TYPE DESIGN INFORMATION PAGE last updated on Wed Oct 1 00:02:20 EDT 2014

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Type design in Iran

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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Abolfazl Seilsepour

Born in Tehran in 1985, Abolfazl Seilsepour designed the funny cartoon dingbnat face FarChehre (2012).

Dafont link. [Google] [More]  ⦿

AIAP--Iranian Fonts

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

Ali Reza Mohazzab

Between 2000 and 2006, Ali Reza Mohazzab developed the free old Persian font Artaxerxes. OFL link. Github link. [Google] [More]  ⦿

Alireza Amiri
[Falling Angel Studio]

[MyFonts] [More]  ⦿

Amir Asgari

Iranian graphic designer who lived in Turkey and is now in Washington Park, WA. He graduated from B.A Hacettepe University in Ankara in 2012, and from the Mirak Fine Art School in Tabriz, Iran, in 2005. He created the pixel typeface Overpixel (2012). [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]  ⦿

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 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]  ⦿

Ardwan AlSabti

Designer in Nijmegen, The Netherlands. Behance link. In 2011, he made the squarish face Mandaicana, about which he writes: Mandaicana is one of the few Mandaic type[faces] which exist in the world. Mandaic, the most Southeastern Aramaic dialect spoken in antiquity in Babylonia (Mesene, Characene, Khuzistan), reflects similarities to Jewish Babylonian Aramaic, both belonging to the Eastern Middle Aramaic branch. Although most scholars located the origin of the baptizing community in the East Jordan regions (Mark Lidzbarski, Rudolf Macuch, Kurt Rudolph) the Mandaeans are considered to spent a large part of their still controversial and mysterious history alongside the big rivers (Euphrates, Tigris, Karunriver) in the southern borderland between present-day Iraq and Iran. This was followed by Englaiscana (2011). [Google] [More]  ⦿

Arya Bakhsheshi

Graduate from the College of Fine Arts, University of Tehran, 2012, b. 1988, Tehran. He created the Farsi typefaces Arya and Paakize in 2013. He currently works as a graphic designer in Salt Lake City, UT. [Google] [More]  ⦿

Ashoora

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

Asiasoft (Liwal Group)

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

Asiatype

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

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]  ⦿

Behaaf Arid

Creator of Shapur (2012) for inscriptional Pahlavi. [Google] [More]  ⦿

Behdad Esfahbod

Behdad Esfahbod was born and grew up in Iran. He studied computer engineering at Sharif University in Tehran while discovering the world of computer typography and open source. In 2003 he moved to Canada, studied at the University of Toronto, became a regular contributor to GNOME and many other open source projects, worked at Red Hat, Google, and generally became the go-to person regarding everything font and text rendering in open source projects. Speaker at ATypI 2014 in Barcelona. The abstract of his talk there explains the current status of the FontTools package: FontTools/TTX is a Python package for converting OpenType font fonts to / from XML. It was developed in early 2000s by Just van Rossum and has been in wide use by the type community since, mostly for testing and inspection, but its development has had stopped for the most part. In Summer 2013 I resurrected FontTools development by adding support for many tables that have not been supported before (EBDT/EBLC, CBDT/CBLC, sbix, COLR/CPAL, SVG, ...), as well as implementing new tools: a full font subsetting tool, font inspection tool, font merge tool. In this talk I will talk about the community gathered around the new FontTools development as well as my plans to expand FontTools into a full Open Source font production pipeline. [Google] [More]  ⦿

Beno Bagheri

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

Borna Izadpanah

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

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]  ⦿

ComStar: Arabic Kit for the Mac

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

Dari--Farsi fonts

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

DCD (or: Dubai Civil Defence)

Medium-sized truetype font archive run by the Government of Dubai. It has Thai fonts by Unity Progress, Farsi fonts, fonts for Arabic, many Microsoft fonts, and a basic starter set of Monotype fonts. [Google] [More]  ⦿

Ernst Tremel

Ernst Tremel s based in Muenster, Germany. He designed a Devanagari font called ShiDeva that includes a "volt" table and many ligatures. His pages also cover Tamil, and one can download the ETTamilNew font. He also has a Kurdish font, as well as maps about the Kurds and about Indian languages. About the Kurdish font, he writes: Kurdish AllAlphabets contains 694 glyphs and 529 standard kern pairs: Latin, Cyrillic and Arabic script. There are OpenType tables for Arabic and embedded bitmaps included.

He joined the Open Font Library movement. He offers Ahuramazda there, which is an alphabet for the Avestan language: Avestan was an Iranian language in which the earliest Zoroastrian hymns were orally transmitted since 1500 BCE. Due to lingusitic change, fluency in Avestan as spoken a thousand years earlier was deteorating, and hence the need to write the language became increasingly apparent. By the 3rd century CE an alphabet was created to write down the ancient Avestan language.

OFL link. Alternate URL. And another URL. [Google] [More]  ⦿

Falling Angel Studio
[Alireza Amiri]

Falling Angel Studio in Partile, Gothenburg, Sweden, was established in 2009 by Alireza Amiri (b. 1986, Teheran). Their first fonts include Circ (pixelish), Ki Moa Triangle Park (2011, with Mohsen Khaki), Sandikza (scribbly hand), Smart (rounded hand-printed face), Smart Maximus, Entoferno, Kakeroon (2010), Scatterbrain, XMadness (dot matrix face), Smart Wix (2010), Mazigh (2010, hand-printed), Jebrill (2010), Khoft (2010, grungy stencil), Kanta Cube (2010, block letters), Smart Maximus (2010), and Smart Toxonic.

The following alphading pages were published in 2012: Ghab Star David, Ghab Star Clipart, Ghab Star Bahai, Ghab Star, Ghab Leaf Plane, Ghab Leaf Lucky, Ghab Leaf, Ghab Heart Triple, Ghab Heart, Ghab Gravestone, Ghab Cloud, Ghab Bubble Speech Black, Ghab Bubble Speech 2, Ghab Bubble Speech, Ghab Bottle, Ghab Atom. They were created jointly by Alireza Amiri and Sevin Shiva.

Kokab (2012, with Sevin Shiva) and Azad (2012, with Sevin Shiva) are elegant black extended display faces. Bisheh (2012, with Sevin Shiva) is a condensed sans display family.

Klingspor link.

Vierw Alireza Amiri's typefaces. [Google] [MyFonts] [More]  ⦿

Farhood Moghaddam

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

Farsi font

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

Farsi Fonts

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

Farsi Fonts

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

Farsi Info

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

FarsiTEX

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

FarsiTex Project Team
[Vafa Khalighi]

The Persian Modern family of fonts consists of 12 text fonts, and is based on the FarsiTeX Scientific fonts released into the public domain by the FarsiTeX Project Team (1996-2004). Free downloads at CTAN. The files are maintained by Vafa Khalighi.

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 linkGoogle] [More]  ⦿

Fereshteh Sabbagh

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

Fereydoun Rustan

Creator (b. 1972, Kerman, Iran) of some free typefaces, such as the Ugaritic typefaces Khosrau (2011), Kakoulookiam (2011) and Zarathustra (2011). His typeface Havlova Austral (2012) is based on the calligraphy of Czech-Australian photographer Sonia Havlova Makac. Mobitale (2012) is a large squarish type family. Finally, Prince of Persia (2012) is an Arabic simulation typeface based on the logo of a game by that name.

Scriptus (2012) is a modification of Scriptina (Apostrophic Labs). Fereydoun explains the three differences: a more careful spacing, 2816 kerning pairs (Scriptina True Type has none) and soft hooks instead of large descender and ascender closed laces.

Fontspace link. [Google] [More]  ⦿

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

The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

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

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

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]  ⦿

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]  ⦿

Hassan Kalhor

Iranian designer of the Latin typeface Kalhor (2013). Fontspace link for BG Design. [Google] [More]  ⦿

Hawzah

Free Farsi font Noor.ttf. [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 Yektapour

Based in Teheran, Hossein Yektapour used a square grid to guide the design of a display face in 2012. [Google] [More]  ⦿

Hossein Zahedi
[Parsfont]

[More]  ⦿

Hussein Ebrahimy
[Hamoon Soft]

[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]  ⦿

Iran Chamber Society

At this site, we find a free font called Old Persian Cuneiform. They write: Darius I [522---486 BC] claims credit for the invention of Old Persian Cuneiform in an inscription on a cliff at Behistun in south-west Iran. The inscription dates from 520 BCE and is in three languages - Elamite, Babylonian and Old Persian. Some scholars are sceptical about Darius' claims, others take them seriously, although they think that Darius probably commissioned his scribes to create the alphabet, rather than inventing it himself. Old Persian, the language used in the cuneiform inscriptions of Achaemenian dynasty and the vernacular of the Achaemenian elite. Old Persian was spoken in southwestern Persia, an area known as Persis, and belongs to the Iranian branch or the Indo-Aryan family of languages. [Google] [More]  ⦿

Iran Vision Fonts

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

iranet

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

Iranian Cultural and Information Center

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

Iranian 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]  ⦿

Iransys

Download Iransys. [Google] [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]  ⦿

KACST

KACST stands for King Abdulaziz City for Science and Technology. A family of Arabic typefaces was made for KACST by CRI, the Computer Research Institute, and has names that contain the prefic Kacst.

The following Latin-Arabic fonts were donated by URW under general GNU license: KacstArt, KacstBook, KacstDecorative, KacstDigital, KacstFarsi, KacstLetter, KacstPoster, KacstQura, KacstQuraFixed, KacstQurn, KacstTitle, KacstTitleL. Download them here. See also here.

At OFL, one can download the Arabic Naskh typeface KacstOne (2012) and most other KACST typefaces: KACST Title L, KACST Title, KACST Screen, KACST Qurn, KACST Poster, KACST Pen, KACST Office, KACST Naskh, KACST Letter, KACST Farsi, KACST Digital, KACST Decorative, KACST Book, KACST Art. Another OFL link. [Google] [More]  ⦿

Karin Karim-Masihi

Based in Tehran, Karin Karim-Masihi created the hexagonal Latin typeface Natural Prism in 2014. [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]  ⦿

Kourosh Beigpour

Designer in Los Angeles. Creator of K-B-Cuneiform (2012), a cuneiform typeface used in Order of Darius the Great (by R.M. Ghiasabadi, Shoor Afarin Pub). He also has several Persian typographic productions. [Google] [More]  ⦿

Libor Sztemon

Czech site with helpful tables of all Latin and Slavic alphabets. Downloadable fonts made by Libor Sztemon in 2001 for his software, Liborsoft, include CNR-Solca, Casy-EA-Bold, Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi, Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava, PrydEuro-Cymraeg, Shahanshah-e-Xatt, TNRLiboriusVII, TempsEuro-Catalan, Times-NR-Czech, Times-NR-Greenlandic, Times-of-EuransiLS, Times-of-SlaviskPSMT, Times-of-Slavs, Times-of-Tajiki, Times-of-the-West, TimesNREuskaraEuransiEsperanto, TimesNewRomanHungarian, Velehrad, VelehradBold, Zemanho-ye-Darseni, Ardashir-e-Urofarsi, Daftar-e-Urofarsi, Gam-e-Urofarsi, Jahan-e-Urofarsi, BohemiaLS, BohemiaPS-BoldLS, BohemiaPS-BoldItalicLS, BohemiaPS-ItalicLS, LiborsoftCzechia, MoraviaLS, Moravia-BoldLS, Moravia-BoldItalicLS, Moravia-ItalicLS, SilesiaLS, SilesiaPS-BoldLS, SilesiaPS-BoldItalicLS, LiborsoftSilesiaPS-ItalicLS, Miyane-ye-Urofarsi (Liborsoft), Name-ye-Urofarsi, Parvane-ye-Urofarsi, Peyk-e-Urofarsi, Sadsale-ye-Urofarsi, ahpur-e-Urofarsi, Setare-ye-Urofarsi, Siyah-e-Urofarsi, Times of Tajiki, Tarik-e-Urofarsi, Zeman-e-Darseni, Zaman-e-Urofarsi, TimesNREuskaraEuransiEsperanto. Direct access. Another directory. Friulan Nazzi-Faggin (2001, a didone) is here. [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 faces in the Linotype library: AlHarf AlJadid (a black titling font by Ismet Chanbour, 1985), Hassan (H. Sidahmed, 1993), Hisham (Ahmed Maged, 1993), Karim (Tim Holloway, 1994, in a generic Naskh style), Qalmi (a Nastaaliq font with horizontal stress), Lotus (Linotype staff, 1978; classic Ottoman Naskh book style font with extra glyphs for Kurdish, Farsi and Jawi), Maged (Linotype staff, 1956, 1987), Mariam (a modern headline font by Ismet Chanbour, 1992), Mofid Mahdi (Mofid Mahdi, 1985), Nazanin (Linotype staff, 1978; this was first called Haghighi), Qadi (Linotype staff, 1985, under the direction of Walter Tracy), Yakout (Linotype staff, 1911), Ahmed (simplified face, early 80s), Ahmed Outline, Amer (originally designed for dry transfer and licensed from Lettera Arabica; redrawn by Adrian Williams and then digitized; published in 1992), Badr (traditional Naskh style, early 70s), Jalal (1977), Kufi (Georges Dib, 1987), Kufi Outline (Linotype staff), Mitra (partially based on the Persian Naskh style, 70s). LinotypePideNashi is an Arabic simulation font. [Google] [More]  ⦿

Lyubov Alexeyevna Kuznetsova

Moscow-based type, graphic and book designer (b. Tula, 1928, d. Moscow, 2008). In 1951, after her graduation from Moscow Printing Institute, she joined the type design team of VNII Polygraphmash, and worked there for forty years as a designer, head of the design department, and chief of the oriental type design unit. From 1992 until her death, she was a staff designer at ParaType, Moscow. Kuznetsova specialized in Arabic type design, but also created many Cyrillic and Latin typefaces. Speaker at ATypI 1998 in Lyon on Arabic type design in Russia. Recipient of many design awards and distinctions such as a citation for design excellence for PT Kufi, at the TDC2 1998. CV at bukvaraz. Russian bio. URW link. Obituary at TDC. Her typefaces:

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

Mac OS Farsi text encoding

[More]  ⦿

MacFarsi

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

MacFarsi / Irmug

Maker of these Arabic language fonts in 2004: X-Andalus-Italic, X-Andalus, X-Arabic-Italic, X-Arabic, X-Arash-Italic, X-Arash, X-Aria-Italic, X-Aria, X-Arshia-Italic, X-Arshia, X-Babak-Bold, X-Babak-Bold-Italic, X-Babak-Italic, X-Babak, X-Badr-Bold, X-Badr-Bold-Italic, X-Badr-Italic, X-Badr, X-Bam-Bold, X-Bam-Bold-Italic, X-Bam-Italic, X-Bam, X-Bijan-Bold, X-Bijan-Bold-Italic, X-Bijan-Italic, X-Bijan, X-Compset-Bold, X-Compset-Bold-Italic, X-Davat-Italic, X-Davat, X-Dorosht-Italic, X-Dorosht, X-Elham-Italic, X-Elham, X-Esfehan-Bold, X-Esfehan-Bold-Italic, X-Fantasy-Italic, X-Fantasy, X-Farnaz-Italic, X-Farnaz, X-Farsi-Italic, X-Farsi, X-Ferdosi-Italic, X-Ferdosi, X-Forouzan-Italic, X-Forouzan, X-Gity-Italic, X-Gity, X-Homa-Italic, X-Homa, X-Jadid-Bold, X-Jadid-Bold-Italic, X-Jalal-Bold, X-Jalal-Bold-Italic, X-Jalal-Italic, X-Jalal, X-Johar-Italic, X-Johar, X-Kamran-Bold, X-Kamran-Bold-Italic, X-Kamran-Italic, X-Kamran-Outline, X-Kamran, X-Kaveh-Italic, X-Kaveh, X-Kerman-Bold, X-Kerman-Bold-Italic, X-Kerman-Italic, X-Kerman, X-Khorsheed-Italic, X-Khorsheed, X-Koodak-Italic, X-Koodak-Outline, X-Koodak, X-Kufi-Italic, X-Kufi-Outline, X-Kufi, X-Mahsa-Italic, X-Mahsa, X-Majid-Shadow, X-Mashgh-Italic, X-Mashgh, X-Mitra-Bold, X-Mitra-Bold-Italic, X-Mitra-Italic, X-Mitra, X-Moj-Italic, X-Moj, X-Morvarid-Italic, X-Morvarid, X-Nahid-Bold, X-Nahid-Bold-Italic, X-Nahid-Italic, X-Nahid, X-Narm-Italic, X-Narm, X-Naskh-Bold, X-Naskh-Bold-Italic, X-Naskh-Italic, X-Naskh, X-Nazanin-Bold, X-Nazanin-Bold-Italic, X-Nazanin-Italic, X-Nazanin-Outline, X-Nazanin, X-Nima-Italic, X-Nima, X-Nimrooz-Italic, X-Nimrooz, X-Paatch-Bold, X-Paatch-Bold-Italic, X-Paatch-Italic, X-Paatch, X-Persian-Italic, X-Persian, X-Roya-Bold, X-Roya-Bold-Italic, X-Roya-Italic, X-Roya, X-Sahra-Italic, X-Sahra, X-Shafigh-Italic, X-Shafigh, X-Shiraz-Bold, X-Shiraz-Bold-Italic, X-Shiraz-Italic, X-Shiraz, X-Simin-Italic, X-Simin, X-Sina-Bold, X-Sina-Bold-Italic, X-Sousan-Italic, X-Sousan, X-Tabassom-Italic, X-Tabassom, X-Tawfig-Outline, X-Termeh-Italic, X-Termeh, X-Thulth-Italic, X-Thulth, X-Tir-Italic, X-Tir, X-Titre-Italic, X-Titre, X-Traffic-Bold, X-Traffic-Bold-Italic, X-Traffic-Italic, X-Traffic, X-Vahid-Italic, X-Vahid, X-Vosta-Italic, X-Vosta, XW-Zar-Bold, XW-Zar-Bold-Italic, XW-Zar-Italic, XW-Zar, X-Yagut-Bold, X-Yagut-Bold-Italic, X-Yagut-Italic, X-Yagut, X-Yas-Bold, X-Yas-Bold-Italic, X-Yas-Italic, X-Yas, X-Yekan-Italic, X-Yekan, X-Zar-Bold, X-Zar-Bold-Italic, X-Zar-Italic, X-Zar, X-Ziba-Italic, X-Ziba. From their site where you can download these: XW Zar font is a TrueType Arabic font covering Arabic, Persian, Urdu, Dari, Pashto, Uzbek, Kurdish, old (Ottoman) and new Turkish (Roman) languages with 'Open Type' and 'Apple Advanced Typography' technology support. It contains regular, italic, bold and bold italic faces.

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

Mahdi Mirzaei

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

Majlis Research Center
[Reza Arani]

CEO of Tahavolgaran Arse Ettelaat in Tehran. His old site offered two free fonts: Sin-Titr-Bold (1997, Sina Dadras), and Mellat (1999, Majlis Research Center by Reza Arani). He explains that he was one of the first people to solve the problem of Persian scripts on web pages, and that his fonts were designed for that purpose, mainly. [Google] [More]  ⦿

Mamoun Sakkal

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

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

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

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

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 Nejabati

Iranian designer, born in Teheran. An expert in calligraphy, he won first prize at the 1st Islamic World Calligraphy Festival in 1996. He now teaches graphic design at Tehran Art College. At Bitstream, he published the Arabic simulation font Persia (2002). See also here. FontShop 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]  ⦿

Media Soft Arabic Fonts

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

Mirza Ali

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

Mohsen Khaki

Born in Tehran in 1986, Mohsen Khaki now lives in Denmark where he designs type. With Alireza Amiri, he created Ki Moa Trinagle Mark (2011). [Google] [MyFonts] [More]  ⦿

Mohssen Beygzadeh

Tehran-based designer (b. 1987) of a futuristic caps set in 2012, called Future Type. [Google] [More]  ⦿

Mojtaba Kia Darbandsari

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

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

Monib Mahdavi

Australian designer of Flux (1996), now a T-26 font. He ran Monib Design, and now has Mahdavi Design. Voca (a slightly grotesk sans) was made in 2004. He was born into a Baha'i family in Shiraz, Iran, in 1975 and migrated to Australia with his family prior to the Iranian revolution in 1979. [Google] [MyFonts] [More]  ⦿

Monotype

Monotype sells fonts for the following languages: Amharic, Aksara Kaganga, Arabic, Armenian, Balinese, Burmese, Cambodian, Chinese, Coptic, Devanagari (Hindi/Marathi/Nepali), Farsi, Georgian, Glagolitic, Gujerathi, Gurmukhi (Punjabi), Hebrew, Japanese, Javanese, Jawi, Kannada, Korean, Laotian, Lontarak, Malayalam, Old Bulgarian, Oriya, Pushto, Sindhi, Sinhalese, Surat Pustaha, Syriac, Tamil, Telugu, Thai, Urdu, Vietnamese. [Google] [More]  ⦿

MR Desing

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

MUI

This Iranian university has many Farsi fonts. We find

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

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

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

Typefaces from 2012: Parto (elliptical).

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

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

Naghi Naghashian
[Naghi Naghachian]

[MyFonts] [More]  ⦿

Nazanin Karimi

Iran-born Nazanin Karimi (b. 1987) is a graphic design student at KABK in Den Haag. He created the Sans Collective typeface in 2012. [Google] [More]  ⦿

Nevisa & Zeetova

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

Link for Nevisa. [Google] [More]  ⦿

Official Home of Gerdsooz

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

Oriental Newspaper Ltd.

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

Ostad Saeed Mohammad Ehsaei

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

Palapal programs page

Paymaan Jafari's page on Persian (Farsi) for Amigas. Download Sepehr (truetype Farsi), Iranafont by Ali Aarefi, and some font sets in Amiga bitmap format made by Paymaan himself under the name IPJ. [Google] [More]  ⦿

Parsfont

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

Parsfont
[Hossein Zahedi]

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

Klingspor link. [Google] [More]  ⦿

Paulo Coelho

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

Paymaan Jafari Taayameh

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

Persian Fonts

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

RedleX

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

Reza Abedini

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

Reza Arani
[Majlis Research Center]

[More]  ⦿

Reza Bakhtiarifard

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

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

[More]  ⦿

Rumi Gallery Persian Calligraphy

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

Saed Feizy

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

Sam Siavash Anvari

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

Sevin Shiva

Type designer in Tehran (b. 1987) who lives in Sweden.

The following alphading pages were published in 2012: Ghab Star David, Ghab Star Clipart, Ghab Star Bahai, Ghab Star, Ghab Leaf Plane, Ghab Leaf Lucky, Ghab Leaf, Ghab Heart Triple, Ghab Heart, Ghab Gravestone, Ghab Cloud, Ghab Bubble Speech Black, Ghab Bubble Speech 2, Ghab Bubble Speech, Ghab Bottle, Ghab Atom. They were created jointly by Alireza Amiri and Sevin Shiva at Falling Angel Studio.

Kokab (2012, with Alireza Amiri) and Azad (2012, with Alireza Amiri) are elegant black extended display faces. Bisheh (2012, with Alireza Amiri) is a condensed sans display family. [Google] [MyFonts] [More]  ⦿

Shahab Siavash

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

Behance link. [Google] [More]  ⦿

Shahab Siavash

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

Shariati

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

Southern Software Inc. (SSi)

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

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

[More]  ⦿

Syed Hyder

Syed Hyder was one of the founders of the School of Computer Science at McGill University. At McGill, Syed, together with Olivier Maquelin and Amar Goudjil developed high-quality nonlinear context-sensitive Arabic fonts. One of the greatest hackers anywhere, Olivier wrote an in-house TrueType to PostScript converter in C in two afternoons. Paola Maleh and Laleh Tajrobekhar helped out with the programming for context-sensitive Arabic glyph placement. Laleh's brother in Iran, one of the leading calligraphers there, provided the team with wonderful Nastalique glyphs.

A few years before his death, Syed tried to convince Microsoft to use his solution for automated Arabic glyph placement in their software, but no deal was struck. The project was then abandoned. Syed Hyder died in Pakistan on Easter Sunday, 2006. [Google] [More]  ⦿

Tabrizu

Farsi fonts archive:

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

Ta'liq script

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

Tarek Atrissi

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

Terrapin Font Services

British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More]  ⦿

The 5th color

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

Vafa Khalighi
[FarsiTex Project Team]

[More]  ⦿

Vistawide

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

Vsc Team

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