TYPE DESIGN INFORMATION PAGE last updated on Sat Apr 10 16:57:05 EDT 2021
FONT RECOGNITION VIA FONT MOOSE
Type design in Egypt
FontStructor (perhaps Dana Ramond Kaikane Stoneman of Hockey Shark Productions) who made these fonts in 2011: Burlesque (Art deco), Tebacabi (squarish), Stretched Out, Winter Wind, Theory (texture face), Theory Improved, Elite (gridded), Continuum, Quilted Silk (squarish textured face), What (texture pixel face), Freaky (tall condensed square face), Jordan, Slob, Ertite (pixelish), Dictator (pixel face), Duh Pixels (pixel face), Ribbon, Twee, Best Love Song, Bolderic, Sliders, Slapshot, Sloppy Sketcher, Serifereal Vision, Pieramids. [Google] [More] ⦿
Aka Abody Ammar. Damanhar, Egypt-based designer. Co-designer with Yousuf Gamal of the fun fluid Arabic typeface Marshmallow (2017). Free download for personal use.
In 2017, Abd Al Raoof (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Raoof. Still in 2017, Yousuf Gamal (design) and Abd-Elrahman Ammar (development) published the free Arabic font family Caramel.
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). [Google] [MyFonts] [More] ⦿
Abdo Fonts (was: Future Soft Egypt)
Abdulsamie Rajab Salem (b. 1968), the founder of Abdo Fonts, published many typefaces from 1998 until 2000 under the name Future Soft. In 2000 he created these Arabic fonts: FS_Abdo, FS_Africa, FS_Ahram, FS_Alex, FS_Alex142, FS_Alex7471, FS_Arabic, FS_Bold, FS_Egypt, FS_Free, FS_Graphic, FS_India, FS_Japan (oriental simulation face), FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Wood. They can be downloaded here and here. Here we have FS_Africa, FS_Ahram, FS_Alex, FS_Arabic, FS_Black, FS_Bold, FS_Egypt, FS_Free, FS_Future, FS_Graphic, FS_India, FS_Japan, FS_Jet, FS_Lotas, FS_Metal, FS_Nice, FS_Old, FS_Pincel, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Strip, FS_Wood, all made in 2000. See also here. Other fonts by him include FS_Cairo, FS_Diwany, FS_Modern1, and FS_Modern2.
Based in Tanta, Egypt, he designed these typefaces at his own foundry, Abdo Fonts: Abdo Misr (2013: rounded Kufi / geometric style), Abdo Screen (2013), Abdo Naskh (2013), Abdo Rajab (2013, which grew out of FS Rajab, 1998-2000), Aldo Salem (2013, a revival of his own FSSalem, 1998-2000), Abdo Joody (2013) and Abdo Egypt (2013) Abdo Line (2012) is an elegant text typeface in a simple Naskh style, designed for books and magazines. See also Abdo Title (2013), Abdo Free (2013) and Abdo Logo (2013).
Typefaces from 2014: Abdo Master (+Outline).
Port Said, Egypt-based designer of the free Arabic typeface Air Strip Arabic (2012, together with Ibrahim Hamdi). For Zakariya Saleh (Palestine), he programmed the Ara Ahrar font in 2011. For Abdullah Naser Alharbi (Saudi Arabia), he programmed the Arabic typeface Ara Alharbi Alhanoof in 2012. For Ibrahim Hamdi and Zakariya Saleh, he programmed the extensive Kufyan Arabic typeface mfamily, also in 2012. In 2011, he designed Aref Menna and Aref Graffiti.
In 2016, he designed the gorgeous Aref Kufi typeface, the free Aref Ruqaa (with the help of Khaled Hosny, Kalapi Gajjar and Nzar Design for Kurdish support), and the advertizing typeface Aref Albasel. [Google] [More] ⦿
Abdulsamie Rajab Salem
Akufadhl (was: Alternatype, or: Akutype, or: Alterna Type foundry)
Cairo, Egypt-based designer, who hails from Surakarta, Indonesia, b. 1996. Akufadhl, or Fadhl Waliy Haqq, or Fadhl Waliy Ul Haqq, started Alternatype, then Akutype, then Akufadhl, and finally Eyetype.
Creator of the free brush typeface Bruss (2015), the hand-crafted Talisman (2015), Labours (2015) and Summer Time (2015), the vintage sans typeface Manufactur (2015), the vintage titling typeface Kertayasa (2015), the marker typeface Halfway (2015), the watercolor brush face Hale (2015), the free display typeface Biliru (2015), the hand-crafted Supreme (2015), and the spurred display typeface Travelo (2015).
Typefaces from 2016: Amarylis, Protea, Geda Brush (thick and inky), Tarquin AT (+Stencil), Macaron (elegant hand-crafted style), The Falcone, Supreme (hand-crafted), Rolade (rounded sans).
Cairo-based designer of the ornamental "hellish" typeface Okeanos (2014). She also designed Dexter (2014, a modular typeface created at FontStruct), during her studies at the German University of Cairo. [Google] [More] ⦿
American Philological Association
Association which published a free Greek Opentype font, KadmosU (2005). New Athena Unicode (2004-2010) is also free: New Athena Unicode is a freeware multilingual font distributed by the American Philological Association. It follows the latest version (5.1) of the Unicode standard and includes characters for English and Western European languages, polytonic Greek, Coptic, Old Italic, and Demotic Egyptian transliteration (and Arabic transliteration), as well as metrical symbols and other characters used by classical scholars. New Athena Unicode is a "smart font" that includes OpenType ligatures allowing the display of composed characters not recognized by Unicode but needed by scholars. I am not sure that I am right, but the Greekkeys pafge makes me believe that Donald Mastronarde (a Professor a UC Berkeley) of the American Philological Association is responsible for the creation and upkeep of New Athena Unicode. [Google] [More] ⦿
Amin Ebrahim Kamal
Arabian Company for Advanced Computer Systems
Egyptian designer in 1992-1994 of these Arabic fonts: ACS-Akeek-Bold, ACS-Akeek-Extra-Bold, ACS-Akeek, ACS-Almass-Bold, ACS-Almass-Extra-Bold, ACS-Almass, ACS-Bassmalah, ACS-Fayrouz-Bold, ACS-Fayrouz-Extra-Bold, ACS-Fayrouz, ACS-Hieroglyphic, ACS-Islamy, ACS-Koraan, ACS-Morgan-Bold, ACS-Morgan-Extra-Bold, ACS-Morgan, ACS-Symbols, ACS-Topazz-Bold, ACS-Topazz-Extra-Bold, ACS-Topazz, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod. They can be downloaded here, here and here. [Google] [More] ⦿
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] ⦿
Mansourah, Egypt (and/or New York City)-based designer of the Latin sans typeface Firsta (2012). Now based in New York City, he also designed the free font Burnit (2012), and the rounded typefaces Cobera (2013), Limon (2013), Over Sea (2013), Bazyl (2013), Fada (2013), Fagr (2013), Coll 3D (2013), Cool Bold (2013), Maw (2013), Awesome Outline (2013) and MyBold (2013). He also made Up Down (2013), Carpenter Tools (2013, dingbats), Stop It (2013), Bold Box (2013), Youm (2013), Quick Run (2013), Gangnam (2013), Prison Tattoo (2013), Web Tools (2013, icons), Labels (2013), Social Media Font (2013), Shehab (2013) and Social Font Icons (2013). He runs Fontm.com.
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] ⦿
Best 76 Free Arabic Typefaces
Free download of 76 Arabic typefaces, posted in 2016 by Ahmed Alahdal, founder of Wikoles in Alexandria, Egypt: 01 Dubai, 02 Taweel, 03 El-Messiri, 04 Lemonada, 05 Alnaqaa, 06 Cairo, 07 Lalezar, 08 Urkida, 09 Khallab, 10 Molhim, 11 Sbgh, 12 Bouya, 13 Sukar, 14 Hala, 15 Hakm, 16 TypoGraphic, 17 RawafedZainab, 18 Hekaya, 19 Sakhr, 20 Sheba, 21 Yaseer, 22 Halah, 23 JozoorFlat, 24 Hamah, 25 AirStrip, 26 Al-Bayan, 27 Baghdad, 28 Osama, 29 Wasm, 30 Dima, 31 Khaled, 32 Afsaneh, 33 Assaf, 34 Jozoor, 35 Taqniya, 36 Asmaa, 37 Bon, 38 Aqeeq, 39 Nawar, 40 Shekari, 41 DianaXtra, 42 Aban, 43 Diana, 44 AshgarEL-Kharef, 45 Amiri, 46 Mokhtar, 47 Hamat, 48 Yaraa, 49 Hend, 50 Neckar, 51 AlharbiAlhanoof, 52 Moga, 53 IsrarSyria, 54 Omar, 55 Maghribi, 56 Graffiti, 57 Hafs, 58 AlHurra, 59 Sara, 60 Kufyan, 61 Khayal, 62 Kufigraph, 63 Shahd, 64 Sane, 65 Ahrar, 66 Lamar, 67 Sarkha, 68 Shoroq, 69 Tachkili, 70 FiveFarisi, 71 SouriaFree, 72 GannaBirds, 73 ArabicAndroid, 74 Cocon, 75 Ibtisam, 76 Menna. [Google] [More] ⦿
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] ⦿
Or Dalia Abdel Moneim. Cairo, Egypt-based designer of the angular semi-blackletter typeface Oee Regular (2016), which was developed during her studies at German University. She also designed the Arabic typeface Dee Koufi (2017). [Google] [More] ⦿
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] ⦿
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.
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).
Fadhl Waliy Ul Haqq
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).
Free font archive, started up in 2012 by Ayman Hafez in Cairo.
Or Gjoss. Egyptian designer of the vertically striped typeface Blindsh (2018), the blocky typeface Black White Block (2018), and the textured patterned typefaces Mecanix (2018) and Sqells (2018). [Google] [More] ⦿
Cairo-based artist. Creator of Brink (2014), a Latin typeface that was designed for a water recycling campaign. In 2016, she designed the circle-based Arabic typeface Seen. Also a talented illustrator, she created, e.g., Daily Routine Pictogram (2016). [Google] [More] ⦿
During her graphic design studies at Gaza Arts University, Cairo-based Habiba El Gendy created the experimental geometric Latin / Arabic typeface Arkan (2014), and the crispy Arabic typeface Habiba (2016). Behance link. Home page. [Google] [More] ⦿
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
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] ⦿
Hurghada, Egypt-based designer of the free hand-crafted typeface Kiwi (2016) and the free hand-crafted poster typeface Tython (2016). In 2016, he published the free hand-crafted typeface Claws. He also made tweetware vector format icons. Behance link. [Google] [More] ⦿
Heheh Type is an Arabic type design collective based in Cairo that was founded by Nour El Shamy (who graduated from German University in Cairo), Shahd El Sabbagh and Manuel von Gebhardi in 2020. Their typefaces:
Nour El Shamy designed the Arabic typefaces Koffar (2018) and Ghareeb some time before Dobb, as well as the Latin display typeface Ayakashi (2017). Future Fonts link. Cargo Collective link for Nour El Shamy. [Google] [More] ⦿
Turkish graphic designer and painter, b. 1898, Cairo, d. 1986, Istanbul, who was well-known for his posters which were heavily influenced by German Gebrauchsgrafik, and in particular by Ludwig Hohlwein of Munich, a city in which he studied for five years. He is considered by many as the father of modern Turkish graphic design.
Wiki: Ihap Hulusi's father was a well-known architect in Cairo and he wanted his son become a successful diplomat. For this Ihap Hulusi was sent to English schools in Cairo. However, his primary interest was in painting. In the meantime, he took lessons in painting by mail from Germany. In 1920, after graduating from the high school, Ihap Hulusi went to Munich, Germany, and studied painting for five years specializing in illustrations. Following his return, İhap Hulusi's father enrolled him to the Ministry of Foreign Affairs in Istanbul against his will. So Ihap Hulusi dropped off after a while and devoted himself to commercial graphic art.
He worked for 45 years as a ticket designer for the Turkish State lottery. He designed the bottle labels of various products of the Turkish State Monopoly for 35 years. In addition, he illustrated posters for the famous brands like the British whisky John Haig, Italian Cinzano and Fernet Branca. [Google] [More] ⦿
Kamal Mansour, educated in Cairo, used to run Kappa Type in Palo Alto, CA, and was involved in software, fonts and keyboards for some languages. Thereafter, he joined Monotype in 1996 where he is now involved in OpenType implementations for various scripts including Latin, Arabic, and Hebrew. At Monotype, from his base in Los Altos, CA, his responsibilities includes growing the library of non-Latin scripts, investigating potential products, in-house consulting, as well as assisting customers with font specifications.
He spoke at ATypI 2005 in Helsinki on Nastaliq style through open type, about which he writes: Designed by Pakistani calligrapher Mirza Jamil, Noori Nastaliq is a calligraphic Urdu script typeface originally devised for use on a Monotype imagesetter in the 1970s. Once this proprietary equipment became obsolete, Noori Nastaliq could not be readily implemented for many years with the digital technology at the time. With the advent and maturation of OpenType technology, Noori Nastaliq is once again alive. In spite of the many graphic complexities of Nastaliq style such as its oblique alignment to the baseline and its cursive connections, OpenType proved sufficient for the task.
In 2015, Patrick Giasson and Kamal Mansour co-designed the Arabic script typeface Bustani at Monotype. Bustani is the first OpenType font to offer full classical Naskh contextual shaping. It covers Arabic, Farsi and Urdu. Bustani won an award at TDC 2016.
Khaled Hosny is a physician in Egypt. He loves Arabic and its type, and is interested in every aspect of letter forms and typography. A hobbyist translator, programmer and font developer, he supports software freedom and is actively participating in the free software community. Sourceforge link.
Designer of Punk Nova (2010), a free OpenType implementation of Don Knuth's Punk font, based on modified Metapost sources by Taco Hoekwater and Hans Hagan, dating from 2008. Hosny writes: Punk is a dynamic font, every time a glyph is requested Matafont draws a unique instance of it. On the other hand, OpenType is static, glyph outlines are drawn once and stored in the font and the renderer can not alter those outlines. To emulate the dynamic nature of Punk, we generate several alternate shapes of each glyph and store them in the font. Alternate shapes are mapped to the base character using OpenType [Randomize] feature (rand), which tells the renderer to select glyphs randomly from the list of alternate shapes. Pick up the free Punk Nova from CTAN or Open Font Library.
XITS (2011) is a Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.
Euler OTF (2010) are OpenType Math fonts based on Hermann Zapf's Euler and implemented by Taco Hoekwater, Hans Hagen, and Khaled Hosny. Named Neo-Euler (2009-2010), it covers Latin, Greek and has a full blackletter set of glyphs. Copyright Hosny and the American Mathematical Society. Open Font Library link.
In 2010-2011, Hosny developed the free Amiri font (OFL; dedicated web page): Amiri font is an open font revival of the Arabic Naskh typeface designed and first used by Bulaq Press in Cairo (also known as Amiria Press) in the early part of the twentieth century. Amiri's uniqueness comes from its superb balance between the beauty of Naskh calligraphy and the requirements of elegant typography. Amiri is most suitable for running text and book printing. See also CTAN, Google Web Fonts, and at OFL. Dedicated web page.
In 2015, Khaled Hosny and Santiago Orozco cooperated on the Latin / Arabic typeface Reem Kufi. Github link. Khaled, who designed the Arabic part, explains: Reem Kufi is a Fatimid-style decorative Kufic typeface, as seen in the historical mosques of Cairo. It is largely based on the Kufic designs of the late master of Arabic calligraphy, Mohammed Abdul Qadir, who revived this art in the 20th century and formalized its rules.
In 2016, Khaled Hosny designed Mada (Google Fonts), a modernist, unmodulated Arabic typeface inspired by road signage seen around Cairo, Egypt. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type.
Khaled Hosny contributed to and maintained the free Libertinus font package between 2012 and 2020.
In 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).
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] ⦿
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] ⦿
Mahmoud Abd El-Ghany
Mahmoud Hamdy joined Dalton Maag in the summer of 2009. He works there on Arabic fonts for both their Exclusives library and custom clients. Mahmoud is based in Cairo, Egypt, where he previously ran the successful graphic design firm FC studio. [Google] [More] ⦿
Manfred Klein: Egypt
Egyptian (not slab serif!) and hieroglyphic typefaces by Manfred include AncientBats, Egypt, EgyptAxt, EgyptChildren, EgyptHieros, EgyptMythOne, EgyptSilhous, EgyptianSilhouettes, EgyptianSilhouettes, EgyptianSilhouettes, Egypticons, EgypticonsToday, EuroGyptians, HelloCleoPetra, HelloMrPharao, HierobatsSketches, KL1-Pharaos, KL1-PharaosTwo, OldEgyptGlyphs, OldEgyptOne, OldEgyptTwo, PhaistosAlphabet, PhaistosFingers, PhaistosToday, VisitTheNil.
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.
Sheffield, UK-based designer of State (2013). He writes: Designed for an independent newspaper in Egypt, it comes in three grades: Regular, Distressed and Smooth. These grades can be used interchangeably within the newspaper to pass comment on the content of the articles set in them. Stories which show Egypt to be progressive or democratic would be set in Smooth; whereas articles which show it to be less so would be set in Distressed. Regular fits everything in-between. [Google] [More] ⦿
During her studies at the German University of Cairo, Merna Ayman created an untitled Arabic typeface, as well as the modular Latin typefaces Valiant (2014, FontStruct), Height (2014) and Elite (2014). [Google] [More] ⦿
Tanta / Cairo, Egypt-based designer of a Latin/ Arabic logotype called Neon, of the Arabic typeface Tiwen (2013), of a rounded Arabic typeface called Anas (2012), and of the Arabic techno fonts Bono and Sawra in 2013. [Google] [More] ⦿
Cairo-based designer of Smashbox (2012), an Arabic custom typeface for a cosmetics company.
Graphic designer in Cairo, Egypt, who created Quadrilateral (2016), a free experimental Latin typeface obtained by superimposing parallelepids. He also designed the free font AX Curvature (2016). [Google] [More] ⦿
Mohammad Esmat Abdullhalem
Giza, Egypt-based designer of the free Latin / Arabic blackboard bold typeface MaxType (2016), the free Maze Font (2016, a multiline Arabic typeface), and the free Arabic dot matrix typeface Dofi (2016).
Graphic and type designer in Doha, Qatar, where he runs e-studio. In 2010, he designed a type family for both Latin and Arabic called Delta Doha, named after the oil equipment company that commissioned the typefaces.
Cairo, Egypt-based designer of the icon set Inktober 2020 (2020; some are Trump-era icons), the condensed gothic typeface family Barbaros (2020) and the Arabic typeface family Gali Modern (2019), which was inspired by classic Arabic Thuluth calligraphy. [Google] [MyFonts] [More] ⦿
Alexandria, Egypt and Stockholm, Sweden-based creator of these Arabic typefaces in 2021: Najmy, Rakan.
Typefaces from 2020: Naghamah (a children's book font), Makana (a fat display typeface), Shakhabeet, Meshkal (Arabic for kaleidoscope: an Arabic display font that is inspired by the kaleidoscopic geometries).
Typefaces from 2019: Laftah, Kaleel.
Typefaces from 2018: Moltaqa, Mateen, Jadeer, Taiween, Lafeef (rounded), Tamema, Ikseer, Origami (a color font), Fenoon, Dahka, Tajreed, Oajoubi.
In 2017, he designed Etlalah, Tashabok, Olfah, Zahey, Alama, Takween (based on the Mashrequi writing style), Loabah, Makeen, Maheeb, Enferad, Paxalah (a pixelish Arabic typeface), Mozarkash (deco style).
Earlier typefaces: Fokaha (2016), Khetab (2016, Kufic), Taleeq (2016), Saiihah (2016, an experimental Arabic typeface), Ahaleel (2016), Inseyab (2016, a monoline Arabic typeface), Ostouri (2015, a heavy calligraphic Arabic typeface), Kaleem (2015, Arabic display typeface), Ebhaar (2015), Tarhaal (2015), Jazeel (2014), Hetaf (2014), Bareeq (2014), Tawasul (2014), Wahaj (2013), Bedayah (2013, a geometric Arabic typeface), Atyaaf (2013, a multiline display face), Aqlaam (2012, Arabic), Falak (2012, Arabic typeface), Ahlan (2012, Arabic typeface), the hairline Arabic typeface Khayal (2012), the fat octagonal typeface PolyFont (2012), the corporate typeface Tasreeh (2012), the comics book font Nokta (2012), Ekleel (2012), Friendo (2012), Retro Town (2012, free demo), and the pixel typefaces Kufigraph (2012), Raqami (2012) and Pixelogist (2012).
During her graphic design studies in Cairo, Egypt, Mounira Abouauf designed the Latin typeface Simplicity Serif (2015), and the Arabic display typeface Mousool (2016) and Mamary (2016). [Google] [More] ⦿
Graduate of El Alsson British and International School in Cairo, Egypt. Graphic designer and socially responsible artist who made the Arabic display typefaces Moshaab (2016) and The Bee Hive (2014). [Google] [More] ⦿
Cairo-based designer of the school project typeface Majoram Arabic (2013, avant-garde and circle-based), Extremity (2013, squarish), Speech Bubble (2013, modular), Neo Kufic (2013, squarish Arabic). [Google] [More] ⦿
Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the Bauhaus (piano key) stencil typeface Haeckel (2013, Friday Fonts), which was named after the German naturalist, philosopher, biologist and artist Ernst Haeckel, who promoted the idea of structure and symmetry in marine organisms and nature.
Egyptian type designer who graduated from the MATD program at the University of Reading in 2015. His graduation project was Razeen (2015). Razeen covers Arabic, Cyrillic, Greek and Latin scripts, with the aim of providing balance across all four scripts. Cairo, Egypt-based designer of the Arabic typeface Mesh Phont (2017). Behance linkl. [Google] [More] ⦿
Cairo, Egypt-based designer of an experimental subtractive Latin typeface called Incomplete (2013). It was part of a project at the German University in Cairo. She also created the Arabic compass-and-ruler typefaces Al Dababa (2014) and Coco (2014). [Google] [More] ⦿
During her studies in Cairo, Egypt, Noha Morgan (or Noha Elsayed) designed the tall condensed display sans typeface Succinct (2016). Later, she published the ultra-condensed sans typeface Slender (2019) and the blocky experimental Arabic / Latin typeface FASA (2019). [Google] [More] ⦿
Nour El Shamy
Cairo, Egypt-based designer of Zawya Pro (2019), a 24-style Latin / Arabic sans typeface family. He also claims to have made Hailgen (2019: a reverse contrast text typeface), but at MyFonts, credit is given to Akufadhl and Fadhl Waliy ul Haqq.
Egyptian type designer in Alexandria who made the commercial typeface Arabica (2011) and Cocon Next (2001, Arabic and Latin). His full name is Ibrahim Hamdi Mohamed Ali, and his company is called Team Solutions.
In 2012, he designed the Solutions Next Arabic type family. Still in 2016, he co-designed Air Strip Arabic with Abdullah Aref (who programmed the fonts).
Handel Gothic ITC Arabic is promised for 2013.
Zakariya Saleh and Ibrahim Hamdi co-designed Kufiyan Arabic (2012).
During her studies at the German University in Cairo, Raneem Ghourab created several typefaces such as Araben (2013, an Arabic simulation typeface with a brushy feel), Yadour (2013, Arabic) and Construct (2013, a Latin/Arabic techno face). [Google] [More] ⦿
Cairo, Egypt-based designer of SH1949 (2013, an octagonal FontStruct font), Nasfi (2015, an Arabic font designed for TV) and Circtor (2014, a connect-the-dots typeface). Circtor and SH1949 were projects at the German University in Cairo. [Google] [More] ⦿
At the German University in Cairo, Egypt, Salma Haggag designed the Latin display typeface Icarus (2018) and the Arabic typeface Laila (2018: based on the Egyptian TV series character Laila from Tareeqi). [Google] [More] ⦿
Salma Hisham Aggour (Cairo, Egypt) created the Latin typeface Punk Plan and Movie Genre Pictograms during her graphic design studies in 2013 under the supervision of Sabine Schwarz at the German University in Cairo. [Google] [More] ⦿
During her graphic design studies in Cairo, Sara Elsayaad created Float (2013, a brush typeface for Latin), Shams (2013, an Arabic typeface) and Egyptienne Ultra Light (2013, a Latin / Arabic typeface). She also published Cairo Pictograms (2013) as a proposal for Cairo's subway. [Google] [More] ⦿
Cairo-based designer of the circular arc typeface Peace (2013) during her studies at the German University in Cairo. RGB (2014) is an extra-Bold sans serif Kufic inspired typeface for TV captions. [Google] [More] ⦿
Cairo-based graphic designer who created a stylish Arabic display typeface called Nouveau Arabic (2013). She also made Consolas Arabic (2013), an Arabic version of Lucas de Groot's Consolas. [Google] [More] ⦿
During her studies at the German University in Cairo, Egypt, Sarah Ihab El Tahtawi designed the Arabic typeface Demaa (2014) and the Latin paperclip / neon tube typeface Tineous (2014). At FontStruct, she experimented with modular typeface design. These typefaces include the circle-based Shielo (2014), Shiet (2014, an octagonal / origami typeface). [Google] [More] ⦿
During her graphic design studies in Cairo, Sarah Mossallam created the blocky Arabic typeface Rozma (2014) and the DIN Pictogram Set (2013). In 2013, she created an Arabic extension of the Titillium font. [Google] [More] ⦿
Cairo-based designer of an Arabic display typeface in 2016. In another part of her research, she published a fascinating set of icons called Cymatics (2016: Cymatics is the science of visualizing audio frequencies). [Google] [More] ⦿
Inspired by the movie Edward Scissorhands (1990), and Fontdiner Swanky (1996, Stuart Sandler), Sherine Abouelmagd designed a Latin display typeface and the great Arabic typeface Sherif ElKordy in 2018 during her studies at German University in Cairo. [Google] [More] ⦿
Or Soug Hayar. Or Amin Sughayer. Or Amin Ibraheem. Egyptian creator of the free font series Felicitation Arabic Ramadan (2015), Felicitation Arabic Feasts (2015), Old Mosaic (2015), Amin Sina (2015), Aayat Quraan (2014), My-Font-Quraan1 (2014), Vintage Decorative Signs (2014), Vintage Panels (2014), Vintage Frames (2014), Vintage Elements (2014), Sughayer Separates (2014), Vintage Borders (2014), Vintage Decorative Corners (2014).
Tasmeem is an entire Arabic typesetting package integrated within Adobe's InDesign. This Adobe product returns to the beautiful Arabic typography, and is a big step forward, in my view. It includes two new font sets, Emiri and Naskh. Emiri is a revival of the typeface of the Emeeriyyah printing house in Cairo. Adobe's plug: With this typeface it is possible to create Unicode-based searchable Koran text with the familiar appearance of todays printed editions. Tasmeems shaping and spacing controls makes Emiri particularly effective for literary and creative productions. Please note that this font can only be used in Tasmeem. The last sentence is ominous and perhaps a first step towards a new trend---fonts that can only be used in one product. They won't sell you a Mercedes radio if you won't buy a Mercedes. The Nasqh font, in contrast, can be had for 200 dollars. Thomas Milo of DecoType ACE explains: Tasmeem is not from Adobe as such, but Adobe InDesign ME with a DecoType ACE-based user interface plugin, made by WinSoft. Naskh is made by me and Mirjam Somers, my partner. Emiri is made by Mirjam Somers and me.<.i> New Tasmeem developments, all be DecoType ACE: Nassim Alef by Titus Nemeth, Qarandash Beh by Mirjam Somers, Mehdi by Saad Abulhab, Ruqah. Blogroll on Tasmeem. [Google] [More] ⦿
Tharwat Emara Thuluth
In 2018, Tharwat designed Almona Dewany (an interlocking Arabic typeface usedful for official graduation certificates, certificates of appreciation and decorations), Almona Ornament (a religious font), Almona Thuluth (calligrahic, for Latin, Farsi, Urdu and Arabic), Al Thuluth, Osama Modern, Ahmed New (for Arabic, Urdu, Farsi and Latin) and Dr Mohammed and Sara.
Typefaces from 2019: TE Aldewan, TE Alkhatat, TE Start2, Alruqaa TE, TE Start1, TE Poster, TE Banner, TE Sarah, TE Heading, Alnaskh Quraan, Tharwat Emara Thuluth Golden 2, Thulth Tharwat Emara Golden.
Tharwat Mohamed Emara
French foundry, est. 2008, by Jonathan Perez and Laurent Bourcellier. Graduates from the Ecole Estienne in Paris, they have made the following fonts:
Cairo-based designer of the avant-garde Latin / Arabic sans typeface Arual (2013) and of the Arabic typeface Kutting Edge (2013). She also made a series of icons called Slurp (2013). [Google] [More] ⦿
Ahmed Zaza was born in Egypt. During completiion of his Bachelor's degree in architecture, he studied graphic design, type design, and branding. He also worked as a freelance graphic designer with a focus on brand designing for startups in the Middle East. In 2020, he released the high-contrast modern Arabic typeface Iwan Zaza. [Google] [MyFonts] [More] ⦿