comes in three type families, "Sans", "Open Eye" and "Closed Eye".

Speaker at ATypI 2018 in Antwerp (on the topic of the symbiosis of Latin and Arabic). Typotheque link. [Google] [MyFonts] [More]  ⦿

[Girish Dalvi]

Baloo is a free display font available in nine Indian scripts along with Latin. Included are Baloo-Devanagari, BalooBhai-Gujarati, BalooTammudu-Telugu, BalooBhaina-Odia (Oriya), BalooChettan-Malayalam, BalooDa-Bangla, BalooPaaji-Gurmukhi, BalooTamma-Kannada, and BalooThambi-Tamil. The project's leader is Girish Dalvi, and the project is in the hands of Ek Type. Type design help came from Ek Type, and in particular from Ek Type's Sarang Kulkarni (for Devanagari) and Noopur Datye (for Baloo Da-Bangla). Maithili Singre helped with Malayalam. Baloo Bhai was designed by Supriya Tembe and Noopur Datye. Baloo Thambi is designed by Aadarsh Rajan. Google Fonts link.

Baloo 2 (2021) consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2, by Sanskriti Dholi and Noopur Datye). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. [Google] [More]  ⦿

Banfeel Type
[Adel Banfeel]

Type and graphic designr based in Saudi Arabia, who specializes in Latin and Arabic typefaces. Typefaces from 2021: Balaleen (a layerable chunky font for Latin and Arabic, perhaps with applications in children's books). [Google] [MyFonts] [More]  ⦿

Basharat Ali

Designer of the free Urdu / Arabic fonts Jameel Khushkhat-LK (2018: for Arabic, Latin, Farsi, Kazakh, Pashto, Sindhi, Uighur, and Urdu), Qurran Arabic (2016), UrduKhushKhati (2016), KhushKhati (2016), KhushNuma (2016), and LFC Opensource (2016). In 2017, he designed the Nastaleeq typeface Jameel Khushkhat and the Urdu typefaces Noori Khush Khat and Dehalvi Khush Khat. [Google] [More]  ⦿

Basim Salim Rashid El-Mahdi

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]  ⦿

Bayo Suti XV
[Imran Nasution]

Imran Nasution [Bayo Suti XV] is the Medan, Indonesia-based designer (b. 1997) of the dingbat typeface Masjid Al Imran (2014), which consists of silhouettes of mosques. Other typefaces from 2014: Semaphore Pramuka, Kingsland Timur (2014, caps), Lake Toba (textured capitals), Ali Air (cursive script), Gang of Sipirok (outlined typeface). In 2015, he designed INF Simpang Ampek (a simple script) and Alphabet SNK (a hacker font).

Dafont link. [Google] [More]  ⦿

Becca Hirsbrunner Spalinger

American type designer who graduated from the MATD program at the University of Reading in 2015. Her graduation typeface was Etincelle, which was designed with long ascenders and descenders to better blend with the deep swashes of a specific style of Arabic used for Ajami languages in northern Nigeria and southern Niger. In addition to Arabic, Etincelle currently includes Greek, Cyrillic, and extended Latin characters. Etincelle Arabic Bold is the first attempt at a typeface design based on handwritten manuscripts from Nigeria, in a style of writing called Rubutun Kano by the speakers of the Hausa language.

Becca is affiliated with SIL International, where she was involved in the following projects:

  • Gentium. This famous free typeface supports a wide range of Latin-based alphabets and includes glyphs that correspond to all the Latin ranges of Unicode. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, and Becca Hirsbrunner. CTAN download link.
  • In 2011-2012, George Nuss designed the Arabic typeface Fouta for the Guinean community. This was at the basis of the free font Harmattan (2015, Becca Hirsbrunner and Iska Routamaa at SIL International; Google Font link). SIL explains: Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. The font does not cover the full Unicode Arabic repertoire. It only supports characters known to be used by languages in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) This simplified style is often preferred for clarity, especially in non-Arabic languages, but may be considered unattractive in more traditional and literate communities.
  • Alkalami (2015-2017, SIL): Alkalami is designed for Arabic-based writing systems in the Kano region of Nigeria and Niger. Alkalami is the local word for the Arabic "qalam", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. This style of writing African ajami has sometimes been called Sudani Kufi or Rubutun Kano.
[Google] [More]  ⦿

Ben Jones

[MyFonts] [More]  ⦿

Ben Wittner

In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.

Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.

In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More]  ⦿

Benjamin Gomez

[More]  ⦿

Beno Bagheri

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

Best 76 Free Arabic Typefaces
[Ahmed Alahdal]

Free download of 76 Arabic typefaces, posted in 2016 by Ahmed Alahdal, founder of Wikoles in Alexandria, Egypt: 01 Dubai, 02 Taweel, 03 El-Messiri, 04 Lemonada, 05 Alnaqaa, 06 Cairo, 07 Lalezar, 08 Urkida, 09 Khallab, 10 Molhim, 11 Sbgh, 12 Bouya, 13 Sukar, 14 Hala, 15 Hakm, 16 TypoGraphic, 17 RawafedZainab, 18 Hekaya, 19 Sakhr, 20 Sheba, 21 Yaseer, 22 Halah, 23 JozoorFlat, 24 Hamah, 25 AirStrip, 26 Al-Bayan, 27 Baghdad, 28 Osama, 29 Wasm, 30 Dima, 31 Khaled, 32 Afsaneh, 33 Assaf, 34 Jozoor, 35 Taqniya, 36 Asmaa, 37 Bon, 38 Aqeeq, 39 Nawar, 40 Shekari, 41 DianaXtra, 42 Aban, 43 Diana, 44 AshgarEL-Kharef, 45 Amiri, 46 Mokhtar, 47 Hamat, 48 Yaraa, 49 Hend, 50 Neckar, 51 AlharbiAlhanoof, 52 Moga, 53 IsrarSyria, 54 Omar, 55 Maghribi, 56 Graffiti, 57 Hafs, 58 AlHurra, 59 Sara, 60 Kufyan, 61 Khayal, 62 Kufigraph, 63 Shahd, 64 Sane, 65 Ahrar, 66 Lamar, 67 Sarkha, 68 Shoroq, 69 Tachkili, 70 FiveFarisi, 71 SouriaFree, 72 GannaBirds, 73 ArabicAndroid, 74 Cocon, 75 Ibtisam, 76 Menna. [Google] [More]  ⦿


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]  ⦿

[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 Donald Knuth at Stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:

  • The Lucida family (1985). Lucida is used in several scientific publications such as Scientific American. Its origins 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).
  • For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go Sans and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. CTAN link.
Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. Lucida Fonts is a dedicated commercial site. [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 Foundry
[Jérémie Hornus]

Type foundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:

  • Angus (2018). A multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font.
  • In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. The fiorms in Drive Mono and Prop are great, but all fonts in Drive are too widely spaced (as are several other fonts in the Black Foundry collection).
  • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
  • Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, 2017). High-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
  • Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali. Github link.
  • In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry.
  • In 2016, Franck Jalleau designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
  • Drive (2016). A corporate sans serif family.
  • Dragon (2016). A clean sans typeface.
  • Galien (2019). By the Black Foundry team, a mix with didone elements in the roman and garalde features in the italic. There is also a variable font with a weight axis.
  • A custom sans font family for DS Automobiles (2019).
  • Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese.
  • Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
  • Alpine Script: a variable font with four axes including boldness, humanity, and irregularity, made for the identity of the French (Renault) Alpine sports cars.
  • Maif (2020). A sans family for the corporate identity of the Mutuelle d'Assurance Automobile des Instituteurs de France.
  • In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.
  • Egitto (2020). A huge Egyptian (slab serif) family together with a handy variable font. By Jérémie Hornus and Solenn Bordeau.
  • Rowton (2021) is a humanist sans in black, regular and hairline weights, named after Arthur Eric Rowton Gill. It is accompanied by two stencil styles.
  • NouvelR (2021). A corporate geometric sans typeface for Renault covering Latin, Greek, Cyrillic, Hebrew, Arabic and Korean. Characterized by a totally square lower case r. All terminal angles are 28 degrees, to align with the angle in Renault's logo.
  • Enedis (2022). A commissioned sans.
Creative Market link for Black Foundry. [Google] [MyFonts] [More]  ⦿

[Juan Luis Blanco]

Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.

For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness.

A list of his typefaces:

  • Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. Github link. i Google Fonts link for Kanadaka. Google fonts link for Telivigala.
  • Amaikha (2014). His graduation typeface from the University of Reading.
  • Harri (2016, Type-o-Tones). A display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. The letterforms can be traced back to romanesque inscriptions. Harri (stone, in Basque) is an all-caps typeface, and must be ranked as one of the greatest digital typefaces that capture the Basque soul. In 2020, it was republished at Blancoletters. Later in 2020, Harri Text was added. See also Harri text at Type Network.
  • Ingeo (2021). A 9-style geometric sans that oozes confidence and style, and has a senate seat thanks to its pharaonic lower case g.
  • Karela (2017). A humanist slab serif.
  • Qandus (2017), a multiscript typeface co-designed with Kristyan Sarkis and Laura Meseguer. It won a TDC Certificate of Typographic Excellence in 2017. Qandus covers Arabic, Latin and Tifinagh.
  • Tuqbal Pro (2015-2019, by Andreu Balius and Juan Luis Blanco). Tubqal Pro is a tri-script type family based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in the Maghrib 3.0, the 3rd edition of the multi-script typographic research project of the Khatt Foundation. It includes Latin, Arabic (+Farsi) and Tifinagh (for the Tifinagh based languages: Tamazight (Central Atlas), Kabyle, Tamazight (Standard Moroccan), Tachawit, Tachelhit, Tagdal, Tamahaq, Tahaggart, Tamasheq, Tarifit, Tamajaq, Tawallammat, Tamajeq, Tayart, Tumzabt, Zenaga).

Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously. [Google] [MyFonts] [More]  ⦿

Bohloul Arabic Type Design
[Reza Bohloul]

Dundas Valley, Australia-based designer of Arabic typefaces. These include Shabaq (2022: a bold flashy typeface for Arabic and Farsi). [Google] [MyFonts] [More]  ⦿

Borna Izadpanah

At the London College of Communication in 2010, Borna Izadpanah (b. Iran) created a modular pair of typefaces, one for Latin and one for Farsi.

In 2015, he graduated from the MATD program at the University of Reading. His graduation typeface, Lida, blends Latin and Perso-Arabic in a multi-font family that includes Lida Sans, Lida Serif, Lida Avestan (for the Avestan script), and various styles of Lida Arabic that produce beautiful yet readable Naskh calligraphic texts. If Lida is any indication, Borna is destined for greatness.

In 2015, he designed the free Latin / Farsi typeface Lalezar: During the 1960s and 1970s a genre of filmmaking emerged in Iran, which was commonly known as FilmFarsi. The main focus of the films produced in this period was on popular subjects such as, sexual romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a Latin companion. Lalezar won an award at Granshan 2016 and in the TDC Typeface Design competition in 2017.

In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

Behance link. GitHub link. Speaker at ATypI 2018 in Antwerp. [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]  ⦿

Borys Kosmynka

Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.

In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.

In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More]  ⦿

Botio Nikoltchev

[MyFonts] [More]  ⦿

Boutros: download

From Boutros, these Arabic typefaces, mostly made ca. 2004: GE-Box-Bold, GE-Cap-Medium, GE-Contrast-Bold, GE-Curves-Medium, GE-Dinar-One-Light, GE-Dinar-One-Light-Italic, GE-Dinar-One-Medium, GE-Dinar-One-Medium-Italic, GE-Dinar-Two-Light, GE-Dinar-Two-Light-Italic, GE-Dinar-Two-Medium, GE-Dinar-Two-Medium-Italic, GE-East-ExtraBold, GE-East-Extrabold-Italic, GE-Elegant-Italic, GE-Elegant, GE-Elegant-Medium, GE-Flow-Bold, GE-Flow-Bold-Italic, GE-Flow-Italic, GE-Flow, GE-Hili-Book, GE-Hili-Light, GE-Jarida-Heavy-Italic, GE-Jarida-Heavy, GE-MB-Farah-Bold, GE-MB-Farasha-Light, GE-MB-Fares-Medium, GE-MB-MB-Bold-Condensed, GE-MB-Najm-Bold, GE-Modern-Bold, GE-Modern-Light, GE-Modern-Medium, GE-Narrow-Light, GE-SS-TV-Bold, GE-SS-Text-Bold, GE-SS-Text-Light-Italic, GE-SS-Text-Light, GE-SS-Text-Medium, GE-SS-Text-UltraLight, GE-SS-Three-Italic, GE-SS-Three-Light, GE-SS-Two-Bold, GE-SS-Two-Light, GE-SS-Two-Medium, GE-SS-Unique-Bold, GE-SS-Unique-Light, GE-Smooth-Light-Italic, GE-Smooth-Light, GE-Tasmeem-Medium, GE-Thameen-Book, GE-Thameen-Book-Italic, GE-Thameen-DemiBold, GE-Thameen-DemiBold-Italic, GE-Thameen-Light, GE-Thameen-Light-Italic, GE-Tye, GE-Unique-Expanded-Bold, GE-Wide-ExtraBold.

A more recent download site. [Google] [More]  ⦿

Boutros International (or: 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, who run Boutros Foundry out of London, UK. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.

Their fonts include Boutros Decorative Kufic, Boutros Display, Boutros Koufic, Boutros MB Naskh, Boutros Modern, Boutros New Koufic Modern, Boutros Simplified Naskh, Boutros Asifa, Boutros Farah, Boutros Farasha, Boutros Fares, Boutros Najm, Boutros Thuluth (2012, based on Arabic bamboo calligraphy), Boutros Advertisers Naskh, Boutros Advertising, Boutros BBC Arabic, Boutros GE Tasmeem, Boutros Latin (Serif, Sans Serif), Boutros Maghribi, Boutros Minaret. See also here.

Mourad Boutros is an experienced Arabic creative director, calligrapher and typographer. From his bio: Since 1978, he has been Arabic typographical consultant to many international companies including Letraset. Mourad has designed more than 50 Arabic typefaces, some of which are available on IBM printers as core fonts. Typeface commissions have included corporate typefaces for Mercedes-Benz and for Al Anba, the leading Kuwaiti Arabic newspaper.

The early ITC collection in the 1980s had six Arabic typefaces: ITC Latif, ITC Boutros Calligraphy, ITC Boutros Setting, ITC Boutros Kufic, ITC Boutros Modern Kufic, ITC Boutros Rokaa.

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

In 2008, Boutros co-designed 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.

In 2017, Mourad Boutros and Soulaf Khalifeh published the free low contrast Tajawal sans typeface family for Latin and Arabic. Google Fonts link. Github link.

In 2018, Boutros Fonts published URW Geometric Arabic.

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

Brahim Boucheikha
[Babel Font]

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[John Hudson]

E.J.Brill is an academic publisher in Leiden, The Netherlands. In 1989, DecoType produced the first ever computer-typeset Persian and English dictionary for them. In 2009, Brill has resumed its 325 year old tradition of Arabo-Dutch typography by adapting Tasmeem for its Arabic texts. In 2008, Brill commissioned John Hudson to make a text face. Hudson's PDF explains how Brill had been working mostly with Baskerville, so the new Brill typeface is also transitional, but narrower, resulting in savings of paper. Greek and Cyrillic are covered by Brill as well.

In 2012, Brill was made available for free download for non-commercial use. While Brill is an original design by John Hudson, the blackletter range of characters was made by Karsten Lücke. Gerry Leonidas and Maxim Zhukov were consulted for Greek and Cyrillic, respectively. The fonts follow Unicode and contain nearly all symbols people in the humanities may ever need. [Google] [More]  ⦿

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]  ⦿

Bruno G. Khater

Art director in Beirut, Lebanon, who created the Arabic typefaces Amoud (2015) and Dal (2015, calligraphic style). [Google] [More]  ⦿

Bruno Maag
[Dalton Maag]

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Bushra Sughayer

At Imam Abdulrahman Bin Faisal University, Dammam, Saudi Arabia-based Bushra Sughayer designed the Latin / Arabic handcrafted typefaces Darij and Typomatic (2017). [Google] [More]  ⦿

Bustanul Arifin

Indonesia-based designer of the soft serif typeface Aligarh (2020: by Nur Syamsi and Bustanul Arifin), Aligarh Arabic (2020: by Nur Syamsi and Bustanul Arifin), the comic book typeface Tufuli Arabic (2020, by Nur Syamsi and Bustanul Arifin) and the fat finger font families Childos and Childos Arabic (2020, by Nur Syamsi and Bustanul Arifin).

In 2021, Nur Syamsi and Bustanul Arifin designed Kidzhood Arabic (a children's book font), Mahameru (a 20-style display typeface), Mahameru Arabic, Meila (a plump almost-bubblegum font family in seven styles), Meila Arabic, Kidzhood (a children's book font family), Naveid (an 18-style mini-serif typeface; and two variable fonts), Naveid Arabic (a ten-style Arabic typeface), and Gestura (an upright connected typeface in 14 styles, and two variable fonts). [Google] [MyFonts] [More]  ⦿

Buthainah Alkreedees

Dammam, Saudi Arabia-based designer of the rounded handcrafted Arabic typeface Maalam (2017) and the antiqued Arabic typeface Adghal (2017). [Google] [More]  ⦿

Cahya Sofyan
[Studio Sun (or: Sun Brand Co)]

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Calvin Kwok

Type designer from Hong Kong who graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Havil, a multiscript (Latin, Arabic and Chinese) typeface family for branding and business documents. This beautifully balanced typeface was inspired by 19th century British and French letterpress poster typefaces.

In 2016, Kwok worked with the Apple Inc. Type Team where he contributed to the design and development of Latin and East Asian scripts. In 2019, he joined Sharp Type specializing in multilingual type design, lettering, and typography.

In 2018, he published the slab serif Urushi at Future Fonts and wrote: Urushi is the first Future Fonts release aiming to support Japanese Kana and Kanji, and Chinese Hanzi. This charming and slabby, reverse contrast is inspired by old Hong Kong movie magazines.

His all caps titling typeface Mosses Serif (2018) was designed for the bookstore Mosses. Still in 2018, he was working on the Japanese typeface Tottori. [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]  ⦿

Carole Magued

During her studies in Cairo, Carole Magued designed the Arabic typeface Marah (2018) and the Latin display typeface Elegole (2018). [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 2019: Kufi Pattern.
  • In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
  • In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
  • In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
  • In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
  • In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
  • 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), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), 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, Tschichold, 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 typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface 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 typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.

A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), 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. CAT Fonts link. Fontesk link. [Google] [More]  ⦿


Himalb: free Arabic truetype font. In this sub-directory, some Nepali fonts: GauriShanker (John P. Yangos), Himalb, FontasyHimali (Michael Frank and R. Josephson, 1993), FONTASYHIMALITTNORMAL (Michael Frank, 1992), Kanchan, Lakshmi, Preeti, Rukmini. [Google] [More]  ⦿


CDAC is Pune's Center for Development of Advanced Computing. They sell typefaces for all Indic languages. They introduced the Indian Script FOnt Code (ISFOC) standards to enable composing Indian language text. Scripts covered include Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan. Useful type catalogs in PDF for Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan, PersoArabic (Urdu Open Type, Kashmiri Open Type, Sindhi Open Type, Nashir True Type fonts). Type subpages with catalogs. The Indian Script FOnt Code (ISFOC) standards were invented by CDAC for their software products, Most of their fonts follow this standard. Scans from 1996: Swastik, Zodiac signs, National heroes, Dashavtar. [Google] [More]  ⦿


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

Celine Salameh

Dubai (and before that, Beirut Lebanon)-based designer of Celina (2015), a charming typeface with a hint of art nouveau warmth. In 2015, she created the Arabic kufi-style typeface Kanater. Behance link. [Google] [More]  ⦿

Changchun Ye

Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More]  ⦿

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

[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]  ⦿

Chi No

Chi No (Tel Aviv, Israel) and Nir Navon (Petah Tikva, Israel) co-designed the Latin / Arabic typographic poster Made in Jaffa in 2014. [Google] [More]  ⦿

Chief Commander

FontStructor who made the monospaced dot matrix font Arabic Comouting Lite in 2020. Open Font Library link. [Google] [More]  ⦿

Christina Ismail

Beirut-based designer of an Arabic typeface in 2016. [Google] [More]  ⦿

Christina Skaf

Beirut-based designer, with Sarah Nehme, of Kirseh (2014), an Arabic font that was inspired by arabesque geometric patterns. [Google] [More]  ⦿

Christine Adel

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

Christoph Dunst
[Atlas Font Foundry]

[MyFonts] [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]  ⦿

Claude Nassar

Beirut, Lebanon-based designer of the modern kufic Arabic typeface Dabbous (2016), which was inspired by Gotham. Behance link. [Google] [More]  ⦿


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 (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 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: List of Links

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

Connary Fagen

Art director, designer and consultant who grew up in Colorado and is now based in Heber City (was: Park City and before that Salt Lake City), UT. He created the commercial Latin / Cyrillic geometric sans font family Venti CF in 2014---Venti can be purchased here. His second typeface is the geometric / techno typeface Filter CF (2014).

In 2015, he created Waverly (avant garde caps), Articulat CF (an 18-style Swiss sans typeface), Argent CF (a 13-style display serif family), Ironfield (bold husky brutalist display font), Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face), and Manifold CF (a squarish cold utilitarian sans with 16 styles; extended to the corporate typeface Manifold DSA in 2017). See also Manifold Extended CF (2022; 16 styles).

Typefaces from 2016: Vanguard CF (a strong ultra-compressed sans in 16 styles), Addington CF (a 14-style text typeface family), Cartograph CF (monospaced sans), Greycliff CF (sans), Turismo CF (a wide rounfded open sans inspired by midcentury motorsports, technology, and business).

Typefaces from 2017: Gryffith (angular), Visby Slab CF, Filter v2 CF (hipster style), Couplet CF (humanist sans), Integral CF (an all caps titling font).

Typefaces from 2018: Argent Pixel (free), Artifex CF (a 9-weight serif family), Artifex Hand CF (a flared version of Artifex), Criteria CF (a geometric sans with horizontal and vertical terminal endings), Roxborough CF (a sharp-edged roman typeface).

Typefaces from 2019: Wayfinder CF (a sharp-edged display typeface).

Gumroad site, where one can download free trial versions of many of his fonts, and purchase licenses for the other ones.

Typefaces from 2020: Hexaframe CF, Olivette CF (a sharp-edged angular and contrast-rich typeface family), Ellograph CF (a rounded monoline sans in 16 styles).

Typefaces from 2021: Mielle CF (a monolinear script), Greycliff Thai CF, Greycliff Arabic CF, Greycliff Hebrew CF, Quiverleaf CF (ten flared / lapidary styles).

Typefaces from 2022: Quiverleaf Arabic CF.

Interview by MyFonts in 2021. [Google] [MyFonts] [More]  ⦿

Cool Text

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

  • 1942 (by Johan Holmdahl)
  • Adler (by Maquina 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)
  • Splendid 66 (by Free Typewriter Fonts)
  • Stock Quote (by Andy Krahling)
  • Underwood Champion (by Astigmatic)
  • Veteran Typewriter (by Vic Fieger)
  • XBAND Rough (by Catapult Entertainment)
[Google] [More]  ⦿

Corrie Boustany

Beirut, Lebanon-based designer of the experimental Arabic typeface Totem (2017). [Google] [More]  ⦿

Cosette Saliba

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

Cosmorama (or: Laser Printing Solutions)
[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), Starfisher Uni (2014, an astrological & sans font originally designed by Laser Printing Solutions).

Some of his fonts. Fontspace link. Another Fontspace link. Open Font Library link. [Google] [More]  ⦿

[Rais Bilal]

Tebessa, Algeria-based designer of school fonts for Arabic. In 2021, he released Arabic Dotted. [Google] [MyFonts] [More]  ⦿

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

Free Arabic fonts available here:

  • Nafees Nastaleeq (2003). Download at Open Font Library.
  • 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]  ⦿

Dalal Alhartani

Jeddah, Saudi Arabia-based designer of Arabic Wire Font (2014). [Google] [More]  ⦿

Dalia Sherif

Designer in Cairo, Egypt. In 2016, she designed the Arabic poster typeface Methali, which is based on Naskh and Diwani scripts. In 2015, she designed the decorative Latin didone typeface Couturier. [Google] [More]  ⦿

Daliya Mohammad

Creator of the Latin / Arabic display typeface Pace (2015), which was named after Pacman. [Google] [More]  ⦿

Dalton Maag
[Bruno Maag]

Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.

The Dalton Maag team designed these commercial fonts:

  • Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
  • Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean. In 2020, it became a 3-axis (weight, width, italic) variable font.
  • Aller Typo.
  • Almaq.
  • Blenny (2014). A fat face didone by Spike Spondike.
  • Bligh (2015). A three-weight sans family.
  • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
  • Cordale: a text family.
  • Dedica (2007): a didone face.
  • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
  • Elevon (2012). By Bruno Maag and Marconi Lima.
  • Fargo (2004): a humanist sans in 6 weights.
  • Foco. A sans family.
  • Grueber (2008): a slab serif.
  • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
  • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
  • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
  • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
  • Objektiv.
  • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
  • Pan (1996). A text family at 1500 US dollars per style.
  • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
  • Prometo. An organic stressed sans.
  • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
  • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
  • Setimo (2015). By Fernando Caro. A distinguished sans.
  • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
  • Southampton.
  • Sparkasse Serif (2003-2005). A custom typeface.
  • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
  • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
  • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
  • Tornac (2013). A casual script.
  • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
  • Verveine (2009). A casual script by Luce Averous.
  • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.

Dalton Maag created the custom typeface family Facebook Sans in 2017.

Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].

ATT Aleck is a large custom typeface family designed in 2016.

Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.

In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.

In 2019, Dalton Maag produced a corporate typeface for Air Arabia.

Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.

Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).

Interview in 2012 in which he stresses that typefaces should above all be functional.

View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.

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

Damien Collot

A 2011 graduate of École supérieure d'art et de design (2011) in Amiens, France, where he was supervised by Titus Nemeth. His type family, called Milosz, won the Type Design International Student Competition Milosz 2011. His thesis on the origins of italic script.

In 2013, he joined Dalton Maag in London to work as a junior font designer. At Dalton Maag, he worked on Intel Clear Arabic, which won an award at Granshan 2014. He also published Lemance (2016) there. [Google] [More]  ⦿

Dana Alhasan

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

Dana Osman

Cairo-based designer of the Arabic display typeface Pacman (2014). [Google] [More]  ⦿

Dana Seif

Beirut, Lebanon-based designer of the Arabic display typeface Pipeline (2017). [Google] [More]  ⦿

Daniel Grumer

Born in 1985, Daniel Grumer studied at the Bezalel Academy of Arts and Design in Jerusalem. In 2015-2016, he studied type designat in the TypeMedia program at KABK in Den Haag.

At Haaretz, we read: As can be seen in the road signs for Arab communities, to mention just one example, in Israel the Arabic language has been marginalized at the expense of Hebrew. This is further emphasized by the contrast between the square and aggressive Hebrew typefaces of official Israel and the softer and more rounded letters of typical Arabic typefaces, a difference that in fact reflects the balance of powers between the country's Jewish and Arab communities. To achieve visual coordination, equal visibility and presence and peaceful coexistence between these two languages that share a same space while taking a small step for peace, Grumer created Avraham-Ibrahim as his final project as a visual communications major at Jerusalem's Bezalel Academy of Arts and Design in 2014. Grumer, who learned Arabic in the army, got help (over the Internet) from a Jordanian calligraphy designer of Syrian descent. He found another source of inspiration for his typeface in the Hebrew signs written by Arab merchants that "simply make the Hebrew language dance and liberate it from the geometric pressure," he says.

His graduation typeface at KABK in 2016 is the perfectly balanced tri-lingual (Latin / Arabic / Hebrew) typeface Abraham.

In 2016, he fine-tuned Peter Bilak's November Hebrew: November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. It covers Hebrew script, but also Arabic, Cyrillic, Greek and Latin, and is accompanied by a set of wayfinding symbols. Daniel designed the Condensed and Compressed styles. [Google] [More]  ⦿

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]  ⦿

Dareen Ismail

During her studies at German University in Cairo, Dareen Ismail (Doha, Qatar) created the soft-edged Arabic typeface Fankoush (2016). [Google] [More]  ⦿

Darien Valentine

[More]  ⦿

Dari--Farsi fonts

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


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

David Brezina

Czech designer (b. Brno) who graduated with a Masters in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari. Later David founded Rosetta Type.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards. Skolar PE was added in 2020.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
  • Adobe Gujarati (2012).
  • In 2019, at Rosetta Type, together with Slava Jevcinova and William Montrose, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic).
  • In 2020, he released Handjet (started in 2018, at Rosetta Type), which is built on the principle of a dot matrix printer or handjet printer. Glyphs are made up of collections of individual modules that take 23 elemental shapes. The Handjet family covers Armenian, Arabic, Cyrillic, Greek, Hebrew and Latin. Github download link.
  • Gridlite (2020, Rosetta Type) is a modular pixel typeface with adjustable foreground and background patterning. It also has a variable type format with three axes, Weight, Background, and Element Shape.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David Williams
[Manchester Type]

[MyFonts] [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]  ⦿

[Benjamin Gomez]

Design and type design studio in Paris founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez (who is the main type designer in this group). Their typefaces are mostly commissioned, but include a few retail typefaces as well:

  • Mondara (2011). A Latin / Arabic typeface done for l'Institut du monde arabe designed by Benjamin Gomez, Mathieu Réguer, Aurélie Gasche and c-album. The Arabic has both Naskh and Kufi styles. Both the Latin and Arabic are absolutely gorgeous.
  • Pernod Ricard (2008-2012). A slab serif done for Watson Moustache (2012 version) by Benjamin Gomez and Sonia Da Rocha. The 2008 version, based on ITC Lubalin Book, done for Beevy, was designed by Benjamin Gomez.
  • Kufica (2008). Arabic typeface by Aurélie Gasche, with help of Mathieu Réguer, Antoine Barjini and Amir Dhia.
  • Treza (2010). Distributed by Die Gestalten, this playful display typeface was designed by Benjamin Gomez and Maroussia Jannelle.
  • Veolia Italic (2009). By Benjamin Gomez for Piaton Conseil.
  • Fraktur (2007). By Benjamin Gomez.
  • Insight Team (2008). A dot matrix typeface designed by Aurélie Gasche and Laurent Ungerer.
  • Musée de la danse (2009). An inline typeface by Benjamin Gomez.
  • Ink No (2006). An experimental typeface by Benjamin Gomez.
  • Muséum de La Rochelle (2004).
  • MAC VAL (2005). By Benjamin Gomez for Incident. MAC VAL stands for musée d'art contemporain du Val-de-Marne.
  • Studio Apeloig (2006). Benjamin Gomez did several typefaces for Studio Apeloig, inluding Serpent à Plumes and Octobre.
  • La Ferme du Buisson (2005). A modular counterless typeface by Benjamin Gomez and Maroussia Jannelle.
  • Octobre (2006). By Benjamin Gomez and Philippe Apeloig, who conceived the font.
  • Caractère (2004). Interactive type experiment by Benjamin Gomez.
[Google] [More]  ⦿

[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 for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.

In 2017, he developed the new electronic Mus'haf Muscat at the behest of the Ministry of Endowments and Religious Affairs of the Sultanate of Oman.

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.

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

Deema Abdo

Amman, Jordan-based designer of a multiline Arabic typeface in 2018. [Google] [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 typeface Squiggly. It was designed in several styles for children's story books.

In 2015, she made Botanical Alphabets. [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. Open Font Library link. [Google] [More]  ⦿

Despina Meimaroglou

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

Devika Bhansali

Mumbai, India-based designer of the free Urdu-Arabic typeface Baloo Bhaijaan (2017). Github link for EK Type's Baloo family of fonts. [Google] [More]  ⦿


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

Diab Jaser
[Tanween Type Foundry]

[MyFonts] [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, Peru) 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.

Typefaces from 2018: Papaia (plumpish and curvy, with many dingbats). Winner at Tipos Latinos 2018 of a type design award for Papaia.

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

Digital Khatt
[Amine Anane]

Amine Anane obtained his PhD in 2012 from the University of Montreal. In 2017, he developed a Metafont / Metapost font with variable widths for the justification of Arabic texts, and in particular the Quran. He started the Digital Khatt project amd wrote: DigitalKhatt is an advanced Arabic typesetter based on a Metafont-designed parametric font that can generate a glyph with a given width during layout and justification while respecting the curvilinear nature of Arabic letters. The typesetter extends the OpenType layout engine to support the varying width and shape of the glyphs. [Google] [More]  ⦿

Digital Type Company (DTC)
[Volker Schnebel]

Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.

Catalog of Volker Schnebel's typefaces.

He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.

At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.

In 2010, he created Linda (hand-printed, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).

In 2011, he published Justus Pro at URW, a modern Egyptienne with a humanist touch.

In 2014, Profonts published his text typeface Martin Pro.

In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.

In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.

Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.

In 2018, he published the 36-style family Schnebel Slab Pro at URW.

In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.

Catalog of DTC's typefaces. [Google] [MyFonts] [More]  ⦿


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

DILP Urdu resources

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

Dina Al Khatib

In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More]  ⦿

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 typeface 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 typeface 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]  ⦿

Dominic Stanley
[Stanley Fonts]

[More]  ⦿

Don Raed

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

Donna Wearmouth

Designer and art director at The Northern Block in Newcastle upon Tyne, UK. The Northern Block is confusing or totally silent about who designed what, so the information below may be erroneous. Her typefaces:

  • Pablo Balcells, Mariya Vasiljevna Pigoulevskaya and Donna Wearmouth co-designed the industrial sans typeface Ordax (2018).
  • With Jonathan Hill, she co-designed the information design sans typefaces Loew Next (2018, for Latin and Cyrillic) and Loew Next Arabic (2018).
  • Roag (2019). Roag is an industrial geometric sans paying homage to mechanical designs of the 1930s. On Behance, it appears that she designed this font but MyFonts credits Jonathan Hill.
  • Scharf (2019).
  • Frederik (2019).
  • Mynor (2019).
  • Nuber (2019).
  • Spencer (2019).
[Google] [More]  ⦿

Douna Daou

During her studies, Douna Daou (Joünié, Lebanon) created the Arabic typeface Habibi (2015). [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]  ⦿

Dralve Muraine

Beirut, Lebanon-based designer of the Arabic typeface Damascus (2016). [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 (2010) 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]  ⦿


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]  ⦿

Duha Aladwan

Amman, Jordan-based designer of the Arabic typeface Damascus (2016). [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]  ⦿

Ebrahim Jaffar
[Eje Studio]

[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]  ⦿


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]  ⦿


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]  ⦿

Eje Studio
[Ebrahim Jaffar]

Eje Studio is a creative agency located in Bahrain founded by Ebrahim Jaffar. In 2016, he designed a bespoke typeface for the Alamer supermarket. Behance link. [Google] [More]  ⦿

El Shaarani

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

Elena Schneider

Graphic designer from Dortmund, Germany, who lives in Husavik, Iceland. Her design company is called Elefont. After studying visual communication in the university of applied sciences in Dortmund, she co-founded the design studio Radau. Graduate of the University of Reading in 2011. Elena designs logos, retail and custom fonts. She is a visiting lecturer at HBK Saar and LHI Reykjavík, and a mentor at Alphabettes, a network to support and promote women in the type industry.

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

In 2013, Eskorte was published by 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.

In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.

In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019.

Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio.

At Tomorrow Type, she released the Cyrillic version of Halunke (2020).

Future Fonts link. [Google] [MyFonts] [More]  ⦿

Elharrak Sumaya

[More]  ⦿

Eli Heuer

Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. His typefaces:

  • Epistle. An old-style typeface.
  • Toren Mono, Toren Proportional, Toren Rotalic. Use Modify link for Toren.
  • Contributed to Titillium Web VF.
  • Contributed to Orbitron VF.
  • Contributed to Staatliches (a Google font).
  • Micro Grotesk (2021). He writes: A classic sans-serif typeface as a 256-UPM variable font, designed to have a small file size.
  • GTL Naskh (2020), is a contemporary Naskh typeface for the Perso-Arabic script.
  • Isotherma (2015). A free blackletter font.
  • Rena (2021).
  • Gnu Grotesk.

Interview. Use Modify link. Github link. [Google] [More]  ⦿

Elias Issa El-Khoury

Beirut, Lebanon-based designer of the Latin typeface Phoenic (2018), which was inspired by the Phoenician alphabet. He also designed the Arabic typeface Satis (2018). [Google] [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.

For Polypod, he created an Arabic typeface to match the Latin version for Solidere (a Lebanese company involved in the reconstruction of Beirut's Central District). The Latin version is based on Slab Unit designed earlier by Bill Hill Design.

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

Elie Boufadel

Beirut, Lebanon-based designer of an Arabic typeface simply called Arabic Shape (2016). [Google] [More]  ⦿

Emad Fohid
[RTL Type (was: Black Tiger)]

[More]  ⦿

Eman Makki

Doha, Qatar-based designer of the Arabic children's book typeface Dardasha (2018), which is characterized by exaggerated blobbiness and is derived from the Maghribi script. [Google] [More]  ⦿

Emanuela Conidi

Conidi obtained an MA in typeface design from the University of Reading in 2008, and a PhD from the same university a few years later. Her graduation typeface is Nabil, a hookish serifed typeface that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. She also holds a Masters degree in Design and Visual Communication from the Polytechnic University in Milan

Emanuela joined Fontsmith in 2008: With a background in Graphic Design, experience in hot-metal type hand composition and letterpress printing, she is passionate about typographic history, 19th century typefaces and Arabic typography. In 2009, Mitja Miklavcic, Jason Smith and Emanuela co-designed the slab serif family FS Rufus, which was described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.

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

Designer of FS Albert Arabic, FS Rome (with Mitja Miklavcic: an all caps Trajan typeface) and FS Blake (a sans with some inherent tension) at Fontsmith.

Speaker at ATypI 2018 in Antwerp on the topic of Arabic type history. [Google] [MyFonts] [More]  ⦿

Emin Barin

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

Bio (in Turkish). [Google] [More]  ⦿

Engy Helmy

During her studies in Cairo, Egypt, Engy Helmy designed the Arabic typeface Mawja (2017) and the Latin connect-the-dots font Transcend (2017). [Google] [More]  ⦿


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]  ⦿


Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script typeface done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More]  ⦿

[Ahmed Eraqi]

Banha, Egypt-based designer of these typefaces in 2019: Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hurringtown Script (with Koi and JAF34), Eraky, Zamoka (a swashy display style).

Ahmed Eraqi published Chattelyne (a curly font) at Zet Design. With Nohamad Foda, he designed Luxury Home, a Latin slab serif with lower case letters of unequal x-height, Zamoka (2019: a deco typeface), and Hamis (2019) Hamis Vol 2 (2019), a festive display typeface family.

Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), British Vehicle JNL (based on the UK license plate font created by Charles Wright in 1935; with Jeff Levine), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Nohamad Foda).

Typefaces from 2021: Foda Egypt (a 12-style serif by Ahmed Eraqi and Nohamad Foda), Foda Slab (2021: an Arabic slab serif by Ahmed Eraqi and Nohamad Foda), Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda).

Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More]  ⦿

Eric Karnes

Eric Karnes is an American graphic and poster designer and educator, who taught at Drexel University in Philadelphia, PA. Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was Practicum, a no-nonsense serif workhorse designed for complex text settings, covering both Latin and Arabic. [Google] [More]  ⦿

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]  ⦿

Esraa Alhaddab

Riyadh, Saudi Arabia-based designer of a connect-the-dots Arabic typeface in 2015. [Google] [More]  ⦿

Esraa Alkulaibi

Dammam, Saudi Arabia-based designer of the Arabic typeface Catalogue (2017). [Google] [More]  ⦿

Esraa Amer

Egyptian graphic designer. Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More]  ⦿

Ethar Elnour

Khartoum, Sudan-based designer of the nice Arabic handwriting font Molhim (2016). [Google] [More]  ⦿


Eurabic is a term coined by Thomas Milo for Arabic type that was made---especially for scholarly purposes---in Western Europe before the digital age. Thomas points out that Eurabic types are typically full of mistakes, especially when it comes to mixing, even bastardizing, various styles of Arabic writing. [Google] [More]  ⦿

Every Witch Way
[D. Paul Alecsandri]

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 typeface that was named after the university in Montreal where he studied). Sherbrooke (2009), a free pair of sans serif fonts, is named after Sherbrooke Street in Montreal (Luc's home...).

Creator of Samman (2011, Arabic), Castile (2011, kufic style), Nasser (2010), Zawiya (2008).

In 2012, he made Eyadish (Latin and Cyrillic): Eyadish is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children, Loyolliams (2012, squarish, a renamed version of Concordia) and Alfarooq (2013).

Typefaces from 2014: Kindah (a modern Kufic font named after Kindah, an ancient Yemeni tribe), Nusaibah (a modern, geometric, and headline Arabic display typeface.

Typefaces from 2015: Ghibli (a free Latin text typeface).

Typefaces from 2016: Matwin (a children's script), Thwaites (named after his Canadian friend James Douglas Thwaites).

Typefaces from 2018: Danah.

Typefaces from 2019: Awwam (a wide headline Arabic typeface).

Typefaces from 2020: Yusyad (a tall condensed display family). [Google] [MyFonts] [More]  ⦿


Arabic font archive. [Google] [More]  ⦿

Fabio Haag Type (was: ByType, and: Foco Design)
[Fabio Luiz Haag]

Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is located in Sapiranga, Rio Grande do Sul.

Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of 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 typeface IronThree.

Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

In 2009, Foco Italics was published.

At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.

In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).

Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

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

Fabio Luiz Haag
[Fabio Haag Type (was: ByType, and: Foco Design)]

[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]  ⦿

Fadiah Alharbi

Dhahran, Saudi Arabia-based designer of the Arabic techno typeface WAKF (in 2017, at the University of Dammam). [Google] [More]  ⦿

Fadiah Alharbi

Dhahran, Saudi Arabia-based designer of the plain form Arabic typeface WAKF (2017) at the University of Dammam. [Google] [More]  ⦿

Fahd Al Fraikh

Computer engineer in Riyadh, Saudi Arabia. Creator of the modern Kufi Arabic typeface Nawar (2013). Free download. For Bein Sports, he created Bein Arabic in 2014. Still in 2014, he designed Taqniya. Designer of the pixelish typeface Sakhr (2015), the handwriting font Yaseer (2015, Latin and Arabic), Circle Typeface (2015, Arabic), and the free paint brush Arabic typeface FF Bouya (2015).

In 2016, he designed the warm woolly rounded Latin /Arabic typeface Hekaya, the monoline Latin / Arabic script typeface Sacramento Arabic (which extends Brian Bonislawsky's Sacramento to Arabic), the Latin / Arabic script typeface La Belle Aurore, the kufi Arabic typeface FF Khallab (free), and the Latin / Arabic handwriting font Hamish.

In 2017, he designed the free Latin / Arabic grunge typeface FF Taweel.

In 2018, he designed the comic book typeface Musally for Arabic, the free font FF Dusha Arabic (to accompany Ducha by DS Type Foundry designed for the FIFA World Cup 2018), Mshabbak, and the Latin and the Arabic super-family Shamel.

Typefaces from 2019: Wahm (a scribbly Latin / Arabic script), Mufreh (a marker pen font). [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]  ⦿

Falwah Alhouti

In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More]  ⦿

Farah Alarifi

During her studies in Dammam, Saudi Arabia, Farah Alarifi designed the Arabic typeface Layla (2016). [Google] [More]  ⦿

Farah Asaad

At the American University of Kuwait in Kuwait City, Farah Asaad designed the decorative Latin / Arabic typeface Mixaur (2016). [Google] [More]  ⦿

Farah Elkouny

At the German Universit in Cairo, Farah Elkouny designed the Arabic typeface Samiha Azmy (2018) and the Latin display typeface Garfield (2018). [Google] [More]  ⦿

Farah Emam

Cairo, Egypt-based designer of the Arabic display typeface Bateekh (2017). [Google] [More]  ⦿

Farah Farag

Cairo, Egypt-based designer of a modular geometric Arabic typeface in 2014, which was finished during her studies at the American University in Cairo. [Google] [More]  ⦿

Farah Khaled

Cairo, Egypt-based student-designer of the free counterless typeface Opaco (2017) and the curvy Arabic typeface Zawya (2017). [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]  ⦿

Farah Wael

During her studies at American University in Cairo, Egypt, farah Wael designed the hexagonal Arabic typeface Hexa (2016). [Google] [More]  ⦿

Farahat Design
[Abdelrahman Farahat]

Alexandria, Egypt-based designer of the free Arabic typeface Shareb (2020), the free Arabic typeface Blue Ocean (2017), and the geometric Arabic display typeface Araboto (2020).

Typefaces from 2021: Zokak (an 18-style condensed Arabic typeface).

Typefaces from 2022: Shareb Pro Arabic (an improvement of the Latin / Arabic typeface Shareb; by Abdelrahman Farahat and Tarek Alsawwa).

Behance link for Farahat Design. [Google] [MyFonts] [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]  ⦿

Farhan Latif

Islamabad, Pakistan-based designer of the organic sans typeface Warid LTE (2017), which covers both Latin and Urdu. [Google] [More]  ⦿

Farhood Moghaddam

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

Farida ElKhodary

Al-Sheikh Zayed, Egypt-based designer of the Arabic display typeface Muthalath (2017) and the Arabic text typeface Aqua (2018). [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]  ⦿


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.

In 2014, Vafa Khalighi published the free Parisa fonts, 12 Opentype fonts also based on the FarsiTeX Scientific fonts. The pacjkage is dedicated to Parisa Abbasi. [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 link [Google] [More]  ⦿

Fatema Awami

Saudi Arabia-based designer of the grid-based Arabic typeface Durra (2017). [Google] [More]  ⦿

Fatemeh Hajipour

Dubai, UAE-based designer of a squarish semi-stencil Latin / Arabic typeface in 2018. [Google] [More]  ⦿

Faten Jamal

Dammam, Saudi Arabia-based designer of the Arabic logotype Naseem (2017). [Google] [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]  ⦿

Fatima Abdulrahman

Abu Dhabi, UAE-based designer of the Arabic typeface Hibr (2014). [Google] [More]  ⦿

Fatima Kodssi

Dubai-based designer of the Arabic / Latin decorative typeface Romathen (2016). [Google] [More]  ⦿

Fatimah Alibraheem

Safwa, Saudi Arabia-based designer of the Arabic typeface Forty Five (2018). [Google] [More]  ⦿

Fatimah Al-mulla

Safwa, Saudi Arabia-based designer of the monoline Arabic typeface Fosool (2016). [Google] [More]  ⦿

Fatma Askari

Dubai-based designer (b. 1992) of Tire Typeface (2015) for Latin and Arabic. [Google] [More]  ⦿

Fax-away Urdu website

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

Fay Alaqeel

Riyadh, Saudi Arabia-based designer of the Arabic typeface Lulu (2015). [Google] [More]  ⦿

Fayzah Alghamdi

As a student at UOD in Dammam, Saudi Arabia, Fayzah Alghamdi designed the Arabic typeface Zukhrof (2016). Co-designer (with Sara A. Al Suwaiygh, Al Khobar, Saudi Arabia, and Alaa Zakary, Dammam, Saudi Arabia) of the Arabic typeface Fulad (2017). [Google] [More]  ⦿

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 link. [Google] [More]  ⦿


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

Born in Barcelona in 1979, Ferran Milan studied graphic design at Massana School of Art in the same city, then relocated to the UK to study typeface design. In 2011 he graduated from the MA in Typeface Design at the University of Reading. Ferran worked at Andreu Balius Studio in Barcelona and at Dalton Maag in London before co-founding the Letterjuice type foundry with Pilar Cano.

He created the Latin / Arabic typeface 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. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.

In 2013, Pilar Cano and Ferran Milan co-designed the text typeface Quars, which was published at Letterjuice. It was influenced by Scotch Roman and classical Dutch typefaces. In addition, it offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.

Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).

Codesigner with Pilar Cano in 2022 of Nawin Arabic, an informal Arabic typeface inspired by handwriting. [Google] [MyFonts] [More]  ⦿


Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More]  ⦿

Fiona G.E. Ross

Dr. Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. Fiona Ross is the recipient of the 2014 SOTA Typography Award. In 2018, Fiona Ross received the TDC Medal.

The Adobe Thai typefaces were commissioned from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008.

Co-designer with Robert Slimbach and Tim Holloway of Adobe Devanagari.

Between 1978 and 1982, Tim Holloway and Fiona Ross designed Linotype Bengali based on Ross's research for her doctoral studies in Indian palaeography. In 2020, Fiona Ross and Neelakash Kshetrimayum were commissioned by Monotype to update that popular typeface, still called Linotype Bengali.

In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

Bio at ATypI. Her books and/or essays:

  • The printed Bengali character and its evolution (1999, Curzon Press, Richmond, UK), reviewed by John Hudson.
  • Fiona's essay on Non-Latin Type Design at Linotype (2002).
  • Coauthor with Robert Banham of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library).

Speaker at ATypI 2010 in Dublin and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿


FiraGO (2012-2018) is an outgrowth of the open source Fira Sans typeface family by Carrois and Spiekermann. Script support has been considerably extended from Latin Extended, IPA, Pan African, Cyrillic Extended (+ locl BGR and SRB), and Polytonic Greek, already present in Firs Sans, to Arabic, Devanagari, Georgian, Hebrew, and Thai. Manual basic truetype hinting was done with Glyphs. Copyright of various parts of Firago: Carrois Corporate GbR, HERE Europe B.V., The Mozilla Foundation, Telefonica S.A., and bBox Type GmbH. Credits for the various additons and modifications:

  • Design FiraGO Arabic: Ralph du Carrois, Titus Nemeth and Hasan Abu Afash.
  • Design FiraGO Devanagari: Rob Keller, Kimya Gandhi and Natalie Rauch.
  • Design FiraGO Georgian: Akaki Razmadze and Anja Meiners.
  • Design FiraGO Hebrew: Natalie Rauch with consultancy support by Yanek Iontef.
  • Design FiraGO Thai: Mark Frömberg with consultancy support by Ben Mitchell.
  • Hinting: Monika Bartels and Anke Bonk at FontWerk (now Alphabet Type).
  • Scripts and technical support: Mark Frömberg.
[Google] [More]  ⦿

[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]  ⦿

Fo Da
[Nohamad Foda]

Banha, Egypt-based designer of Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hamis and Hamis Vol 2 (2019: a festive display typeface by Ahmed Eraqi and Nohamad Foda), Zamoka (2019: a deco typeface, done with Ahmed Eraqi), Luxury Home (2019, with Ahmed Eraqi), a Latin slab serif with lower case letters of unequal x-height.

Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Ahmed Eraqi).

Typefaces from 2021: Foda Egypt (a 12-style serif by Ahmed Eraqi and Nohamad Foda), Foda Slab (2021: an Arabic slab serif by Ahmed Eraqi and Nohamad Foda), Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda).

Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More]  ⦿

Font Bud
[Mikolaj Grabowski]

During his studies in Warsaw, Poland, Mikolaj Grabowski designed the interesting stackable typeface family Epilepsja (2015) and Epilepsja Round (2015). There is a hint of Escher-style 3d effects hidden in this beauty.

In 2015, he set up his own commercial type foundry.

Typefaces from 2018: URLOP (a 14-layer color font, with some SVG styles, and covering many multiline and stencil styles).

Typefaces from 2019: Antifa (for anti-fascist---an ironic use of the blackletter style used by neonazi / fascist groups in Poland), Fushar and Fushar Arabic (a Latin / Arabic colorable and layerable comic book font family).

Typefaces from 2020: Achtung (an extension of Epilepsja, covering Cyrillic as well). [Google] [MyFonts] [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]  ⦿

[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 typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

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 typefaces. [Google] [More]  ⦿

Forme Type
[Jeremy Johnson]

London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.

In 2017, he designed the 3d pixel font Furniture Type.

In 2018, he created TextFace Type.

Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). It explores the richness of the 19th century British Grotesque genre, performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic, Cyrillic and Greek. Forme Grotesque was published by Colophon in 2022. [Google] [MyFonts] [More]  ⦿

Foundry 5 Limited

In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited in the UK. Their typefaces:

  • Jali Arabic, Jali Greek and Jali Latin (2021) by Mohamad Dakak. Jali is a wayfinding easy-to-read humanist sans typeface family that combines Latin, Arabic and Greek in a hamrmonious fashion. It is rooted in Dakak's graduation typeface at the University of Reading in 2016.
  • Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran), Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).
[Google] [MyFonts] [More]  ⦿

Foziya Al-aujan

As a student at Abdulrahman bin Faisal University, Foziya Al-aujan (Al Khobar, Saudi Arabia, Saudi Arabia) designed a 3d experimental Arabic typeface (2017) and a decorative Latin typeface called Dracos (2017). [Google] [More]  ⦿

Francesco Mistico Canovaro
[Zetafonts (or: Studio Kmzero, or: ZeroFont)]

[MyFonts] [More]  ⦿

Franck Jalleau

French type designer, calligrapher, and stonecutter, b. 1962. Franck Jalleau studied at the Ecole des Beaux-Arts de Toulouse and at the Atelier national de Création typographique (ANCT), where he subsequently worked as an instructor until 1990. A type designer, he works primarily in the publishing field and on French administrative documents (the General Tax Code, passports, identity cards, car registration documents, etc.). Since 1990, for the Imprimerie Nationale, he oversees the adaptation of the typographic holdings for digital typesetting. For this effort, the Imprimerie's Garamond was one of the first typefaces he rehabilitated, along with the grecs du Roi. Currently, Franck Jalleau teaches at Ecole Estienne in Paris.

Franck designed several typefaces for Agfa, Editions Magnard, city of Brive-la-Galliarde, for the NGO ATD Fourth World Movement, etc. In 1987, he engraved the Movement's message in stone, which was installed first at the Place de Trocadéro in Paris, and then at the United Nations in New York, the European Parliament in Strasbourg, the Basilica of St. John Lateran and in Reims Cathedral. Franck Jalleau won the Prix des Graphistes in 1988 and has received several international awards, including the Morisawa Award (Japan) in 1987 and 1996. He has taught type design at the École Estienne since 1991, and he offers training courses in character design in art schools both in France (Toulouse, Caen, Amiens) and abroad. His typefaces:

  • 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 Venetian 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. Interestngly, it features random counter shapes to give that 15th century look. Among Francesco's historical sources is the famous Hypnerotomachia Poliphili printed in 1499 by Aldus Manutius. Subsequently, Francesco was republished by Production Type.
  • 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.
  • In 2016, he designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
Linkedin link. Fascinating interview (in French). FontShop link. Production Type link. [Google] [MyFonts] [More]  ⦿

Free Arabic Fonts

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


Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

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]  ⦿


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 to sell international commercial fonts in the 1990s, including Cyrillic fonts mostly from Paragraph. WL PashtoNaskh (1995) is one of their Arabic fonts. Other fonts include WLGreekTimesAncient-Regular for Greek and WL-ArabicNaskh for Arabic. [Google] [More]  ⦿

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. Klingspor link. [Google] [More]  ⦿


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


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]  ⦿

George Sassine

Beirut, Lebanon-based designer of the pixelish ArchiArabic typeface (2014). [Google] [More]  ⦿

George W. Nuss

Designer in 2011-2012 of the Arabic typeface Fouta developed for the Guinean community. This was at the basis of the free font Harmattan (2015, SIL International; Google Font link). SIL explains: Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. The font does not cover the full Unicode Arabic repertoire. It only supports characters known to be used by languages in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) This simplified style is often preferred for clarity, especially in non-Arabic languages, but may be considered unattractive in more traditional and literate communities. [Google] [More]  ⦿

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]  ⦿

Geyret T. Kenji

Or Gheyret. Designer ca. 2004 of these Uyghur typefaces: Ukij Nasq, Ukij NasqZilwa, Ukij Sulus-Bold, Ukij Sulus, Ukij SulusTom. Open Font Library link. Download here. [Google] [More]  ⦿


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

Ghanem Font

Riyadh, Saudi Arabia-based designer of a few Arabic typefaces in 2014 and 2015, such as Hadeel, Talin and Nanquim. VIP Sbgh is free. In 2016, they designed the free font VIP Hakm and the free font VIP Arabic. Home page. [Google] [More]  ⦿

Gheen studio (was: AType)
[Ali Almeethali]

Type designer based in Sanaa, Yemen who set up A Type in 2020 and Gheen Studio in 2021. In 2020, he designed the display typeface Sheba (5 styles), Alm Sanaa (for Arabic and Latin), and the sans family Atype Belqees Sans (9 styles, for Arabic, Latin and Persian) at AType.

Typefaces from 2021: Suhail (an 18-style font for Arabic, Latin, Persian and Urdu), Sheba (for Latin and Arabic), Atype Belqees Rounded, Atype Belqees Sharp, Toleen Pro (a 7-style Arabic typeface family that covers Urdu and Farsi as well).

Typefaces from 2022: Ghaith Sans (a Naskh-inspired font for for Latin and Arabic). [Google] [MyFonts] [More]  ⦿

Ghiath Alsory

Ghiath Alsory added the Arabic in 2016 to Dario Muhafara's award-winning rounded display typeface Overlock (2006). The new name is Sukar (Sugar). [Google] [More]  ⦿

Ghina Itani

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

Ghiwa Abi Khalil

Lebanese designer of the spermatoid font Dabbous (2021) for Latin and Arabic. [Google] [More]  ⦿

Gihad Mansour

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

Girish Dalvi

[More]  ⦿


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. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.

  • 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. Crosswire link for Free Monospaced, Free Serif and Free Sans. 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]  ⦿

    [Ammar Bouras]

    Algerian type designer and calligrapher. Creator of the Arabic / Latin typeface Shahrazed (2021). The Arabic part has calligraphic elements from Naskh and Maghrabi. [Google] [MyFonts] [More]  ⦿

    Granada Design
    [Paco Fernandez]

    Paco Fernandez (Granada Design, Almeria, Spain) designed these Arabic display typefaces in 2015: Varela (based on the first Arabic book that was printed in Spain---it was produced in 1505 by Juan de Varela de Salamanca in his shop in Granada), Kitab (based on a leafed book), and Dairah (circle-based). Behance link. [Google] [More]  ⦿

    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]  ⦿

    Gulam Rabbani Fida

    In 2020, Gulam Rabbani Fida posted a Noto descendant, Noto Nastaliq Urdu for these langauges: Arabic, Mazanderani, Pashto, Persian, Punjabi (Arabic), Urdu. [Google] [More]  ⦿

    Gunnar Vilhjalmsson
    [Universal Thirst]

    [MyFonts] [More]  ⦿

    Gunnlaugur Briem

    Briem is a fantastic Icelandic calligrapher and type designer. His typefaces:

    • Briem Akademi (1997-2002, Adobe).
    • Briem Gauntlet (1997).
    • Briem Mono (2001). A typewriter typeface.
    • Briem Operina.
    • Briem Script (Adobe). a multiple master font.
    • Briem Times (1990). This was the basis for Times Millenium, used by The Times. Read about the controversy at that page.
    • HS Headline (2015). He teamed up with Hasan Abu Afash for this fat calligraphic didone display typeface. Briem contributed the Latin part, while Afash took care of the Arabic, which is based on the simple lines of Naskh calligraphy.

    Author of these [free] books:

    • Tenniel's Alice. The complete set of 92 illustrations for Alice in Wonderland (1866) and Through the Looking Glass (1870). by Sir John Tenniel (1820-1914), the most famous Victorian book artist. His drawings for the Alice books were engraved by the Brothers Dalziel, and are reproduced here in a 300-dpi resolution.
    • Briem at the Type Archive. Fifty pieces, reproduced in one-fourth of original size.
    • Briem in Tipoteca Italiana. Fifty pieces, reproduced in one-fourth of original size.
    • The Briem Report 2012 (2013). The book ranges from from pyrography to stonecarving. It deals with low-resolution hinting and handwriting therapy for Attention Deficit Hyperactivity Disorder. It contains over a hundred entries of work samples and notes by leading letterforms practitioners.
    • Cursive Italic News. The Barchowsky Report on Handwriting, Vol. 2 No. 3.
    • Handwriting Models. Handwriting Models is a facsimile of the first Icelandic copperplate copybook by Benedikt Gröndal. This is a brief instruction in a new style that was introduced in Icelandic schools in 1875. Blackletter cursive had been replaced by the documentary hand of the British Empire. Italic handwriting succeeded it in 1984.
    • Handwriting Repair.
    • Italic Persuasion.
    • Model Sheets for Arts and Crafts 1. Model sheets for Arts and Crafts: Johann Theodor de Bry's Neiw Kunstliches Alphabet, 1595 is a reprint of Vorlagen für das Kunstgewerbe, Herausgegeban von Carl Hrachowina. 1. Band. Künstliches Alphabet von J. Th. de Bry, Wien, Verlag von Carl Graeser, 1886.
    • Modern Alphabets. Facsimile copy of F. Delamotte's Examples of Modern Alphabets Plain and Ornamental, Crosby Lockwood and Son, London 1913. The book was first published in 1859.
    • Arrighi's Operina. Operina (1522) is a slim volume of 32 pages. Each page was printed from a separate woodcut by Ugo da Carpi, who is best known as a master of chiaroscuro engraving. The author, Ludovico Arrighi, was a copyist, papal scribe, publisher and type designer.
    • Russian Calligraphy. A lighthearted look at calligraphy and decades of teaching by Leonid Pronenko the author of Calligraphy for Everybody (in Russian). Many of his students at the Kuban State University in Krasnodar have gone on to successful careers in design and calligraphy.
    • We're doomed; what else is new? Briem's keynote address at ATypI 2011 in Reykjaví.

    Keynote speaker at ATypI 2011 in Reykjavik. FontShop link. [Google] [MyFonts] [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 unfortunately overpriced by Linotype. Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. Hassan's two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold. Karim by Linotype has an identical Latin set. [Google] [MyFonts] [More]  ⦿

    Habib Khoury

    [More]  ⦿

    Habiba AleiElDeen

    Cairo-based artist. Creator of Brink (2014), a Latin typeface that was designed for a water recycling campaign. In 2016, she designed the circle-based Arabic typeface Seen. Also a talented illustrator, she created, e.g., Daily Routine Pictogram (2016). [Google] [More]  ⦿

    Habiba El Gendy

    During her graphic design studies at Gaza Arts University, Cairo-based Habiba El Gendy created the experimental geometric Latin / Arabic typeface Arkan (2014), and the crispy Arabic typeface Habiba (2016). Behance link. Home page. [Google] [More]  ⦿

    Habiba Tarek

    During her studies at the German University in Cairo, Habiba Tarek designed the Arabic display typeface Khaleet (2017). [Google] [More]  ⦿

    [Muhammad Hacen]

    Run by Mohamed Hacen Mottaly (b. 1978, Mauritania), a graphics and type specialist. Unless otherwise indicated, all fonts were made in 2006 by Mohamed Hacen. Free Latin fonts: HacenCAPSpice33, HacenCAPSpice65, HacenPixer (by Jen Aimon). Free Arabic fonts: HacenBeirutHeading, HacenBeirutLight, HacenBeirut, HacenCAPSpice33, HacenCAPSpice65, HacenCasablancaHeavy, HacenCasablancaLight, HacenCasablanca, HacenDalalSt, HacenDalalText, HacenDalal, HacenEgypt, HacenFreehand, HacenLebanon, HacenLinerPrint-outLight, HacenLinerPrint-out, HacenLinerScreenBd, HacenLinerScreen, HacenLinerXL, HacenLinerXXL, HacenNewspaper, HacenPixer, HacenPromoterLt, HacenPromoterMd, HacenPromoter, HacenSahafa, HacenSamraLt, HacenSamra, HacenTypographerBold, HacenTypographerBook, HacenTypographerHeavy, HacenTypographer. Hacen Tehran (2006) is here. Hacen Liner and Hacen Tunisia (2005-2014) are free fonts that are available at Open Font Library. Another Open Font Library link. [Google] [More]  ⦿

    Hadeel Alkhamis

    Dubai, UAE-based designer of the kufi Arabic typeface Ghada (2016). [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]  ⦿

    Hadi Type Studio
    [Muhammed Hadi]

    Egyptian designer of the Arabic typefaces HT Qays Sans (2019) and HT Quays Slab (2010). [Google] [MyFonts] [More]  ⦿

    Hadya Samman

    At Dar Alhekma University in Jeddah, Saudi Arabia, Hadya Samman designed a squarish kufi style Arabic typeface in 2016. [Google] [More]  ⦿

    Haider Mami

    Istanbul, Turkey-based designer of Latin / Arabic typefaces including Nas (2021: an 8-style Naskh-based typeface family by Tarek Al-Sawwa and Haider Mami). [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 https://www.myfonts.com/fonts/linotype/hakim-ghazali/ (2005), which won the first prize for calligraphic Arabic type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [MyFonts] [More]  ⦿

    Hala Gamal Zakaria Moustafa

    During his studies at German University of Cairo, Hala Gamal Zakaria Moustafa designed the Arabic display typeface Fshar for popcorn street cars in Cairo, Egypt. It was inspired by the shape of popcorn. [Google] [More]  ⦿

    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]  ⦿

    Hani Hasan

    [MyFonts] [More]  ⦿

    [Hani Hasan]

    UAE-based designer of Kalligraaf Arabic (2019) and Graphology Arabic (2019). [Google] [MyFonts] [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]  ⦿

    Hares Bassil

    Beirut, Lebanon-based designer of the Arabic typeface Afreet (2016). From Hares's studies at ATDB in 2016-2017, we retain the Arabic typeface Mahrous (meaning "guarded"), which was inspired by decoration and Ruq'ah-like script seen on trucks in Lebanon. [Google] [More]  ⦿

    Hasan Abu Afash
    [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

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


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

    Haya Elsheikh

    Cairo, Egypt-based designer of the neo deco typeface Streaky (2017) and the Arabic typeface Heisa (2017). [Google] [More]  ⦿

    Haya Fawzy

    Nasr City, Egypt-based designer of the Arabic typeface Princess for a school project in 2018. She also created the Latin typeface Queen B (2018). [Google] [More]  ⦿

    Haya Mouawad

    At Dar Al-Hekma University in Jeddah, Saudi Arabia, Haya Mouawad designed an Arabaic typeface (2017). [Google] [More]  ⦿

    Heba Salah

    Designer of the Arabic display typeface El Rosasa (2014). [Google] [More]  ⦿


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

    Heheh Type
    [Nour El Shamy]

    Heheh Type is an Arabic type design collective based in Cairo that was founded by Nour El Shamy (who graduated from German University in Cairo), Shahd El Sabbagh and Manuel von Gebhardi in 2020. Their typefaces:

    • Dobb (2020). designed by Nour El Shamy with assistance and mastering by Shahd El Sabbagh and Manuel von Gebhardi. It is a playful Naskh typeface designed to pair well with illustrations.
    • Gawhar (2021). Designed by Manuel von Gebhardi. Design assistance by Shahd El Sabbagh and Nour El Shamy.

    Nour El Shamy designed the Arabic typefaces Koffar (2018) and Ghareeb some time before Dobb, as well as the Latin display typeface Ayakashi (2017). Future Fonts link. Cargo Collective link for Nour El Shamy. [Google] [More]  ⦿

    Hemin Ahmad Rasool

    Irbil, Iraq-based designer of the monoline Kurdish font Qshtoka (2014). Free download. Earlier he made a series of 32 Arabic / Kurdish typefaces called Kazhin 1 through Kazhin 32 (2014). Free download. See also here.

    Behance link. [Google] [More]  ⦿

    Hend Saleh

    Student in Alexandria, Egypt, who designed Kunn Arabic in 2015. [Google] [More]  ⦿

    Hermann Zapf

    Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

    He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.


    • 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
    • 1973 Gutenberg Prize, City of Mainz.
    • 1975 Gold Medal, Museo Bodoniano, Parma.
    • 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
    • 1987 Robert Hunter Middleton Award, Chicago.
    • 1994 Euro Design Award, Oostende.
    • 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
    • 1999 Type Directors Club award for Zapfino (1998), New York.
    • 2010 Bundesverdienstkreuz 1. Klasse.

    Some publications by Hermann Zapf:

  • Feder und Stichel (1949, Trajanus Presse, Frankfurt)
  • About Alphabets (1960)
  • Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.
  • Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
  • Orbis Typographicus (1980)
  • Hermann Zapf and His Design Philosophy (Chicago, 1987)
  • ABC-XYZapf (London, 1989)
  • Poetry through Typography (New York, 1993)
  • August Rosenberger (Rochester, NY, 1996).
  • Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.
  • My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

    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 and Crown Italic (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 typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface 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, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+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. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
    • Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface 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 typeface 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 (2002, 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. Palatino was designed in conjunction with August Rosenberger, 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). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
    • 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).
    • 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, 59 styles), URW Antiqua, URW Palladio (1990).
    • Hallmark Uncial (Hallmark).
    • 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, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is 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).

    Books and references about him include:

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].

    Linotype link. Klingspor 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 Dream (2019), HS Gold (2018), HS Almisk, HS Almisk Serif (2018: modern kufi style), HS Aleman (2018: a kufi /naskh hybrid), HS Alnasma (2017), HS Alhoson (2017), HS Alwajd (2016), HS Almajd (2016), HS Rahaf (2015, covering Pashtu, Persian, Urdu, Kurdish Sorani, Kurdish Kirmanji, and Arabic), HS Alnada (2015, kufi), HS Headline (a fat calligraphic didone display typeface by Gunnlaugur Briem (Latin) and Hasan Abu Afash (Arabic, based on the simple lines of Naskh calligraphy), HS Ali (2015; designed using equal amounts of anger and sorrow, Hasan writes: HS Ali was designed in memoriam of my brother---Ali Abu Afash who was martyred during the last aggression on Gaza in summer 2014), HS Alhuda (2014, Kufi font), HS Almaha (2014: this font combines the features of linear Naskh and modern Kufi), HS Almidad (2014), HS Ishraq (2013), HS Alkitab (2013), HS Albadr (2013), HS Almohandis (2007-2011, Arabic display face), HS Alhandasi (2007 and 2011), Hasan AlQuds family (2004, a display typeface done with Mamoun Sakkal), Hasan Hiba, Hasan Enas (Arabic text typeface), Hasan Elham (2006, a modern Kufi art deco face), Hasan Ghada (2007-2008, based on modern Kufi calligraphy--first known in 2002 as KactTitle), Hasan Manal (2008, Kufi style), Hasan Aya (2007, Kufi style famaily based on Corel's 1992 typeface Bedrock), Kouffi Fatemic, Safwat, HS Amal. In 2008, Hasan Hiba and Hasan Noor (a classic squarish Kufi face) were upgraded to the DecoType font format for use in WinSoft Tasmeem which is now bundled with InDesign CS4---thanks to a cooperation with Mirjam Somers. Still with Somers, he upgraded the Basim Marah display typeface (2008) for Tasmeem. Basim Marah was drawn by Basim Salem Al Mahdi from Iraq and then digitized by Hasan himself. The same year, Hasan developed an OpenType project for Alinma TheSans fonts which are based on TheMix Arabic (designed by Luc(as) de Groot and Mouneer ElShaarani for Al Inma Bank, Saudi Arabia). Later he developed the OpenType features for Jumeirah Arabic which was designed by Pascal Zoghbi (29letters) and Huda AbiFares (Khatt) for Jumeirah International, UAE. He developed the OpenType layout features needed for the Arabic script system in the Seria Arabic fonts family which was designed by Pascal Zoghbi for FontShop International, as well as the Chams fonts family which was designed by Al Mohtaraf Assaudi for the redesign of the Shams Newspaper in Saudi Arabia and the Arajhi fonts for Alrajhi Bank. Since 2002 Hasan has worked and collaborated with Mamoun Sakkal in several projects, such as the Burj Dubai Shilia project, Sakkal Baseet and the Microsoft project which included the updating of the OpenType instructions for fonts such as Tahoma, Microsoft Sans Serif (1997), Arial, Times New Roman, Segoe, Courier, Time New Roman, Ms Uighur and Majalla UI. In 2009-2010, he cooperated with Parachute to make DIN Text Arabic.

    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 typeface done with Abdulsamiea Rajab Salem), HS Elham (Kufi).

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

    Hidetaka Yamasaki

    Graduate of Kyoto University and the the University of Reading's MATD program. Hidetaka Yamasaki (Japan) designed several typefaces:

    • Clare. A clean and clear typeface ideal for journals, such as newspapers and magazines. It covers Latin and Thai.
    • Carl Marx. A geometric but warm rounded typeface based on a sketch drawn by a German painter who studied at Bauhaus, Carl Marx (1911-1991). It was published in 2018 in the Adobe Originals collection. Adobe writes: This typeface is based on lettering by Carl Marx (1911-1991), designed during his first semester at the Bauhaus in Joost Schmidt?s class, in 1932. Although the letter proportions are based on Schmidt's teachings, the forms are not constructed from compass and ruler, but drawn with brush and marker, lending the words a warm and lively touch. Hidetaka Yamasaki redrew the letters from scratch and added all missing characters for today's needs. A set of hanging figures, alternates for some critical letterforms (such as f, r, and t) as well as several ligatures make CarlMarx especially suitable for use in body text. As suggested by Marx, Yamasaki captured two weights from the original drawing and perfectly adjusted light and bold to highlight words and create hierarchy in headlines without losing or adding space. True to the original, Yamasaki captured the wobbly contour in CarlMarx, preserving warmth in the condensed geometric style of the early 1930s.
    • Sandberg Grotesque. A quirky typeface based on a black face used in Willem Sandberg's catalogues in 1950s; outstanding feature of tapering serves for display use, but will disappear in small size to turn out a useful text typeface.
    • Stylus. A simple, slightly lively text typeface for matching Latin with Arabic in small size.
    • Rudolph. A typeface for greeting cards and picture books, a three-day project as the first assignment of the MATD.
    • Luke (2019, The Northern Block). In the style of Caslon's English Blackletter (a textura), and named after the Caslon family tomb in the churchyard of St Luke Old Street in London.
    [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]  ⦿


    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]  ⦿

    Hind Alotaibi

    Riyadh, Saudi Arabia-based designer of an Arabic display typeface in 2015. [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 known as Uzbekistan, and moved to Baghdad were he worked as a mathematician during the first golden age of Islamic science, at the "House of Wisdom". Using the abacus notations he developed the manuscript decimal system. By the end of the 12th century (Middle Ages) the academic word was divided between the algorists, followers of al-Khwarizmi, and the abacists, who used the abacus as a means of dealing with the unwieldy Roman notation. The oldest dated European manuscript containing Arabic numbers is the Codex Vigilanus written in Spain in 976. In 1202 Leonardo of Pisa (also know as Leonard Fibonacci) published his Liber Abaci, a book of arithmetic and algebraic information. The earliest French manuscript using the new number system was written in 1275. During the 14th century Arabic numerals became widely used by merchants in Italy." [Google] [More]  ⦿

    Hirbod Lotfian

    Tehran, Iran-based graphic and type designer. In 2013, he created the Farsi typeface Novin which won an award at Granshan 2014. Novin Web (2014) was co-designed with Reza Bakhtiarifard. [Google] [More]  ⦿

    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]  ⦿

    Horouf Design Competition

    The 2014 Horouf Type Design Competition saw these winners: Sultan Mohammad (gold medal for Change), Ferran Milan (silver medal for Baldufa), Ahmad Al Hindi (bronze medal for Zamalka). This bilingual (Latin / Arabic) type design competition was initiated by Nuqat and 29Letters. The results were announced in December 2014 at the Nuqat Design Conference in Kuwait. The jury consisted of Huda AbiFares (of the Khatt Foundation), Kameel Hawa (of Mohtaraf), Mouneer Shaarani (Arabic calligrapher), Peter Bilak(of Typotheque), Patrick Giasson (of Loose Atom), and Reza Abedini (Iranian graphic designer). This sentence is interesting: Whilst the jurors are all excited to take part in the very first annual Horouf design competition for typography design, they agree that this year's entries left much to be desired in terms of innovation and technical execution. This is reflected by their reluctance to award any first prizes. [Google] [More]  ⦿

    Hossam Ibrahem

    Cairo, Egypt-based designer of some interesting typographic pieces in 2017. [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 Taghizadeh

    Designer of the free Arabic typeface Afsaneh (2009-2013). [Google] [More]  ⦿

    Hossein Zahedi

    [More]  ⦿

    Houcine Sagout

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

    Hovig Afarian

    During his studies in Beirut, Lebanon, Hovig Afarian created a modular Arabic typeface (2015). [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), Typographic Matchmaking in the City (2010) and Arabic Type Design for Beginners (2013), and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More]  ⦿

    Huda Smitshuijzen AbiFarès
    [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 typeface Tajheez. [Google] [More]  ⦿

    Hussein Ebrahimy
    [Hamoon Soft]

    [More]  ⦿

    IBM Plex
    [Mike Abbink]

    A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.

    A later modification / fork is Perplexed by Peter Hull in 2018.

    Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.

    IBM Plex won an award at TDC Typeface Design 2018.

    In 2021, Google Fonts added various multilingual versions of IBM PLex: IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin), IBM Plex Sans Arabic (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos, Khajak Apelian), IBM Plex Sans Hebrew (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Yanek Iontef), IBM Plex Sans KR (by Mike Abbink; Paul van der Laan; Pieter van Rosmalen; Wujin Sim; Chorong Kim; Dohee Lee), IBM Plex Sans Thai (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg), IBM Plex Sans Thai Looped (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg).

    Google Fonts link. [Google] [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 Abdallah

    During his studies in Beirut, Ibrahim Abdallah designed the Latin / Arabic typeface Wavy (2017). [Google] [More]  ⦿

    Ibrahim Alsafady

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

    Ibrahim Hamdi

    [MyFonts] [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]  ⦿


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

    Igor Labudovic
    [IL Fonts]

    [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.


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

    IL Fonts
    [Igor Labudovic]

    Vienna-based type designer who joined Schriftlabor in 2015, and started his own type foundry, IL Fonts, in 2019. He 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 sans & serif text type family that supports Latin and Cyrillic.

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

    Typo Passage is a high-contrast piano key display typeface. This is a modification of an original typeface by Mischa Zog at Erwin Bauer's office.

    In 2013, he graduated from the MATD program at the University of Reading. His graduation typeface was Salom [peace]: Salom is a type family for complex, yet lively typography, supporting Arabic, Hebrew and Latin. The purpose of this typeface is to balance all three scripts in equal harmony, keeping in mind their individual cultural heritage. Salom is designed to bridge challenging typography with the outspoken voice of the streets. The family comes in Light, Regular, Semi Bold, Bold and Black, every weight in three styles, Roman, Italic and Stencil. Salom was published at Schriftlabor as a retail typeface in 2018.

    In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic co-designed the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte.

    In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. Still in 2016, he published the custom creamy signage typeface Almdudler and the 1930s style display typeface Schatzhauser.

    Typefaces done at IL Fonts:

    [Google] [MyFonts] [More]  ⦿

    Imane Ben

    Antwerp, Belgium-based designer of Arabista (2016), an Arabic typeface influenced by Islamic architecture. [Google] [More]  ⦿


    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]  ⦿

    Imran Nasution
    [Bayo Suti XV]

    [More]  ⦿

    Ingy Fawzy

    At American University in Cairo, Ingy Fawzy designed the Arabic display typeface Comic in 2018. [Google] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.

    His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.

    His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).

    Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [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 or Indo-PersianBitStreamCharter
    [Richard J. Cohen]

    This font was modified by Richard J. Cohen, based on "HACC Indic" by Thomas Ridgeway, which in turn is based on Bitstream Charter, a font in the public domain. [Google] [More]  ⦿

    Iran Vision Fonts

    IranVision1 and IranVision2 are fonts for Farsi. [Google] [More]  ⦿


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

    Iranian Cultural and Information Center

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

    Iranian GUI Fonts

    The Iranian family of the fonts are designed with the support of the Iranian National Initiative for Free and Open Source Software to provide a good-looking and free font for Persian script. It consists of Iranian Sans and Iranian Serif. The designers are Hadi Navid and Hooman Mehr (Neviseh Pardaz Co. Ltd). Download for the Open Font Library. When blown up, the glyphs show a lack of smoothness in the outlines. [Google] [More]  ⦿

    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]  ⦿


    A Persian font made in the 1990s. [Google] [More]  ⦿


    The free XW Zar fonts collection of Opentype Arabic fonts made in 2007 by Irmug.org covers Arabic, Persian, Urdu, Dari, Pashto, Uzbek, Kurdish, old (Ottoman) and new Turkish (Roman) languages with Open Type and Apple Advanced Typography technology support. These include XBKayhan-Bold, XBKayhan-BoldItalic, XBKayhan-Italic, XBKayhan, XBKayhanNavaar, XBKayhanPook, XBKayhanSayeh, XBKhoramshahr-Bold, XBKhoramshahr-BoldItalic, XBKhoramshahr-Italic, XBKhoramshahr-Oblique, XBKhoramshahr-ObliqueBold, XBKhoramshahr, XBNiloofar-Bold, XBNiloofar-BoldItalic, XBNiloofar-Italic, XBNiloofar, XBRiyaz-Bold, XBRiyaz-BoldItalic, XBRiyaz-Italic, XBRiyaz, XBRoya-Bold, XBRoya-BoldItalic, XBRoya-Italic, XBRoya, XBShafigh-Bold, XBShafigh-BoldItalic, XBShafigh-Italic, XBShafigh, XBShafighKurd-Bold, XBShafighKurd-BoldItalic, XBShafighKurd-Italic, XBShafighKurd, XBShafighUzbek-Bold, XBShafighUzbek-BoldItalic, XBShafighUzbek-Italic, XBShafighUzbek, XBShiraz-Bold, XBShiraz-BoldItalic, XBShiraz-Italic, XBShiraz, XBSols-Bold, XBSols-BoldItalic, XBSols-Italic, XBSols, XBTabriz-Bold, XBTabriz-BoldItalic, XBTabriz-Italic, XBTabriz, XBTitre-Italic, XBTitre, XBTitreShadow-Italic, XBTitreShadow, XBYagut-Bold, XBYagut-BoldItalic, XBYagut-Italic, XBYagut, XBYas-Bold, XBYas-BoldItalic, XBYas-Italic, XBYas, XBZar-Bold, XBZar-BoldItalic, XBZar-Italic, XBZar-Oblique, XBZar-ObliqueBold, XBZar, XMTraffic-Bold, XMTraffic-BoldItalic, XMTraffic-Italic, XMTraffic, XMVahid-Bold, XMVahid-BoldItalic, XMVahid-Italic, XMVahid, XMYermook-Bold, XMYermook-BoldItalic, XMYermook-Italic, XMYermook, XPVosta-Bold, XPVosta-BoldItalic, XPVosta-Italic, XPVosta, XPZiba-Bold, XPZiba-BoldItalic, XPZiba-Italic, XPZiba.

    Later, an X Series 2 was published under the name XB Zar. These free fonts were specially designed with the web in mind. The collection includes XBKayhan-Bold, XBKayhan-BoldItalic, XBKayhan-Italic, XBKayhan, XBKayhanNavaar, XBKayhanPook, XBKayhanSayeh, XBKhoramshahr-Bold, XBKhoramshahr-BoldItalic, XBKhoramshahr-Italic, XBKhoramshahr-Oblique, XBKhoramshahr-ObliqueBold, XBKhoramshahr, XBNiloofar-Bold, XBNiloofar-BoldItalic, XBNiloofar-Italic, XBNiloofar, XBRiyaz-Bold, XBRiyaz-BoldItalic, XBRiyaz-Italic, XBRiyaz, XBRoya-Bold, XBRoya-BoldItalic, XBRoya-Italic, XBRoya, XBShafigh-Bold, XBShafigh-BoldItalic, XBShafigh-Italic, XBShafigh, XBShafighKurd-Bold, XBShafighKurd-BoldItalic, XBShafighKurd-Italic, XBShafighKurd, XBShafighUzbek-Bold, XBShafighUzbek-BoldItalic, XBShafighUzbek-Italic, XBShafighUzbek, XBShiraz-Bold, XBShiraz-BoldItalic, XBShiraz-Italic, XBShiraz, XBSols-Bold, XBSols-BoldItalic, XBSols-Italic, XBSols, XBTabriz-Bold, XBTabriz-BoldItalic, XBTabriz-Italic, XBTabriz, XBTitre-Italic, XBTitre, XBTitreShadow-Italic, XBTitreShadow, XBYagut-Bold, XBYagut-BoldItalic, XBYagut-Italic, XBYagut, XBYas-Bold, XBYas-BoldItalic, XBYas-Italic, XBYas, XBZar-Bold, XBZar-BoldItalic, XBZar-Italic, XBZar-Oblique, XBZar-ObliqueBold, XBZar, XMTraffic-Bold, XMTraffic-BoldItalic, XMTraffic-Italic, XMTraffic, XMVahid-Bold, XMVahid-BoldItalic, XMVahid-Italic, XMVahid, XMYermook-Bold, XMYermook-BoldItalic, XMYermook-Italic, XMYermook, XPVosta-Bold, XPVosta-BoldItalic, XPVosta-Italic, XPVosta, XPZiba-Bold, XPZiba-BoldItalic, XPZiba-Italic, XPZiba.

    For XB Kayhan, see also this Open Font Library link. [Google] [More]  ⦿


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

    Ishtiaq Ali

    Faisalabad, Pakistan-based creator of the clean sans typeface Techno LCD (2011) and the dot matrix typeface London (2013). Khat-e-Kamal Urdu was developed by Aslam Kamal and modified by Ishtiaq Ali in 2014.

    Behance link. [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 Abdurrasyid
    [Asyan Design]

    [More]  ⦿

    Ismail Bel Kharchouf

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

    Ismail Dadoush

    Designer based in Turkey who released the Latin / Arabic typeface Quarter Arabic in 2021 at the Syria Arabic type foundry. Quarter Arabic has glyphs that are entirely composed of quarter circles and line segments. [Google] [MyFonts] [More]  ⦿

    Isra Safawi

    New Delhi, India-based designer of the square-shaped labyrinthine typeface Carre (2017). She also designed Urdu Drop Caps (2017). [Google] [More]  ⦿

    Israa Kasmass

    Tyre, Lebanon-based designer of the Arabic typeface Al Contour (2017). [Google] [More]  ⦿

    Israel Seldowitz

    [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]  ⦿

    Jaafar Hamza

    Hamad Town, Bahrein-based creator of an experimental and quite expressive squarish typeface in 2015. He specializes in Arabic calligraphy. [Google] [More]  ⦿

    Jadli Zein Alabedeen

    Or Djadli Zine El Abidine. Algerian designer of some typefaces. In 2009, he created the Latin / Arabic stone cut typefaces Djadli Tachkili (or Djadli Maghribi Djadid), which were programmed by Zakariah Saleh (Palestine). Free download. [Google] [More]  ⦿

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

    Jamal Bustan

    Jamal Bustan (b. Qunietra, Syria) lives in Damascus. He was commissioned to write the Mushaf (Quran) of Sheikh Maktoum, published in Dubai in 2003. This Quran is praised for the legibility of its calligraphy. Known for his calligraphic compositions, often based on Kufic styles, he received an award for his Kufic work from Tehran's First International Calligraphy Festival in 2009. In addition to working as the head of the lettering section at the Cartography Department in Damascus for 25 years, Jamal Bustan is also a graphic designer who produces book and magazine covers, logos, and Arabic typefaces. He taught calligraphy at the College of Arts at the Arab International University in Damascus.

    In 2014, Mamoun Sakkal (Sakkal Design) published the Arabic typeface Bustan (done with Mamoun Sakkal). Bustan is inspired by Kairawani Kufic and cursive Sunbuli. Bustan Bold, which was designed by Jamal Bustan, developed by Mamoun Sakkal and programmed by Aida Sakkal, won an award in the TDC 2015 Type Design competition and at Granshan 2016. [Google] [MyFonts] [More]  ⦿

    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 co-designed the fat outlined Arabic typeface Tabboush (2014, with Ruba Mashtoub), which is inspired by children's books illustrations. [Google] [More]  ⦿

    Jamal Tayyara

    Beirut, Lebanon-based designer of an Arabic student project typeface in 2017. [Google] [More]  ⦿

    Jan Gerner

    [MyFonts] [More]  ⦿


    Free Arabic fonts: Traditional-Arabic, MCS-Jeddah-S_U-fissured, MCS-Hijon-S_U-3d, MCS-Jeddah-S_I-3d, Andalus (by Mohammed Alagha, 1993), MCS-Jeddah-S_U-baloon, MCS-Modern-E_U-normal, MCS-Diwany1-S_U-adorned, MCS-Hijon-E_U-normal, MCS-Islamic-Art-1, MCS-Basmalah-italic, MCS-Mix, MCS-Basmalah-normal. [Google] [More]  ⦿

    [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]  ⦿


    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]  ⦿

    Jawaher Alali

    Type designer from Muharraq, Bahrain who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is jayaan, a multiscript typeface for magazines and cultural publications that covers Latin, Arabic, and Greek. She explains: Layaan Arabic includes a regular and bold naskh, plus a ruqaah secondary style. The ruqaah was designed as a modern interpretation of the traditional style, and it can be used both as a display style and emphasis style in text. To work well with the naskh, the ruqaah incorporates connections for a horizontal baseline. [Google] [More]  ⦿

    Jérémie Hornus
    [Black Foundry]

    [MyFonts] [More]  ⦿

    Jennyfer Moawad

    Zgharta, Lebanon-based designer of the Arabic part of MontArabey (2018), an Arabic typeface that has Montery Medium FLF (1986, Casady & Greene) as its Latin basis. [Google] [More]  ⦿

    Jeremy Johnson
    [Forme Type]

    [MyFonts] [More]  ⦿

    Jeremy Tankard
    [Jeremy Tankard Typography]

    [MyFonts] [More]  ⦿

    Jeremy Tankard Typography
    [Jeremy Tankard]

    Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families. In many of his typefaces, Jeremy mixes upper and lower case letters for more impact. A list of his typefaces:

    • FF Disturbance (1993, a unicase based on Sabon).
    • Alchemy (1998). Mystical. To be used with Enya's music in the background.
    • Blue Island (1999, Adobe).
    • The Shire Types (1998, consisting of Shire-Cheshire, Shire-Derbyshire, Shire-Shropshire, Shire-Staffordshire, Shire-Warwickshire, and Shire-Worcestershire). Shire Pro followed in 2011 and Shire Arabic in 2012. Shire is based on idiosyncratic vernacular lettering seen across Britain.
    • Enigma (1999-2015). A great text typeface family with influences going back o Hendrik van den Keere.
    • Shaker (2000) A sans serif with some flaring.
    • Harmony Greek, a typeface that netted him a Bukvaraz 2001 award alongside the Shire Types and Shaker.
    • Aspect (2002). A typeface with many ligatures and swashes.
    • Bliss (Agfa Creative Alliance). Bliss Pro (2006), a sans family, covers Latin, Greek and Cyrillic ina harmonious fashion.
    • Corbel (2004). A sans family made for Microsoft's ClearType project, for which he received a TypeArt 05 award.
    • Custom designs: Epsilon (a very bold face, supposedly designed for the Düsseldorf branch of Frogdesign) and Harmony (for Telstra in Australia).
    • Kingfisher (2005). A transitional petit-Bodonesque serif family.
    • Arjowiggins (2006). Tankard cooperated with Arjowiggins and design agency Blast on AW Inuit that was commissioned by ArjoWiggins for the launch of the Inuit paper: it is a unicase Latin font inspired by Inuit letterforms. See also at MyFonts. The typophiles are unjustly upset at this sort of typeface though.
    • Trilogy (2009). This extensive typeface family consists of Trilogy Sans Compressed, Trilogy Sans Condensed, Trilogy Sans Normal, Trilogy Sans Wide, Trilogy Sans Expanded, Trilogy Egyptian Normal, Trilogy Egyptian Wide, Trilogy Egyptian Expanded, and Trilogy Fatface.
    • Fenland (2012). A 14-style ink-trapped sans.
    • Redisturbed. A classical unicase typeface.
    • Capline (2014). A bilined all-caps typeface family for titling work. It won an award at Modern Cyrillic 2014.
    • Queezoid (2015).
    • Pembroke (2014). A British geometric typeface family with many weights ranging from Hair to Ultra.
    • De Worde (2017). An italic typeface family in seven weights to celebrate the 60th anniversary of e Wynkyn de Worde Society.
    • Wayfarer (2017). He writes: The typeface was originally commissioned for use with a new wayfinding system for the city of Sheffield in the UK. As Sheffield was the home to the type foundry, Stephenson. Blake & Co. it had been thought that their type, Granby Condensed would be suitable. The Granby family of types was developed during the 1930s as Stephenson, Blake's contribution to the general cashing in of other foundries on the popularity of Monotype's Gill Sans and the geometric sans serifs being introduced by the continental type foundries.
    • Hawkland and Hawkland Fine (2018). A text typefaceC with didone and transitional elements.
    • Brucker (2019). An 8-style angular expressionist typeface family.

    Fontfont write-up. Alternate URL. Interview by Planète Typographie. Interview by Brendan Staunton. I Love Typography link. FontShop link. Klingspor link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Jessy Saleh

    Cairo-based designer of the Arabic display typefaces UNO (2015), Jamine (2015), Al Shamseya (2015, based on Latin), Jeo (2015) and Al Madina (2014). [Google] [More]  ⦿

    JH Fonts
    [Joe Mahfouz Hatem]

    Joe Hatem (JH Fonts, Beirut, Lebanon) is a part time lecturer at Notre Dame University Beirut. He created these Arabic typefaces in 2013: JH Amira, JH Beirut, JH Firas, JH Farid, JH Dalya, JH Paola, JH Khalil (squarish), JH Hala, JH Diwani (a calligraphic font that took three years to complete; see also JH Diwani Simplified Light released in 2019), JH Fares (a modern Kufic font). In 2015, he made the Arabic typefaces JH Thuluth, JH Dima and JH Diwani Thuluth, and the children's (Latin) handwriting font JH Lea Cursive.

    Typefaces from 2016: JH Naskh Expanded (extended by JH Naskh Expanded light in 2021).

    Typefaces from 2017: JH Rawan (a geometric font), JH Lina Magazine, JH Hadi.

    Typefaces from 2018: JH Lina, JH Roy, JH Farid, JH Fadi, JH Rawan, JH Hala, JH Mars, JH Lea (connected monoline script), JH Nazih, JH Yara.

    Typefaces from 2020: JH Fatina (a superb Arabic typeface family with covering the Sounboli, Naissabouri, Diwani and Thuluth calligraphic scripts), JH Zoya Cyrillic (a monoline school script for Latin and Cyrillic).

    Typefaces from 2021: JH Haroun (a calligraphic Thuluth script), JH Noha (a geometric Arabic typeface family).

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

    Joe Mahfouz Hatem
    [JH Fonts]

    [MyFonts] [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

    [More]  ⦿

    [Kourosh Beigpour]

    A bold free font created in 2015 and 2016. Arabic design by Kourosh Beigpour, Latin design by Eben Sorkin, engineering by Lasse Fister and Khaled Hosny. They write: Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means republic, and the spark of inspiration for the design was a stencil of Shablon showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Open Font Library link. [Google] [More]  ⦿

    Jonathan Kew
    [Summer Institute of Linguistics: Nastaliq]

    [More]  ⦿

    Jonathan Perez

    [More]  ⦿

    Jordan Bell

    Graduate of the Masters of Type Design program of the University of Reading, UK. Jordan Bell (Waco, TX) writes about his graduation typeface Odelay (2014): Odelay is a contemporary interpretation of the transitional American Scotch Roman, or Century types, that were designed in the U.S.A. near the end of the 19th century by DeVinne and the Bentons. Inspired by these designs and hand-painted sign lettering, Odelay has a warm, friendly aesthetic that invites the designer to put it to use on a variety of different jobs. With very delicate thin weights, ultra-heavy fat weights, and everything in-between, Odelay is readily available for complex typography at any size. Odelay covers Latin, Greek, Arabic and Cyrillic, with emphasis on the Latin. Jordan's description requires a correction, however--Theodore DeVinne did not design any typefaces---some were named after him, but that is a different story. [Google] [More]  ⦿

    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]  ⦿


    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]  ⦿

    Juan Luis Blanco

    [MyFonts] [More]  ⦿

    Jude Abdulhadi

    During her studies in Würzburg, Germany, Jude Abdulhadi created an experimental Arabic typeface (2015). [Google] [More]  ⦿

    Jude Al-Amin

    During her communication design studies in Amman, Jordan, Jude Al-Amin created an experimental Arabic typeface (2014). [Google] [More]  ⦿

    Julia Petretta (Kaestle)

    German designer who obtained an MA in typeface design from The University of Reading (2009), based on her typeface Creon. Before Reading, she studied at Hochschule Mannheim, and ran a design company there called MfG, for Mit freundlicher Gestaltung. Her Creon typeface contains Latin and Arabic alphabets, and was developed with hints of Greek.

    Free Google Web Fonts include Kenia (2010, a stencil display font with hints of blackletter), Keania One (2012: a gentler heavy stencil face), Text Me One (2012: an organic sans face), and Kreon (2011, slab serif). Other free typefaces include Lily Script One (2012: a retro signage script, free at Google Web Fonts).

    Old URL. Klingspor link. Google link. Fontspace link. [Google] [More]  ⦿

    Juliano "Jukka" Kenzo

    Curitiba, Brazil-based designer of the extreme contrast typeface Ludlow VT (2015). [Google] [More]  ⦿

    Juzar Shk. Yusuf Mandviwala

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


    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, educated in Cairo, used to run Kappa Type in Palo Alto, CA, and was involved in software, fonts and keyboards for some languages. Thereafter, he joined Monotype in 1996 where he is now involved in OpenType implementations for various scripts including Latin, Arabic, and Hebrew. At Monotype, from his base in Los Altos, CA, his responsibilities includes growing the library of non-Latin scripts, investigating potential products, in-house consulting, as well as assisting customers with font specifications.

    He spoke at ATypI 2005 in Helsinki on Nastaliq style through open type, about which he writes: Designed by Pakistani calligrapher Mirza Jamil, Noori Nastaliq is a calligraphic Urdu script typeface originally devised for use on a Monotype imagesetter in the 1970s. Once this proprietary equipment became obsolete, Noori Nastaliq could not be readily implemented for many years with the digital technology at the time. With the advent and maturation of OpenType technology, Noori Nastaliq is once again alive. In spite of the many graphic complexities of Nastaliq style such as its oblique alignment to the baseline and its cursive connections, OpenType proved sufficient for the task.

    In 2015, Patrick Giasson and Kamal Mansour co-designed the Arabic script typeface Bustani at Monotype. Bustani is the first OpenType font to offer full classical Naskh contextual shaping. It covers Arabic, Farsi and Urdu. Bustani won an award at TDC 2016.

    Speaker at TypeCon 2012 in Milwaukee and at ATypI 2015 in Sao Paulo. [Google] [MyFonts] [More]  ⦿

    Kameel Hawa

    Beirut, Lebanon-based designer of the Arabic typeface Midan (2005), which won an award at TDC2 2007. Linotype: Midan is a modern Arabic typeface based on simplified Naskh with a slightly modulated stroke treatment. It is suited for text settings, especially in brochures and magazines.. Free download at OFL.

    In 2015, he designed the Arabic typeface Mohtaraf at Al Mohtaraf Foundry, which won an award in the TDC 2015 Type Design competition. [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 art director who created Beeaty (2007-2011; experimental Arabic). Home page. [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.

    Her typefaces:

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

    Katharina Seidl

    Munich, Germany-based graphic and type designer (b. 1986) who studied type design at the University of Reading, class of 2016. For her graduation project, she created the Latin / Cyrillic / Arabic typeface Riwaya. This lively typeface comes in Regular, Informal and Arabic sub-styles, as Katharina explains: iRiwaya is a multi-script typeface family for telling stories. Riwaya Regular and Riwaya Informal create a similar colour on the page and work well together in texts for continuous reading; their clearly distinguishable designs offer different tones for different voices in text without distracting the reader. Riwaya won an award at Granshan 2016.

    In 2017, she joined Lazydogs in München. [Google] [More]  ⦿

    Katuwa Suryaya 2000

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

    Kayane Kouzoujian

    Graphic designer and artist in New Albany, OH, who created a Latin pixel typeface, Kitabat (2014), and an Arabic typeface (2014). [Google] [More]  ⦿

    KB Studio
    [Kourosh Beigpour]

    Type foundry in Los Angeles, CA, run by Kourosh Beigpour. Its typefaces:

    • K-B-Cuneiform (2012), a cuneiform typeface used in Order of Darius the Great (by R.M. Ghiasabadi, Shoor Afarin Pub).
    • Jomhuria (2015). A free Google Font for Persian/Arabic and Latin, suitable for headline and other display usage. The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his Amiri font. Github link.
    • Katibeh (2015-2016). A free Google web font for Arabic and Latin. Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. Arabic design by Kourosh Beigpour, Latin design by Eduardo Tunni, engineering by Lasse Fister. Github link. They write: Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means republic, and the spark of inspiration for the design was a stencil of Shablon showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Open Font Library link.
    • Mirza (2015-2016). A free Google Font for Arabic based on the Naskh script. Github link.
    • Kanun and Kanun Chromatic (2015-2016). Arabic typefaces that won an award at Granshan 2017.
    • Anaqa (2021, Canada Type). An Arabic typeface originally intended as a companion for Canada Type's Semplicita Pro.
    • Qasida (2021, Canada Type). A lively curly Arabic plaything.
    • Risala (2022, Canada Type). A modern calligraphic Arabic typeface in the Naskh / Muhaqqaq tradition.
    Behance link. Google Plus link. [Google] [More]  ⦿

    KBS Japan

    Archive of commercial type 1 fonts for Chinese (DLCHei, DLCSong, DLCKaishu, DLCFangSong, DLCZongYi, DLCWeiBei, GBYen, HeitiCSEG, TankuinEG, HeitiEG), Thai (DBErawan, DBFongNam, DBNarai, DBPradit), Hangul (HYGothic, HYTeGoThic, JCLIGHT, HYMyeongJo), Vietnamese (Vina family), Cyrillic (Vina, Helvetica, Newton), and Arabic (Geezah, Nadeem, LotusTT, Yakoot, DedanAB). [Google] [More]  ⦿

    Kenneth Hirst
    [Cosmorama (or: Laser Printing Solutions)]

    [More]  ⦿

    Kevin Allan King

    Kevin Allan King is from Toronto. He designed fonts for Canada Type from 2010 until 2017. In 2018, he graduated from the University of Reading's MATD program.

    In 2010, he co-designed Robur and Wagner Grotesk, Slinger (an art nouveau face) and Sol Pro (a 20-style monoline sans family based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973) with Patrick Griffin at Canada Type.

    Still with Griffin at Canada Type, he revived a psychedelic / art nouveau typeface called Fortunata (1971, Karlo Wagner) and called it Spadina (2010). He also has a Facebook group on type crimes called TCI: Typographic Crime Investigators. Wagner Grotesk is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed), a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic.

    In 2011, he and Patrick Griffin published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.

    In 2011, Griffin and King co-designed Walter Script, a calligraphic script that revives Troubadour (1926, Wagner&Schmidt).

    Still in 2011, King and Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait.

    Still in 2011, he and Patrick Griffin created the 18-style sans family Recta, a considerable extension of Novarese's Recta. And they also completed Kumlien Pro, a revival and expansion of a beautiful transitional typeface designed in 1943 by Akke Kumlien. King Tut (2011) is a restoration and expansion of the original Egyptian Expanded, a single bold typeface cut in 1850 by Miller&Richard. Libertine (done with Patrick Griffin) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.

    Paganini (with Patrick Griffin) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. Patrick Griffin and Kevin Allan King did a revival called Paganini in 2011.

    The year 2012 starts out with a bang. King and Patrick Griffin published Wonder Brush (partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl), Wagner Script (a revival of Troubadour (1926, Wagner&Schmidt)), Spade (a super-heavy slab face, done with Patrick Griffin; based on Farmer and Little's Antique No2 from 1867), and Louis (a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylus). King Wood (2012) is an octagonal flared wood type family with a set of dingbats, King Wood Extras. Monte Cristo (2012) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font. The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.

    In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).

    In 2014, they designed the psychedelic typeface Jingo: This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.

    His graduatiuon type at MATD in 2018 was Mazina, a multi-script typeface system developed for complex literary texts. It supports Arabic, Latin, and several Canadian aboriginal scripts.

    In 2022, he released eight fonts for Canadian Syllabics at Typotheque. At the same time, he published the extensive article Syllabics typographic guidelines. [Google] [MyFonts] [More]  ⦿

    Khadija El Sharawy

    Artist and designer in Cairo, Egypt. She designed the Arabic typeface Harankash in 2015, which was inspired by the baobab fruit in Mauritania. [Google] [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 typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.

    After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.

    Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).

    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).

    Graphic Arabic (Wael Morcos and Khajag Apelian) won an award at Granshan 2017.

    IBM Plex Sans Arabic (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos and Khajak Apelian) is a free typeface family at Google Fonts.

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

    Khaled Al Hashhash

    Khaleed Al Hashhash was born in 1978 in Amman, Jordan. He studied at Al Yarmouk University in Jordan, and works in Dubai, UAE. He designed the Arabic typefaces AP Al Khallej, AP Nart, and AP Seenah, and the corporate typeface Toyota Arabic (2016). [Google] [More]  ⦿

    Khaled Hosny
    [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. Sourceforge link.

    Designer of Punk Nova (2010), a free OpenType implementation of Don Knuth's Punk font, based on modified Metapost sources by Taco Hoekwater and Hans Hagan, dating from 2008. Hosny writes: Punk is a dynamic font, every time a glyph is requested Matafont draws a unique instance of it. On the other hand, OpenType is static, glyph outlines are drawn once and stored in the font and the renderer can not alter those outlines. To emulate the dynamic nature of Punk, we generate several alternate shapes of each glyph and store them in the font. Alternate shapes are mapped to the base character using OpenType [Randomize] feature (rand), which tells the renderer to select glyphs randomly from the list of alternate shapes. Pick up the free Punk Nova from CTAN or Open Font Library.

    XITS (2011) is a Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.

    Euler OTF (2010) are OpenType Math fonts based on Hermann Zapf's Euler and implemented by Taco Hoekwater, Hans Hagen, and Khaled Hosny. Named Neo-Euler (2009-2010), it covers Latin, Greek and has a full blackletter set of glyphs. Copyright Hosny and the American Mathematical Society. Open Font Library link.

    In 2010-2011, Hosny developed the free Amiri font (OFL; dedicated web page): Amiri font is an open font revival of the Arabic Naskh typeface designed and first used by Bulaq Press in Cairo (also known as Amiria Press) in the early part of the twentieth century. Amiri's uniqueness comes from its superb balance between the beauty of Naskh calligraphy and the requirements of elegant typography. Amiri is most suitable for running text and book printing. See also CTAN, Google Web Fonts, and at OFL. Dedicated web page.

    In 2015, he created the free calligraphic Arabic typeface (in Ruqaa style) Aref Ruqaa. The Latin part is based on AMS Euler. Google Fonts link.

    Home page of Khaled Hosny.

    In 2015, Khaled Hosny and Santiago Orozco cooperated on the Latin / Arabic typeface Reem Kufi. Github link. Khaled, who designed the Arabic part, explains: Reem Kufi is a Fatimid-style decorative Kufic typeface, as seen in the historical mosques of Cairo. It is largely based on the Kufic designs of the late master of Arabic calligraphy, Mohammed Abdul Qadir, who revived this art in the 20th century and formalized its rules.

    In 2016, Khaled Hosny designed Mada (Google Fonts), a modernist, unmodulated Arabic typeface inspired by road signage seen around Cairo, Egypt. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type.

    Khaled Hosny contributed to and maintained the free Libertinus font package between 2012 and 2020.

    In 2021, Hosny released Qahiri at Google Fonts and Github. Qahiri is a Kufic ypeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, Mohammad Abdul Qadir.

    Github link. [Google] [More]  ⦿

    Khaled Hosny
    [Khaled Hosny]

    [More]  ⦿

    Khaled Hosny

    [More]  ⦿

    Khaled Mokhtar

    Sabha, Libya-based designer of some Arabic typefaces (2019). [Google] [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). Klingspor link. [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]  ⦿

    Kholoud Essawy

    [MyFonts] [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]  ⦿


    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]  ⦿

    Kief Type
    [Mohamed Gaber]

    Cairo-based visual artist who created the Arabic script typefaces Wasm (2013) and Fold Type (2012).

    In 2016, he designed the Google Font Cairo, which extends Titillium Web so as to include Arabic, Urdu and Farsi. Google Font link. Cairo won an award at Granshan 2016. In 2016, he also aided with the Arabic for Eduardo Tunni's Changa. He extended Jovanny Lemonad's Latin / Cyrillic typeface Philosopher in 2016 to Arabic in his Google Font El Messiri (Github link; Open Font Library link). Lemonada (2016, a Google Font based on Tunni's Lemon) is a modern Arabic and Latin typeface family designed by Mohamed Gaber (Arabic) and Eduardo Tunni (Latin).

    Behance link. Google Plus link. Home page of Mohamed Gaber. Behance link for Kief Type. [Google] [More]  ⦿

    Kif Caliph

    Designer of the free Arabic typeface Scheherazade (2004-2007, OFL, SIL, and Google Web Fonts). Named after the heroine of the classic Arabian Nights tale, this Naskh typeface was designed in the style of traditional typefaces such as Monotype Naskh, extended to cover the full Unicode Arabic repertoire. Lateef (2004-2008, SIL; see also Google Web Fonts) is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region.

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

    [Sebastian Losch]

    German type designer, who created the informal bouncy sans typeface 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.

    Bressay (Dalton Maag), a Scotch roman co-designed in 2015 by Tom Foley, Sebastian Losch, and Spike Spondike (design lead by Stuart Brown), won an award at TDC 2016.

    Aktiv Grotesk, a Dalton Maag typeface, was extended to cover Indic languages by Sebastian Losch and Kalapi Gajjar-Bordawekar. It won an award at Granshan 2016.

    In 2017, Francesca Bolognini and Sebastian Losch co-designed the ribbon calligraphy font Volina at Dalton Maag. Tom Foley and Sebastian Losch published the rounded slab serif typeface family Gelo at Dalton Maag in November 2017.

    He set up his own foundry, Kilotype, in 2018. His fonts there include Frequenz (2018), Oldschool Grotesk (2019, by William Montrose), Queens (2019: a display type sysyem with several widths), and Sequenz (2018). In 2020, he added Queens Air (+Condensed, +Compressed). [Google] [MyFonts] [More]  ⦿

    Kimmy Design
    [Kimmy Kirkwood]

    Kimmy Kirkwood (b. 1988, Seattle, WA) (Kimmy Design) studied at Chapman University, and lives in Santa Monica, Orange County. He graduated in 2018 from the University of Reading's MATD program.

    Kimmy created a gracious curly calligraphic script face, Madeleine (2010), which is based on a logo she designed for Hotel Le Sirenuse.

    At Dafont, one can download Kuppel (a hairline display sans) and Hammer Head, both done in 2010 as well.

    Phase two of Kimmy's career started late in 2010 as Kimmy Design, where one now has to pay for Madeleine (2010) and Katelyn (2011). Addison (2011) is a wood type Western circus poster font in two styles, West and Circus.

    In 2012, Kimmy created the counterless art deco typeface Chelsnuts, the worn wood type typeface Cpl Kirkwood, Elizabeth Script, and Paper Cutout Pro.

    In 2013, Kimmy published Lunchbox Slab, the grungy Appareo, the condensed minimalist sans family Maxwell Sans, its companion Maxwell Slab, the scriptish typeface Lunch Box, and the bold headline family Station (inspired by old train station typography).

    Typefaces from 2014: Catalina (hand-drawn typeface family with sub-styles called Anacapa, Avalon, Clemente Script, Typewriter and Extras, ideal for hand-drawn menus, table cards, chalkboards, and wall quotes), Amorie (a skinny hand-drawn family, with styles called Modella, Nova, SC and Extras).

    Typefaces from 2015: Avaline Script, Baker Street (vintage hand-drawn typeface family), Burford (a 16-style vintage layered family), Burford Rustic (layered font family).

    Typefaces from 2016: Bourton (a layered font for vintage yacht club or whiskey bar logos; it is the sans version of Burford; sufamilies include Drop, Lines and Outlines), Rainier (handcrafted).

    Typefaces from 2017: Evanston Alehouse (octagonal, beer bottle style, slightly copperplate), Bourton Hand.

    Typefaces from 2018: Clifton (his MATD graduation typeface): Clifton is a modern type family with many weights and contrast styles. It supports Latin scripts as well as Greek, Cyrillic and Arabic. Originally intended as a book typeface, it was designed so that all the weights and styles would work together as a cohesive family.

    Typefaces from 2019: Refinery (an 85-style octagonal family based in early 20th century signage), Evanston Tavern (Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time.), Winslow Book (a playful modern Scotch).

    Typefaces from 2020: Roadhouse (a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to prohibition), Winslow Title (a decorative didone family), Winslow Title Script (monoline), Hawkes (Sans, Script, Variable Width Sans).

    Typefaces from 2021: Madley (a 12-style soft slab serif).

    Typefaces from 2022: Bourton Text (an elliptical sans in 42 styles). [Google] [MyFonts] [More]  ⦿

    Kimmy Kirkwood
    [Kimmy Design]

    [MyFonts] [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 typeface KFGQPC Arabic Symbols 01 (2010). In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.

    He writes: My objective is to work on Quranic Fonts, with Latest Digital Technology, and enhance them for the maximum visibility. My aim is to produce High Quality Mushaf & Naskh fonts, with the best possible placement of Tashkeel (Diacritics). I've developed, Indo-Pak Quranic Calligraphy System (QCS), Full Quran, having more than 15000 Ligatures, now used widely in Pakistan, for the printing of Quran. Now this complete package is free for everyone.

    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

    [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]  ⦿


    Arabic font links. [Google] [More]  ⦿

    Kostas Bartsokas
    [Intelligent Design (was: Intelligent Foundry)]

    [MyFonts] [More]  ⦿

    Kourosh Beigpour

    [More]  ⦿

    Kourosh Beigpour
    [KB Studio]

    [More]  ⦿

    Krista Likar

    During her studies, Ljubljana, Slovenia-based Krista Likar created the exaggerated serif typeface Serifnik (2015) and the gorgeous sans display typeface Kros (2015).

    In 2016, she designed the slab serif typeface Josephine.

    In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.

    Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.

    In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More]  ⦿

    Kristyan Sarkis
    [TPTQ Arabic Type Foundry]

    [More]  ⦿

    Kror Pashto

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


    A 7th century calligraphic form of the Arabic script originates from Kufa, Iraq. Modern day kufi fonts are quite squarish in appearance. [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 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.

    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 Farid

    Graphic designer in Cairo, Egypt, who created the squarish Arabic typefaces Khoyot (2014) and Block (2014). [Google] [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]  ⦿

    Laila Yousri

    Graduate of the German University in Cairo, Egypt. In 2015, still based in Cairo, she created Bebas Neue Arabic. Mostateel (2015) is a rounded rectangular Arabic typeface. In 2016, she made an Arabic typeface that is based on Raleway, and an experimental squarish Arabic typeface. [Google] [More]  ⦿

    Laith Bseiso

    Amman, Jordan-based designer of a dot matrix Arabic typeface in 2017. Behance link. [Google] [More]  ⦿

    Lama Bazzoun

    Tyre, Lebanon-based designer of the Arabic typeface Yam (2017). [Google] [More]  ⦿

    Lama Gamgoum

    Cairo, Egypt-based designer of the Arabic typeface Bareed (2019). [Google] [More]  ⦿

    Lama Younes

    Graphic designer in Brooklyn, NY, who created an art deco Arabic typeface called Abjad in 2018. [Google] [More]  ⦿

    Lana Kamand

    Bchamoun, Lebanon-based designer of the wine bottle opener-inspired Arabic typeface Al Moftah (2016). [Google] [More]  ⦿

    Lana Kurdi

    At American University in Cairo, Lana kurdi designed the squarish Arabic display typeface Khareq (2018). [Google] [More]  ⦿

    Land Hope

    Creator of the Uyghur typeface 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 typeface Tabati (2010) won an award at TDC2 2011. [Google] [More]  ⦿

    Lara Captan

    Graphic designer from Lebanon who is/was based in Amsterdam. She taught design and typography at the American University of Beirut until she moved to The Netherlands where she became an apprentice in DecoType's ACE technology for Arabic type. She says that she refused to design any typeface before having sufficient knowledge over the history and mechanics of the script. In 2018, she is working on an ACE-engined Arabic type family, with support from the Creative Industries Fund NL.

    Creator of the angular chancery typeface Cancellarecta (2012) at The Cooper Union. She graduated from Escola de Disseny i Art in Barcelona. Speaker at ATypI 2018 in Antwerp.

    Award winner at 25 TDC in 2022 for Youtube Sans Arabic, a member of an increasingly larger multi-script family. The typeface spans across ten weights and includes Sans, Rounded, and a Grades version. It was developed together with Khaled Hosny (font engineer), David Berlow (consultant), Dave Crossland (manager) and Chris Bettig (creative director). [Google] [More]  ⦿

    Lara Khatib

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

    Larissa Anne Valles

    Jeddah, Saudi Arabia-based designer of an Arabic typeface in 2016. [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. The font is compliant with many Unicode tables. See also here and here. [Google] [More]  ⦿

    Lateef Sagar Shaikh
    [PakType - Pakistani Typography]

    [More]  ⦿

    Latifa S

    Sharjah, UAE-based designer of the seventies-style Latin / Arabic display typeface Aisha (2015). [Google] [More]  ⦿

    Laura Meseguer

    Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:

    • Adelita (1993-2007). A connect-the-dots typeface family co-designed by Laura Meseguer and Adela de Bara.
    • Brushland (2019).
    • Cortada: her first typeface. In 2012, she published the angular signage typeface Cortada Dos at Type O Tones.
    • Dauro (2013), a corporate typeface done for the olive oil brand Dauro. From the original typeface in use, Chronicle Bold Condensed, she designed an outline version, then Lingotillo (Little gold bar: beveled) and finally Grabado (engraved).
    • Frankie (1992, a grunge font done with Juan Dávila). Frankie is the result of a process of erosion, photocopying, scanning and digitisation based on the Franklin Gothic type (1904, Morris Fuller Benton).
    • Gallard.
    • The curly Girard Sansusie (House Industries). Laura writes: In 2005, House Industries invited me to digitize the lettering used to announce the textile designs that Alexander Girard did for Herman Miller. Girard Sansusie is a reinterpretation of this design, based on the few letters that were available to me. Girard Sansusie combines a folk flair with a lettering style evident throughout the Girard oeuvre, most notably on his 1955 Herman Miller fabric catalogue. Alexander Girard was a master at utilizing lettering and type as practical, illustrative and readable elements.
    • Guapa (2011). A thin monoline curlified display typeface with an art deco aroma. Followed in 2012 by Guapa Deco.
    • Lola (2013). A comic book typeface started in 1997 based on an alphabet found in Schriftschreiben Schriftzeichnen (1977) by Eugen Nerdinger and Lisa Beck. Lola won an award at TDC 2013. Its outgrowth, Lalola (1997-2013), won an award at TDC 2014. Lalola Cyrillic was released in 2019.
    • Multi (2011-2016). A magazine type family, with weights from hairline to black.
    • Rumba (2003-2007): this semi-script family won an award at the TDC2 2005 type competition. It was developed during her KABK Type and Media studies.
    • In 2009, the low-to-zero contrast Alexander Girard family was published by House Industries. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. Girard Sansusie was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955. Girard was digitized at House Industries by Ben Kiel, Ken Barber, and Laura Meseguer.
    • Magasin (2013, Type o Tones) is a connected retro-chic upright script typeface. She writes: Some examples that have inspired me are Corvinus (Imre Reiner, 1934) and Quirinus (Alessandro Butti, 1939) and the later Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Alessandro Butti for Nebiolo foundry.
    • In 2019, she released the Latin / Arabic display typeface Qandus, which was co-designed two years earlier with Kristyan Sarkis.
    • The custom typeface Solis (2019) done for AccuWeather.
    • In 2020, she released the wonderful stencil typeface family Sisters. Sisters was conceived as a custom lettering project for the identity of Trans_Documentar, an exhibition at the La Panera Art Center in Lleida, Catalunya. Sisters is an homage to all the creative women in this world, according to Meseguer. Type Network link.

    Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.

    Behance link.

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

    Laval Chabon

    Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.

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

    Layal Algain

    In 2017, Zoghbi's students at The American University of Sharjah in the United Arab Emirates, Ahmed Geaissa (Sharjah), Sally Mallat (Dubai), Dina Al Khatib (Dubai), Falwah Alhouti (Sharjah), Layal Algain (Sharjah), and Shahdan Barakat (Sharjah) co-designed the geometric Arabic typeface 29LT Azal which is inspired by the old Eastern Kufic manuscripts. [Google] [More]  ⦿

    Layal Al Wazzan

    Graduate of Lebanese American University in Beirut, Lebanon. Graphic designer in Beirut who created the Bellow Straw typeface for Latin and Arabic in 2014. [Google] [More]  ⦿

    Layal Saab

    Graphic designer in Beirut, Lebanon. In 2015, she designed the iron-inspired Arabic typeface Mikwat (2015). [Google] [More]  ⦿


    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]  ⦿

    Lea Harouni

    Beirut, Lebanon-based designer of the inline Arabic typeface Al Afaa (2015). [Google] [More]  ⦿

    Lea Morvan

    At University of Rennes, France, Lea Morvan designed the Latin / Arabic typeface Dana (2019), which wwas inspired by architect Zaha Hadid (b. 1950, Baghdad). [Google] [More]  ⦿

    Letter Muzara
    [Anna Tsuranova]

    Russian designer of Qisharon (2019: a stylish sans for Latin, Greek, Cyrillic, Hebrew and Arabic), Omorphia (2019: influenced by the squarish Hebrew Sephardic style; covering Latin, Greek and Curillic) and Cursivica (2019) for Latin and Cyrillic.

    Typefaces from 2020: Ribuah Sans (a sans serif font with high contrast, inspired by Bodoni and brutalism). [Google] [MyFonts] [More]  ⦿

    [Pilar Cano]

    Letterjuice is the British type foundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.

    Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:

    • 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, co-designed with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
    • Sapmi (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. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.
    • Aanaar (2014) was originally designed for children's textbooks.
    • Seat Sans is a corporate typeface co-designed with Minsk Disseny in 2014.
    • Catalana Serif won an award at Granshan 2014 in the Greek typeface category.

      Pilar Cano, Spike Spondike and the Dalton Maag team won an award at Granshan 2014 in the Thai typeface category for HP Simplified.

    • In 2017, Jordi Embodas's Trola family was updated, improved and expanded to Cyrillic. The Cyrillic version was designed by Letterjuice (Pilar Cano & Ferran Millan) under the supervision of Ilya Ruderman and Yury Ostromentsky.
    • Bespoke typefaces include Saffron Display (2017), Screwfix (2017) and Catalana (2016).
    • Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).
    • In 2020, she published Portada Thai at TypeTogether to complete the text typeface Portada (2016) by José Scaglione and Veronika Burian.
    • Nawin Arabic (2022). An informal Arabic typeface inspired by handwriting by Pilar Cano and Ferran Milan.

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

    [Botio Nikoltchev]

    Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial type foundry Lettersoup.

    Creator of the free font Ropa Sans (2012, Google Web Fonts, +Arabic, +Ropa Soft, 2014). The typeface is in DIN's circle of friends.

    Sofadi One is a scriptish font that is free at Google Web Fonts.

    Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.

    Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.

    In 2014, Botio designed the humanist sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova. Later in 2016, he published the nearly geometric sans family Quasimoda, which covers a full range of weights, from Hairline to Heavy.

    Typefaces from 2017: Attractive (a free sans, done with Ani Petrova), Ropa Mix Pro.

    Typefaces from 2019: Rouse Sans (by Botio Nikoltchev and Ani Petrova: based on Sofia Sans).

    Typefaces from 2021: Apparat (an 88-style geometric sans family that was given a humanistic treatment).

    FontShop link. I Love Typography link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Lewis McGuffie

    British graphic designer and sign painter who was at some point in Tallinn, Estonia. Graduate of the MATD program at the University of Reading, class of 2019.

    Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).

    Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).

    Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.

    Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie. Find Waba at Typeverything.

    Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Typeverything), Chicken Shop Gothic (a condensed poster sans, with a variable type option), Columba (a variable font done for his graduation at MATDi with Latin, Greek, Cyrillic & Hebrew coverage and optical size and weight axes; Grand Prize winner at Granshan 2019).

    Typefaces from 2020: Salford Sans (an 8-weight headline sans family; a collaboration between Lewis McGuffie (Latin, Greek, Cyrillic), Dave Williams of Manchester Type (Latin, Arabic) and Elsa Baussier (symbols)), Jooks Script (in the style of Kurrent and Sütterlin; reviving Walter Höhnisch's Werbeschrift), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths).

    Typefaces from 2021: Tekst (a Latin / Greek / Cyrillic font family based on Literaturnaya---a book type popular in the Soviet Union; it comprises ekst A (Analog for print), Tekst D (Digital for screen) and Tekst M (M for Mono)).

    Typefaces from 2022: Mushy (a soft-edged joining script display type with four substyles, Cheese, Butter, Yoghurt and Cream), Rulik (unicase, uncial), Narwa (a wonderful all caps poster typeface).

    Future Fonts link. Type Department link. [Google] [MyFonts] [More]  ⦿

    Li Zhiqian

    Designer at the Shanghai, China-based type foundry 3type of Weaf Mono (2017-2018), a monospaced monolinear sans family created together with Zheng Chuyang, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.

    In 2017, he designed Xingkai Next (2017), a modern polygonal typeface for Hanzi, derived from cursive handwriting and Chinese calligraphy.

    In 2018, he released Astronomer (2018), an attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633). [Google] [More]  ⦿

    Lina Alquraa

    Jeddah, Saudi Arabia-based designer of a refined Latin / Arabic typeface in 2019. [Google] [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]  ⦿

    Linotype: Arabic

    Arabic typefaces in the Linotype library: AlHarf AlJadid (a black titling font by Ismet Chanbour, 1985), Hassan (H. Sidahmed, 1993), Hisham (Ahmed Maged, 1993), Karim (Tim Holloway, 1994, in a generic Naskh style), Qalmi (a Nastaaliq font with horizontal stress), Lotus (Linotype staff, 1978; classic Ottoman Naskh book style font with extra glyphs for Kurdish, Farsi and Jawi), Maged (Linotype staff, 1956, 1987), Mariam (a modern headline font by Ismet Chanbour, 1992), Mofid Mahdi (Mofid Mahdi, 1985), Nazanin (Linotype staff, 1978; this was first called Haghighi), Qadi (Linotype staff, 1985, under the direction of Walter Tracy), Yakout (Linotype staff, 1911), Ahmed (simplified face, early 80s), Ahmed Outline, Amer (originally designed for dry transfer and licensed from Lettera Arabica; redrawn by Adrian Williams and then digitized; published in 1992), Badr (traditional Naskh style, early 70s), Jalal (1977), Kufi (Georges Dib, 1987), Kufi Outline (Linotype staff), Mitra (partially based on the Persian Naskh style, 70s). LinotypePideNashi is an Arabic simulation font. [Google] [More]  ⦿

    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]  ⦿


    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]  ⦿

    Liron Lavi Turkenich

    Lavi Turkenich graduated at Ramat Gan's Shenkar College of Engineering and Design, Bezalel Academy of Arts and Design, Jerusalem, in 2012. She created Aravrit (Arabic-Hebrew) as her final project. She graduated from the MATD program at the University of Reading, class of 2013. Liron's graduation typeface there, Makeda, is the first typeface that covers Latin, Hebrew and Amharic (Ethiopic) in a purposeful sense, i.e., not as three parts of one of the well-known full Unicode fonts. Liron writes: The three scripts were designed simultaneously in order to allow mutual influences. The design efforts were put into harmonising the scripts into one coherent family, while preserving their basic traditional structure. Makeda is named after an Ethiopian Queen also known as the Queen of Sheba.

    Haaretz writes this about Aravrit: Lavi Turkenich does not speak Arabic, but she says she made substantial use of the comments she solicited from Arab passengers she approached at random during her daily train commute from her home in Haifa to her studies in Ramat Gan. Lavi Turkenich's Aravrit is somewhat less legible for speakers of both languages than each of the original typefaces from which it was crafted, and the Arabic letters are isolated rather than attached as they are usually written.

    Lefty (2014) is a Hebrew calligraphic typeface.

    In 2015, Nick Shinn and Liron Lavi Turkenic co-designed the Google Font Bellefair. Bellefair started life as a Latin typeface designed by Nick Shinn. Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color. Github link.

    Speaker at ATypI 2014 in Barcelona, and essential pillar in the organization of ATypI 2017 in Montreal. [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]  ⦿

    Louise Dib

    Graphic designer in Marseille, France, of Algerian origin, who created the Latin / Arabic experimental typeface Dixit (2014), which was inspired by the architecture of the Alhambra. Behance link. [Google] [More]  ⦿

    Luay Byazeed

    During his graphic design studies at Yarmok University in Irbid, Jordan, Syrian graphic designer Luay Byazeed created the free quarter circle Latin / Arabic typeface Quarter (2015). 1001 Free Fonts link. [Google] [More]  ⦿

    Luca Bresolin

    Graphemica is the work of Luca Bresolin, an Italian graphic designer currently based in London and Zagreb. He created typefaces such as Mio Display (2016) and OCR-A Extended (2016, which covers English, Greek, Cyrillic, Arabic and Hindi). Behance link. [Google] [More]  ⦿

    Lujain Al Anany

    During her studies in Cairo, Egypt, Lujain Al Anany designed an Arabic and a Latin typeface (2018). [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 typefaces: 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 typefaces:
      • 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 typeface 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 typeface 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 the 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 typeface 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 type foundry. 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 typeface 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]  ⦿


    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 typefaces.

    Zip file. OFL link, where one can downlaod XW Zar, XB Zar, XB Titre, XB Niloofar, XB Khoramshahr, XB Yagut, XB Riyaz, XB Roya, XB Shafigh, XB Shafigh Kurd, XB Shafigh Uzbek, XB Shiraz, XB Sols, XB Kayhan, XB Tabriz, XM Traffic, XP Paatch, Paatch, XM Vahid, XP Vosta, XM Yermook, XM Yekan, XB Yas, XP Ziba. All these fonts were made by Behnam. [Google] [More]  ⦿

    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]  ⦿

    Magdy Soliman

    Egyptian designer of the Arabic typeface Moga Magdy Soliman (2012, Zak Design). [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]  ⦿

    Maha Aki

    Co-designer with Kristyan Sarkis of the Latin / Arabic typeface Kanun Stencil (2021), a playful typeface inspired by industrial signage and mechanical stencilling. Kanun Stencil is equipped with a collection of transportation and travel-related signs, symbols, icons, and various sets of arrows for signage and wayfinding systems. [Google] [More]  ⦿

    Maha Akl

    Cairo, Egypt and/or Beirut, Lebanon-based designer of the Arabic student project typeface Hudhud (2017), a Maghribi / Andalusian script intended for children's books developed under the guidance of Kristyan Sarkis. Hudhud was published at TPTQ Arabic foundry and won an award at 23TDC. [Google] [More]  ⦿

    Maha Alluhaib

    Dammam, Saudi Arabia-based designer of an Arabic logotype face for Masmak fortress (2017). [Google] [More]  ⦿

    Mahdi Ershadi

    Qom, Iran-based graphic, logo and type designer. He created these custom typefaces together with Reza Bakhtiarifard:

    • Ayendeh Bank Typeface (2020).
    • Alibaba Travels Co Typeface (2021).
    [Google] [More]  ⦿

    Mahdi Mirzaei

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

    Mahmod Jbareen

    Umm el Fahm, Israel-based designer of an Arabic typeface (2018). [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 Abd El-Ghany
    [Moody Type]

    [MyFonts] [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]  ⦿

    Mai Antar

    Alexandria, Egypt-based designer of Koumi (2015), a squarish Arabic typeface. [Google] [More]  ⦿

    Mai El-Maraghy

    During his studies at German University in Cairo, Egypt, Ma El-Maraghi created the Arabic typeface Akkad (2015), which was inspired by the cuneiform writing in Iraq. [Google] [More]  ⦿

    Mais Quqa

    During her studies at German Jordanian University, Amman, Jordan-based Maais Quqa created the Hebrew simulation typeface Juda (2015, for Latin) and the deco Arabic typeface Roman Theater (2015) that was inspired by the architectural structure structure of The Roman Theatre in Amman. [Google] [More]  ⦿

    Maiwand Computer Lab

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

    Majdi Bou Ghanem

    Beirut, Lebanon-based designer of the futuristic display typeface Engravers Arabic (2017). [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.

    With permission of Arani, we offer the truetype versions of these fonts for free download: Mellat, Sin Titr Bold. [Google] [More]  ⦿

    [Kholoud Essawy]

    Kholoud Khaled Essawy is an Egyptian type and graphic designer who teaches Arabic and Latin type design at the German University in Cairo. She graduated with a BA degree in graphic design in 2013 and an MA degree in type design in 2015. In 20201, she set up her own typefoundry, Makyn. Her typefaces:

    • Hallat. This typefacewon an award at ProtoType in 2016.
    • Aseel (Latin and Arabic) (2021).
    [Google] [MyFonts] [More]  ⦿

    Malek Ghozlan

    Dubai, UAE-based designer of some Arabic typefaces in 2015, including the didone typeface Domaine. [Google] [More]  ⦿

    Mamoun Sakkal
    [Sakkal Design]

    [MyFonts] [More]  ⦿


    In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Manchester Type
    [David Williams]

    Manchester Type (Manchester, UK) specializes in custom typeface design, font development and typographic consultancy. The business was set up by David Williams, a typeface designer and graphic designer from the city of Manchester. David holds a BA (Hons) Graphic Design from The University of Salford and an MA in Typeface Design from The University of Reading, class of 2019. His typefaces:

    • David's graduation typefaces in Reading were Firnas Sans (2019) and Mansa (2019). Mansa is a medium contrast serif typeface in the scotch roman genre. Firnas Sans and Mansa both cover Latin and Arabic (Naskh), with Mansa following the Diwani style and Firnas Sans the Ruqah style.
    • Salford Sans (2020). An 8-weight headline sans family developed in collaboration Lewis Guffie (Latin, Greek, Cyrillic) and Elsa Baussier (symbols). Dave Williams did the Latin and Arabic parts.
    • Manchester Type has supported Google in their development of multi-script, non-Latin variable fonts including Noto Kufi Arabic, Noto Naskh Arabic, Noto Sans Sora Sompeng, Noto Sans Tai Tham and Noto Sans Balinese for the Google Fonts library.
    [Google] [MyFonts] [More]  ⦿

    Manoj Choudhury

    Graduate of Mahatma Gandhi University. Type designer at Monotype (since 2008) where he works on OEM font development. He is based in the Noida area in India. He has collaborated on these projects: Droid Sans (DroidSans Gujarati, DroidSans Gurmukhi, DroidSans Malayalam), Nokia bitmap fonts (Gujarati, Gurmukhi, Odia, Telugu), Library Project (Devanagari, Bengali, Telugu, Tamil, Malayalam, Gujarati, Odia, Gurmukhi, Kannada). He also did 4 weights of Frutiger Arabic. [Google] [More]  ⦿

    Manuel von Gebhardi

    Type designer from Leipzig, Germany who studied Studied Graphic Design at the Burg Giebichenstein University of Art and Design in Halle and one year at the Gerrit Rietveld Academy in Amsterdam. He graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Dialogue, a versatile text family consisting of Latin sub-styles called Ruth (serif), Lawson (reverse stress), Tony, Danny (sans), Narrator (neutral), and the Arabic style Labiba. Since 2017, he teaches type design at the German University in Cairo. In 2017, he designed the fashion brand typeface Super Health on commission for the company by that name.

    In 2020, he co-founded the Arabic type design collective Heheh Type in 2020 together with Nour El Shamy and Shahd El Sabbagh. [Google] [More]  ⦿

    Maram Hossam Saber

    Or Maram Hossam Ahmed. Cairo, Egypt-based designer of the Arabic typeface Lueur (2016). Lueur is inspired by the Sudanese culture. [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 typeface 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]  ⦿

    Maria Fontenelle

    Brazilian graduate of the MATD program at the University of Reading, class of 2019. Maria's graduation typeface there was Libri, a family of 11 styles across the Latin, Cyrillic and Arabic scripts. Libri is intended for use in cultural or historical projects, brands, and publications, andis lapidary in conception. The Arabic script is in the Naskh style. [Google] [More]  ⦿

    Maria Guirguis

    During her studies in Cairo, Maria Guirguis designed the Arabic typefaces Baskerville Arabic (2018) and Kebty (2017). [Google] [More]  ⦿

    Mariam Gomaa

    Cairo, Egypt-based designer of an arabic typeface (2018) and a Latin display typeface called Maleficent (2018). [Google] [More]  ⦿

    Mariam Omar

    Cairo, Egypt-based designer of an Arabic typeface and a Latin typeface (called Phoebe) in 2018. [Google] [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
    [Three Dots Type]

    [More]  ⦿

    Mariem Osama

    During her studies in Dammam, saud Arabia, Mariem Osama designed an Arabic rope font (2018). [Google] [More]  ⦿

    Marina Emad

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

    Marina Maged

    At the German University in Cairo, Egypt, Marina Maged designer a few snowflakes, the Latin typeface Cypher (2017), and the experimental Arabic typeface Eswed (2017). [Google] [More]  ⦿

    Måns Grebäck
    [Aring Typeface]

    [MyFonts] [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]  ⦿

    Mark Zhu

    Mark Zhu is a remarkable type designer and photographer in Paris, France, who focuses on multi-script type design and calligraphy. Graduate of the MATD program at the University of Reading, class of 2020. His typefaces:

    • His graduation typeface at Reading was Suyab (2020), a multi-script typeface family intended for language-learning textbooks and other complex multi-script typesetting environments, covering four scripts of various writing directions: Latin, Arabic, Chinese, and Mongolian. Each script includes three styles for text (Text, Sans & Informal) each in three weights, and one display style in black. The name of the typeface comes from the ancient Silk Road city, Suyab, located in present-day Kyrgyzstan. The city had been an intersection of cultures and languages, ruled by many different civilisations at various points of history, including Sogdian (Iranian), Turkic, and Chinese. It is difficult to phathom that one person can design such a humongous typeface in just one year.
    • Vernicia (2019), developed during the TypeParis19 course. Vernicia is a serif typeface family exploring a natural fusion between Latin and Chinese calligraphy. The typeface is intended for literature and books, especially those translated from the Chinese language.
    • Prosodia. Prosodia is a partial-revival typeface intended for setting classical Chinese poetry and related content, supporting Chinese and basic Latin. The design of the Chinese characters draws inspiration from an 18th-century block-printed book, Imperial Collection of Tunes, which is a compilation of metrical patterns used to guide the writing of classical ci poetry. The design extracts key features from the type in this book and mix them with modern standard Songti character structures that are more friendly to the present-day readers.
    • Cliff. An inscriptional typeface inspired by the Chinese Wei regular script calligraphy from around 5th century CE, especially the Northern Wei Empire. The script is characterized by robust form, heavy weight, rather wide proportions, and sharp corners and points. Most existing examples of this script are inscriptions on stelae, tombstones, statues, and cliffs. The Latin companion is reimagined to be written with a Chinese pointed brush.
    [Google] [More]  ⦿

    Martin Kadlecik
    [ME Typography]

    [MyFonts] [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]  ⦿

    Maryam Ali Aljishi

    Al Qatif, Saudi Arabia-based designer of a squarish Arabic typeface in 2016. [Google] [More]  ⦿

    Maryam Almohanna

    Al Jubayl, Saudi Arabia-based designer of the techno style Arabic typeface Zawaya (2016). [Google] [More]  ⦿

    Maryam AlShabrawi

    Graphic designer in Cairo, Egypt, who created a squarish kufic Arabic typeface and American Typewriter Arabic in 2016. [Google] [More]  ⦿

    Maryam Gad

    Cairo, Egypt-based designer of a few Arabic typefaces in 2015. [Google] [More]  ⦿


    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]  ⦿


    Saad D. Abulhab: The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma'il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today.

    For a digital implementation, one can try Mashq (2016) by Arabetics. They offer three subfamilies:

    • Mashq regular: this closely follows the script style of MusḥaUthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa baselines shifting.
    • Mashq Maail: this emphasizes the features of the Ma'il style shared with Mashq.
    • Mashq Kufi: this closely follows the script style in some Quran manuscripts found in the Bergstraesser Archive.

    All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. [Google] [More]  ⦿

    Mashrebiya Font Competition (Khatt Foundation)

    In 2017, the Khatt Foundation launched a type design competition for fonts specifically designed to produce modern Mashrebiya architectural screens. [The Mashrebiya screen is an iconic element of Arab/Islamic architecture. Mashrebiyas are still popular as separation screens or walls, however they are often constructed from complex geometrical parts and shapes, and rarely using only letters.] Each award winner will be paid 1000 Euros. The jury consisted of Yara Khoury Nammour, Pascal Zoghbi, and Edo Smitshuijzen. [Google] [More]  ⦿

    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]  ⦿

    Masoud Mohammadzadeh

    Designer of the Arabic typeface Sane Jaleh (2011). [Google] [More]  ⦿

    Masterfont (or: Studio Rosenberg)
    [Zvika Rosenberg]

    Zvika Rosenberg (b. 1949, a graduate from Bezalel Academy of Design in Jerusalem) designs the Hebrew fonts at Tel-Aviv's Masterfont (est. 1986; was: Studio Rosenberg, est. 1975, his own design studio). Commercial Hebrew, Arab, Latin and barcode fonts for Mac and PC. The font design is managed by Zvika Rosenberg, while the marketing department is headed by Psika Rosenberg. Included in the 1300+ font library are Akvarel (oriental simulation), Evyatar, Eventov, Elizov, Aspeset, Nisha, Rahav, Ego, Edgar, Muly, Adam, Aharony, Autograph, Hugo, Alexandra, Grafity, Hafgana, Ura, Rahat, Oron, Iguana, Eyal, Junior, Ayalon, Internet, Interes, Litam, Stempa, Copyfax, Ishit, Panda, Arava, Dror, Algom, Elegant, Erela, Aristo, Eshkol, Golda, Pola, Azmaout, Diploma, Gnuzot, Midbar, Mizrahi, Margaliot, Azmaout, Partom, Papaya (Bukvaraz 2001 award), Universe, Mekorot, Koren, Shmuel, Frankruhl, Gilboa, David, Narkis, Ada, Abetka, Hadassa, Yarden, Meteor, Miriam, Naama, Skitza, Petite, Cola, Yalon, Rosenberg, Tamrurim, Agada, Efrat, Arbel, Arsenal, Beresheet, Bruto, Bat Sheva, Greifer, Hut, Hatzvi, Zorea, Hermon, Architekt, Junior, Klilit, Rubin, Chocolade, Handwriting, Marhaba, Poster, Inbal, Media, KtivaTama, Jeep, Asam, Ecology, Dalia, Johnni Lasso, Hiroshima, Harakiri, Lahmaniot, Sapir, Haim. A signature font at 45 USD. Logo font service as well. Vendor of the Boutros Arabic fonts.

    MyFonts page. Designers at Masterfont include Zvi Narkiss, Yaakov Agam, Asher Oron, Pini Hemo, Asher Gat, Yigal Feurstein, Ada Yardeni and many others. Zvika Rosenberg himself designed these typefaces: Abirim MF, Agada MF, Agudal MF, Aharoni Polished MF, Alilon MF (2009, hand-printed), Almenat MF (2008), Balonim MF (2005), Etzada MF (2005), Ribuim MF (2009), Selihot MF, Tachsheet MF (2008), Aluma MF, Autograph, Ayalon MF, Azmaout, Balora MF, Banim MF, Bat Sheva MF, Braun MF, Broadway, Brosh MF, Brutto MF, Butterfly MF, Capital MF, Chilli MF, Chips, Circle Numbers MF, Comics MF (1997), Copy Fax, Corelle MF (1998), Darbuka MF, David MF, Dimdumim, Emda MF, Enzoagada MF, Esheet MF, Eyal, Fantazia MF (a house font---I am not sure Rosenberg did this himself), Finish MF, Garinim Shehorim MF, Graffiti (1993), Greifer MF, Hafgana, Haim Arukeem MF, Haim MF, Havazelet MF, Interes MF, Jeans, Katava MF, Kilshon MF, Klaf MF, Klemantina MF, Ktiva MF, LeBe MF, Linoleum MF, Lippa MF, Litam MF, Lueeza MF, Magazine MF, Marhaba, Marker, Mechola, Melach Haaretz MF, Mishpatim, Molecule MF, Ovech MF, Panda MF, Papaya MF, Parmezan MF, Pergula MF, Petit MF, Pigama MF, Pitka MF, Poema MF, Portal MF, Pronto MF, Protocol MF, MF Ramot (1993), Remington, Rimon, Rosenberg, Rosenberg Naot Square MF, Rosenberg Promo MF, Rosenberg Ski MF, Rosenberg Solo MF, Rosenberg-Naot MF, Rosenberg Textile MF (2010), Shablona, Shanti MF, Shavit MF, Shiboota MF, Shmulik Yael MF (2010, hand-printed), Shmulik Three Egozim MF (2010), Shmulik Kibutz MF (2010), Shmulik Katz MF (2010), Shmulik Hasamba MF (2010, painted letters), Shmulik Dorit MF (2010, signage face), Shmulik Diralehaskir MF (2010), Shooma MF, Shopping MF, Skitsa, Square Numbers MF, Stempa MF, Sucariot, Sweeta MF, Tapuz MF, Tambour MF (2010), Taxi MF, Terminal MF, Tiltan MF, Turmus MF, Unplugged MF, Zeebra MF, Zlafim, Zoola MF. PDF file showing these 2009 fonts: MFTVilna-Bold, Vilna MF (2003, Zvika Rosenberg), MFTDavid-Bold, MFTDavid, MFTNarkisClassic-Bold, MFTNarkisClassic, MFTNarkisClassicLight, MFTNarkisClassicMedium, MFTNewLivorno-Bold, MFTNewLivorno. These fonts feature Nikud, justification alternates and cantillation marks (in Hebrew, Teamim or Teamey Hamiqra), which are used with Biblical texts as notes for reading the text in public.

    In 2013, he designed the Hebrew typefaces Alphon MF and Aplikazia MF. Other typefaces from around 2013 include Celeb MF (2014), Chalifa MF (2013), Chalifa Serif MF (2013), Couponim MF (2020), Documentary MF (2012), Einsfor MF (2012), Faculta MF (2013), Gizbarut MF (2013), Gizbarut Serif MF (2013), Gulanash MF (2013), Hardal MF (2013), Hardal MF (2020), High Techist MF (2012), Intelect MF (2012), Kafri MF (2012), Kolorabi MF (2012), Kesem MF (2014), Kvisa MF (2012), Lakreeut MF (2014), Malmala MF (2014), Mitkatevet MF (2013), Muskamot MF (2014), Prozdor MF (2013), Revoluzia MF (2012), Rokach MF (2012), Rosenberg Textile Square MF (2012), Rugatka MF (2012), Salame MF (2014: for engraving and signage), Salame MF (2020: a revival of the earlier Salame font), Shoshanim MF (2012), Simania MF (2013), Sveder MF (2013), Teoria MF (2012), Vatik MF (2014), Zrima MF (2013).

    Besof Hakaitz MF (2014) is a Hebrew typeface that emulates the techno disco style of the 1980s.

    In 2016, he published the dingbat font Sucariot Menta MF.

    In 2020, he released Alifut MF (rounded, monolinear), Krakow MF (inspired by old engraving and tombstones in the synagogue in the Jewish quarter in Krakow, Poland), Tmura MF, Vetrena MF, which is based on old hand-painted signs in Tel Aviv.

    Typefaces from 2021: MF Shtetl (a traditional Biblical font).

    View Zvika Rosenberg's typefaces. [Google] [MyFonts] [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.

    He also studied at the École Duperré, École Estienne and collaborates with many typographers and type foundries in France and elsewhere. He cofounded Fonderie Long Type in 2012.

    With Dan Reynolds, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari. Martel Sans (2014) was published in the (free) Google Fonts collection in 2015. This Latin and Devanagari sans typeface family was co-designed with Dan Reynolds, and grew out of Dan Reynolds's school project font in 2008 at the University of Reading, which was also called Martel.

    In 2016, he designed Vinci Script Arabic. Since about 2017, he is in charge of font production at Stéphane Elbaz's General Type Studio. Long Type link. [Google] [More]  ⦿

    Matthew Willsone

    Grays Thurrock and/or London, UK-based designer, b. 1994, of the slightly rounded black sans typeface Class 357 (2018: free), LaunchPad (a sci-fi typeface), Fervour Sans, the compass-and-ruler typeface Port, and The Language of Time (2013), a typeface in which glyphs consist of pieces of a mechanical watch.

    Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Cavallo, covers Latin, Cyrillic and arabic, and was created for use as a magazine text tyoeface. [Google] [More]  ⦿

    Mawadah Muhtasib

    Jeddah, Saudi Arabia-based designer of Ododgraphy (2013-2017), a calligraphic Arabic typeface. [Google] [More]  ⦿

    May Hassan

    As a student in Cairo, Egypt, may Hassan designed Djibouti (2015) is a geometric Arabic typeface, inspired by the geometric Kufic script and adapted to fit the Djiboutian culture. [Google] [More]  ⦿

    Maya Alhomsi

    Located in Al Khobar and/or Jeddah, Saudi Arabia, Maya Alhomsi created the music-inspired Latin / Arabic typeface Tune (2014). Behance link. [Google] [More]  ⦿

    Maya Alhomsi

    Located in Jeddah, Saudi arabia, Maya Alhomsi created the music-inspired Latin / Arabic typeface Tune (2014). Behance link. [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]  ⦿

    McJer Studio
    [Abzari Jafar]

    Banda Aceh, Indonesia-based designer (b. 1985) of these typefaces in 2017: Qamilla (calligraphic script), Lea Serif, Beauty Straw (dancing script), Larista Pasta (signage script), Enemell (brush script), Cavalry (blackletter), Shambles (handcrafted), Beukah (slab serif), Natural Old Script (calligraphic), Modern Script, Edelweiss (brush script).

    Typefaces from 2018: Quality, Larista (signage script), Aniston.

    Typefaces from 2019: Lord King (spurred), Khayali (Arabic), Bastian (script). [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]  ⦿

    ME Typography
    [Martin Kadlecik]

    Czech designer, b. 1974, of the Latin / Hebrew geometric sans typeface family Shapirit (2018). He specializes in Hebrew and Arabic scripts. [Google] [MyFonts] [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 Type foundry in Paris. Earlier, her name was Sonia Caramelo, and under that name she designed the Galadriel script typeface in 2008. With Aurélie Gasche, she designed the dot matrix typeface Insight in 2009. She also has some calligraphy on her web site. From 2010 until 2012, she studied at ESAD Amiens, France.


    • 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 Arabic-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]  ⦿


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

    Melissae Elhajj

    Campbell, CA-based designer of Gregothic (2017), a Latin / Arabic blackletter typeface that is influenced by Gregorian chants. [Google] [More]  ⦿


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

    Menna Zaki

    As a student at German University in Cairo, Menna Zaki designed Fight Club (2018) and the Arabic typeface El Lemby (2018). [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]  ⦿


    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]  ⦿

    Merna Ayman

    During her studies at the German University of Cairo, Merna Ayman created an untitled Arabic typeface, as well as the modular Latin typefaces Valiant (2014, FontStruct), Height (2014) and Elite (2014). [Google] [More]  ⦿


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

    Michael Parson

    [MyFonts] [More]  ⦿

    Michel Salloum

    Michel Salloum (b. 1990, Damascus, Syria) completed a graduate degree in visual communications from the Faculty of Fin Arts (Damascus University) in 2014. In 2017 he joined the faculty in the Department of Arts and Graphics at the International University of Science and Technology. Based in Damascus, Michel Salloum designed MS Ugarit (2013, Arabic typeface) at the height of the civil war in Syria. [Google] [More]  ⦿

    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 typeface 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. Meiryo is a modern sans serif Japanese typeface developed by Microsoft to offer an optimal on screen reading experience and exceptional quality in print. The Japanese letterforms are generously open and well-proportioned; legible and clear at smaller sizes, and dynamic at larger display sizes. The beauty of Meiryo is that it sets text lines in Japanese with Roman seamlessly and harmoniously. Meiryo was designed by a team including C&G Inc., Eiichi Kono, Matthew Carter and Thomas Rickner. It won a 2007 type design prize from the Tokyo Type Directors.
    • 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 typeface 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 typeface by Microsoft (2008).
    • Shruti Bold: Gujarati typeface by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
    • Tunga Bold: Kannada typeface 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 typeface by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
    [Google] [More]  ⦿

    Middle East Television Network

    Owners of the free Arabic typeface Al Hurra Txt (2003). [Google] [More]  ⦿

    Mike Abbink
    [IBM Plex]

    [More]  ⦿

    Mike Sabbagh

    Michel Sabbagh is a Montreal-based lettering artist and calligrapher, who studied at Laval University in Quebec and then at ESAD in Amiens, France. His graduation typeface there in the postgraduate course in type design was Kaltoum (2014), a Latin / Arabic text typeface with considerable calligraphic details and a stunning amount of balance between the two scripts. Latin and Arabic are harmonized by modulating the stroke thickness. [Google] [More]  ⦿

    Mikolaj Grabowski
    [Font Bud]

    [MyFonts] [More]  ⦿

    Mira Al Assal

    Tyre, Lebanon-based designer of the Arabic typeface Nota (2017). [Google] [More]  ⦿

    Miral El Nahry

    Cairo-based designer of the dagger style Arabic typeface Ahram (2015) and the organic typeface Seaside (2017). [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. Decotype Nastaleeq Press won an award at TDC 2014. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award.

    At ATypI 2011 in Reykjavik, she spoke on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. Speaker at ATypI 2013 in Amsterdam: Technology designed for Arabic.

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

    Mirna Elfanagily

    Egyptian designer of an Arabic typeface in 2016. [Google] [More]  ⦿

    Mirna Soliman

    Creator of the wavy Arabic typeface Al Haraka (2014). [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]  ⦿

    [Abdallah Nasri]

    Mogtahid is calligrapher Nasri Abdallah's foundry based in Alger, Algeria. Its commercial fonts include Modahid Actualite (2008), Mogdahid Authentic Quartz (2008, LED simulation), Mogtahid Color.Com (2008), and Mogtahid Maxpin 7x8 LA-S (2008, dot matrix). In 2020, they published the variable font A10 STAR Black. [Google] [MyFonts] [More]  ⦿

    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) and the El Moalli font (2013). [Google] [More]  ⦿

    Mohamad Dakak

    Type designer from Syria who graduated from Damascus University and completed the MATD program in Type Design at the University of Reading in 2016. He is currently located in Cambridge, UK. His graduation typeface at Reading was Jali, about which he writes: Jali is a typeface designed for wayfinding signage. High legibility from distance is the main feature of the design. Jali combines Arabic and Latin in harmony while keeping a natural treatment for both scripts and avoiding forcing any to follow the other. Jali offers two secondary styles for different functions. Jali Display is a highly characterful style to add a distinguished identity in various contexts. Jali text comes to support setting running text for continuous reading. Jali won an award at the Type Directors Club's Type Design Competition 2019.

    In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited. At Foundry 5, Dakak released Jali Arabic, Jali Greek and Jali Latin in 2021. I Love Typography link for Foundry 5. [Google] [MyFonts] [More]  ⦿

    Mohamad Karimifar

    Designer in Boston, MA, who created the Farsi / Arabic typeface Mehraz in 2014. Behance link. [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
    [Kief Type]

    [More]  ⦿

    Mohamed Gallah

    Paris-based designer of Latin / Arabic typefaces including Babybars (2020: inspired by the Mamluk Thuluth calligraphic style, covering latin, Arabic, Persian and Urdu) and Rotger-Arabic (2020: an Arabification of Central Type Company's Rodger by Tarek Al-Sawwa and Mohamed Gallah). [Google] [More]  ⦿

    Mohamed Ibrahiem

    Tanta / Cairo, Egypt-based designer of a Latin/ Arabic logotype called Neon, of the Arabic typeface Tiwen (2013), of a rounded Arabic typeface called Anas (2012), and of the Arabic techno fonts Bono and Sawra in 2013. [Google] [More]  ⦿

    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 Alhaj Ahmad
    [Syria Arabic]

    [MyFonts] [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 Abd El Khaliq

    Giza, Egypt-based designer of the free Latin / Arabic blackboard bold typeface MaxType (2016), the free Maze Font (2016, a multiline Arabic typeface), and the free Arabic dot matrix typeface Dofi (2016).

    In 2017, he published the free font Arabic Cabo, and in 2018 Mutawazi.

    Typefaces from 2019: Buroj (free). [Google] [More]  ⦿

    Mohammed E. Abo Lebda

    Graphic designer in Gaza City, Palestine, who created the free weathered Latin /Arabic typeface family Taweel (2017). Footnote: I think that this typeface is by Fahd Al Fraikh, so Lebda's presentation of this typeface is confusing. [Google] [More]  ⦿

    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