TYPE DESIGN INFORMATION PAGE last updated on Tue Jul 23 18:06:07 EDT 2024






Type design in Iran


Abolfazl Seilsepour

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

Dafont link. [Google] [More]  ⦿

AIAP--Iranian Fonts

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


Graphic design studio in Tehran, Iran, est. 2012. They made several Latin display typefaces, like Line Art Font (2015, a multiline typeface) and a pixel font (2015). They designed the free floral decorative caps typefaces Haeckel (2016) and Je Suis Charlie (2014). Behance link. [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]  ⦿

Alireza Askarifar

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

Amin Abedi

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

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

Github link. [Google] [More]  ⦿

Amir Asgari

Iranian graphic designer who lived in Turkey and after a stint in Washington Park, WA, he is now based in Germany. He graduated from B.A Hacettepe University in Ankara in 2012, and from the Mirak Fine Art School in Tabriz, Iran, in 2005. His typefaces:

  • The pixel typeface Overpixel (2012).
  • Qewek (2021). A thin slab serif.
[Google] [MyFonts] [More]  ⦿

Amirmahdi Moslehi
[Bagh-e Tafarroj Studio]

[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

Graphic designer in Nijmegen, The Netherlands. In 2011, he made the squarish typeface 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 Ardwan Malka and Englaiscana (2011).

In 2018, he designed Ardwan Lidzbarski, which is based on the Mandaic handwriting of German scientist Mark Lidzbarski.

Ardwan Manuscript (2019) is a cursive font based on Mandaic manuscripts.

In 2021, he published Ardwan Drower, a mandaic font based on Ethel Stefana Drower's handwriting and philosophy. Lady Drower was a British cultural anthropologist who studied the Middle East and its cultures. She was regarded as the main specialist in Mandaeism and authored the book The Mandaeans of Iraq and Iran. [Google] [More]  ⦿

Arman Artnex

Tehran, Iran-based designer of an expermental multiline Latin alphabet in 2015. [Google] [More]  ⦿

Arman Khorramak

Graphic designer, b. Tehran, Iran, 1986. A graduate of Azad University, he designed the squarish modular typeface family Ebtekar (2017, FontBros). Home page. Behance link. [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]  ⦿


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


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

Awami Nastaliq
[Peter Martin]

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

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

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]  ⦿

Bagh-e Tafarroj Studio
[Amirmahdi Moslehi]

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

Bahman Eslami

Type designer and kinetic graphic designer born in Tehran, Iran (1985). He holds a BA in graphic design with emphasis on typography from the University of Tehran. Since 2005 he has been working with advertising agencies and specializes in graphical animation. Winner at the Letter 2 competition with Harir (2010, Arabic typeface). This typeface was eventually published in 2013 by Typotheque. Peter Bilak blended Harir in with the Latin typeface Lava: Harir is a modern Arabic text typeface featuring three optical sizes, the first typeface of its kind. Harir is based on the Naskh calligraphy style, but is designed to work well with or without diacritics. Its letter proportions and stroke contrasts have been adjusted to create consistent word shapes, and dots have been carefully positioned to help balance the negative space between the letters. After Bahman Eslami completed Harir, Peter Bilak developed a special version of Lava to serve as Harir's Latin character set, perfectly matching its weight, rhythm and contrast. Designers of non-Latin typefaces are often forced to adapt Latin design principles when they want their fonts to work well in multilingual settings. This can result in distorted lettershapes that deviate from the script's tradition and heritage, impairing readability. Harir and Lava provide a unique combination that enables professional-quality multilingual (Arabic, Latin, Greek and Cyrillic) typesetting with no compromises.

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

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

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

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

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

Behaaf Arid

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

Behdad Esfahbod

Seyed Behdad Esfahbod MirHosseinZadeh Sarabi is an Iranian-Canadian software engineer, type expert and free software developer. He worked at Google in Mountain View, CA, and at Facebook (2019-2020). At the time he quit Facebook, his annual salary, as reported by The New York Times, was 1.5 million dollars.

Behdad Esfahbod was born in 1982 in Sari, Iran. While at high school Esfahbod won a silver in the 1999 International Olympiad in Informatics and then gold in 2000. 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 computer science at the University of Toronto (MSc, class of 2006), became a regular contributor to GNOME---he was a director at GNOME Foundation from 2007 to 2010, serving as the president from 2008 to 2009---and many other open source projects. Esfahbod was among the founders of Sharif FarsiWeb Inc. which carried out internationalization and standardization projects related to open source and Persian language. He worked at Red Hat, Google, and generally became the go-to person regarding everything font and text rendering in open source projects. Among the projects he has led are the cairo, fontconfig, HarfBuzz, and pango libraries, which are standard parts of the GNOME desktop environment, the Google Chrome web browser, and the LibreOffice suite of programs. He received an O'Reilly Open Source Award in 2013 for his work on HarfBuzz. In 2012, he obtained an MBA from the University of Toronto as well.

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. Speaker at ATypI 2015 in Sao Paulo. Speaker at ATypI 2016 in Warsaw on The Open Source Python Font Production Pipeline.

Addendum: Read his personal story involving psychological torture by the Iranian government. New York Times article in August 2020 about his Iranian experience: Esfahbod was arrested by Islamic Revolutionary Guards Corps' intelligence unit during a 2020 visit to Tehran. He was then moved to Evin prison, where he was psychologically pressured and interrogated in solitary confinement for seven days. They downloaded all his private data from his devices. Iranian security forces let him go based on his promise to spy on his friends once he was back in United States. According to Linkedin, he is now based in Edmonton, Canada.

Wikipedia link. [Google] [More]  ⦿

Beno Bagheri

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

Borna Izadpanah

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

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

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

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

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

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]  ⦿

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 typefaces. 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]  ⦿


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

FarsiTex Project Team
[Vafa Khalighi]

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

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

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

Free Software Foundation-style Farsi font project at FarsiWeb. Roozbeh Pournader is the head developer here. He was helped by Elnaz Sarbar, Behdad Esfahbod, Behnam Pournader, Aidin Nassiri, Behnam Esfahbod, and Alireza Kheirkhahan. The FarsiFonts project is sponsored by the High Council of Informatics of Iran and Sharif University of Technology. FarsiFonts are Unicode fonts, and are the first set of fonts ever to conform to the Iranian national standard ISIRI 6219. The fonts currently support the Persian, Arabic, and Azerbaijani languages (as written in the Arabic script). The font names: Elham (2004), Homa (2003), Koodak (2003), Nazli (2004, based on Nazanin), Nazli-Bold (2004), Roya (2003), Roya-Bold (2003), Terafik (2004), Terafik-Bold (2004), Titr (2003).

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

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

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

    Fontspace link. Crosswire link for Free Monospaced, Free Serif and Free Sans. Download link. [Google] [More]  ⦿

  • 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]  ⦿


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

    Hirbod Lotfian

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

    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

    [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

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


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

    Iranian Cultural and Information Center

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

    Iranian GUI Fonts

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

    Iranian typography

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

    Iranian Typography Now

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


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

    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]  ⦿

    [Kourosh Beigpour]

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


    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]  ⦿

    Karl Nayeri
    [Prime Graphics (was: PolyType)]

    [MyFonts] [More]  ⦿

    KB Studio
    [Kourosh Beigpour]

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

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

    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

    [More]  ⦿

    Kourosh Beigpour
    [KB Studio]

    [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 (a didone), Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi (blackletter), Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava (a copy of Flyer), 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-the-West, 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, Friulan Nazzi-Faggin (2001, a didone). Additional fonts include Avestin e Euransi, Euransi (old standard charset), Eurasian Times, Liborsoft Slavonia, Pravda, and Times of Hebrew. Another directory. [Google] [More]  ⦿

    Linguist's Software

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

    Linotype: Arabic

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

    Lyubov Alexeyevna Kuznetsova

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

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

    Mac OS Farsi text encoding

    [More]  ⦿


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

    MacFarsi / Irmug

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

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

    Mahdi Ershadi

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

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

    Mahdi Mirzaei

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

    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.

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

    Mamoun Sakkal
    [Sakkal Design]

    [MyFonts] [More]  ⦿

    Maryam Khaleghi Yazdi

    Maryam is an Iranian graphic designer who lives in the United States. She designed three Farsi/Arabic typefaces: Khalaat, Vejahat, Taslim. [Google] [More]  ⦿

    Masoud Aghaie

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

    Masoud Aghaie

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

    Masoud Mazar
    [Mazar Fonts]

    [More]  ⦿

    Masoud 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]  ⦿

    Mehdi HosseinZade

    Rasht, Guilan, Irabn-based designer of the free icon font Micon. [Google] [More]  ⦿

    Mehdi Ravandi

    Iranian type designer, who won an award at Granshan 2016 for the display typeface Alef. [Google] [More]  ⦿

    Mirza Ali

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

    Mohamad Karimifar

    Designer in Boston, MA, who created the Farsi / Arabic typeface Mehraz in 2014. Behance link. [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 Neckar (2012), 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. Irfont link. [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: All languages

    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]  ⦿

    Moslem Ebrahimi

    Persian type and graphic designer based in Shiraz, Iran. Creatpr of these Farsi / Arabic typefaces in 2014: Iran, Moslem. Behance link. [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]  ⦿


    This Iranian university has many Farsi fonts. We find

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

    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 typeface 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 typefaces. Bi Bi (2010) is a squarish (Bank Gothic style) typeface 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 typeface 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 typeface 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), Kashi (2015: inspired by 16th century building decorations in Iran).

    Typefaces from 2013: Ostad Arabic.

    Typefaces from 2016: Naghashian, Golestan (supports Arabic, Persian and Urdu), Babak (a techno family for Latin, Arabic, Persian and Urdu), Ostad Pro, Elogium Pro.

    Typefaces from 2017: Afsoon, Afsane, Jekta, Pasargad, Kamane (Naskh style for Arabic, Persian and Urdu), Damavand.

    Typefaces from 2018: Bieta, Afshid, Pegah, Homayoon, Hafez, Dara, Homa (for Arabic, Farsi and Urdu), BaBa Rounded, BaBa.

    Typefaces from 2019: Nahid, Nameh (a single-weight sans), Gilan, Jaleh, Bauhaus Arabic.

    Typefaces from 2020: Golnama (a prismatic typeface for Arabic, Persian, Urdu and Latin), Esfand, Bonyad (modern kufi / geometric sans), Art Deco Arabic, Behtab.

    Author of Illustrated Quatrains of Omar Khayyam, Geometrie als Mysterium, and Design and Structure of Arabic Script.

    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 type foundry. 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]  ⦿

    Noora Almansoori

    Iranian designer of a nice mini-poster that reads Modern (2015). [Google] [More]  ⦿

    Official Home of Gerdsooz

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

    Omid Emamiam

    Tehran, Iran-based designer of the Farsi-Arabic typeface Omid (2014), which won an award at Granshan 2014. In 2017, he co-designed the wonderful Farsi font Vazeh Quranic with Reza Bakhtiarifard. Ray (by Reza Bakhtiarifard and Omid Emamiam) won an award at Granshan 2017. Both Ray and Vazeh won awards at TDC Typeface Design 2018.

    In 2018, Reza Bakhtiarifard and Omid Emamiam published the rounded monoline Arabic typeface Dabestan, and the corporate typeface MTN Irancell. [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]  ⦿


    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]  ⦿

    [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 typefaces include Paliz, Khass, Faraz, Form, Kufa, Bardla, Barbod, Narin, Rojan, Zar, IranNastaliq (full version), ShekastehNastaliq, and Farzaneh. Scans: i, ii, ii.

    In 2010-2011, he published the free font Nabi for Arabic, Farsi, Pashto, Sindhi, Uighur and Urdu at Open Font Library. [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]  ⦿

    Persian Halls

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

    Peter Martin
    [Awami Nastaliq]

    [More]  ⦿

    Pouya M. Kary

    Iranian software specialist and founder of the open software support and development group Kary Foundation. FontStructor who made the sci-fi font Spacium (2012). Pouya also created Comicfont (2012) and PA-Title No. 1 and No. 2 (2012). Linkedin link. [Google] [More]  ⦿

    Prime Graphics (was: PolyType)
    [Karl Nayeri]

    Sports glyphs, dingbats, ornaments, by Karl Nayeri, made in 1993 at PolyType, now Prime Graphics. Nayeri studied at University of Paris I (Panthéon-Sorbonne) and Institute of Technology of Tehran. He now lives in West Palm Beach, FL.

    His fonts: Polytype-Optix, PolytypeAllure, PolytypeAnimals, PolytypeArrowtek, PolytypeArtdeco, PolytypeBirds, PolytypeBusIcon, PolytypeCorners, PolytypeCorners, PolytypeFruits, PolytypeHolidays, PolytypeImages, Polytype Leisure (2004), PolytypeOptyx, PolytypeOrnaments, PolytypePatterns, PolytypeVegetables. MyFonts sells these typefaces by Nayeri: Achiva, Arius, Aviana, Balboa, Betique, Bohemian, Boracho, Bristol, Exvoto, Fouras, Fulton, Janus, Kaptiva, Montique, Polyma, Polytype Animals, Polytype Images, Polytype Birds, Polytype Ornaments, Polytype Sports, Polytype Fruits, Polytype Arrowtek, Polytype Leisure, Polytype Business Icons, Polytype Vegetables, Polytype Allure, Polytype Holidays, Polytype Art Deco, Polytype Optyx, Polytype Corners, Polytype Artimus I Frames, Polytype Artimus II Frames, Polytype Brutus I Frames, Polytype Brutus II Frames, Polytype Dumas I Frames, Polytype Dumas II Frames, Polytype Medoc I Frames, Polytype Medoc II Frames, Polytype Numa Frames, Polytype Patterns, Shiraz, Signum, Sombrero, Soraya (2004, avant garde), Vasco, Vitalique, Wichita, Woko, Xerxes, Yakima, Zealous. For a period of time, he permitted distribution of his library to International Type Fonders, but now his fonts can be bought from MyFonts.

    The typophiles raised an argument about Soraya (2004), which seemed very close to Cirkulus (Michael Neugebauer, Letraset).

    Klingspor link.

    Images of some of Nayeri's typefaces. Catalog. The Prime Graphics typeface library. [Google] [MyFonts] [More]  ⦿


    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 and type designer in Tehran, Iran, b. 1990, who has been showered with type design awards. Creator of the nine weight Arabic / Persian typeface Milad (2013), Novin Web (203, with Hirbod Lotfian), Ravi (2013, published by 29LT, Sheed (2014), Shafigh Bakh (2014), and Roya Bakh (2014).

    In 2015, he made Yekan Bakh, Chista UI and the handcrafted Leila. In 2017, together with Omid Emamiam, he designed the wonderful Farsi font Vazeh Quranic.

    Ray (by Reza Bakhtiarifard and Omid Emamiam) won an award at Granshan 2017. Both Ray and Vazeh won awards at TDC Typeface Design 2018.

    In 2017, he designed Nian for Arabic, Urdu, Kurdish and Jawi.

    Typefaces from 2018: Khameneir, MTN Irancell (with Omid Emamiam), Dabestan (a rounded monoline Arabic typeface by Reza Bakhtiarifard and Omid Emamiam).

    Typefaces from 2020: Ayendeh Bank Typeface (commissioned; with Mahdi Ershadi).

    Typefaces from 2021: Alibaba Travels Co Typeface (custom; with Mahdi Ershadi).

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

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

    [More]  ⦿

    Rumi Gallery Persian Calligraphy

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

    Saber Rastikerdar

    Tehran-based designer of the free Persian / Arabic handcrafted typefaces Shabnam (2015), Vazir (2015-2019) and (2015-2022, Google Fonts). Vazirmatn grew out of Vazir and is based for the Arabic/Persian part on DejaVu Sans, and for the Latin part on Roboto. Github link.

    Home page on Github. Google Fonts link. [Google] [More]  ⦿

    Saed Feizy

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

    Sahar Afshar

    Sahar Afshar is a type designer, printing historian and researcher from Iran. She studied at the University of Tehran and the University of Reading (where she obtained an MA in Typography & Graphic Communication). After graduating, she has been working on the design of Arabic typefaces and researching the printing of Arabic and Indic scripts. She is currently based in London, and obtained a PhD from Birmingham City University, where she researched Punjabi printing history and culture in post-war Britain.

    In 2017, she published Athelas Arabic at TypeTogether, to accompany Scaglione and Burian's Athelas (2008).

    In 2022, she designed Portada Arabic for TypeTogether.

    Speaker at ATypI 2017 Montreal. [Google] [MyFonts] [More]  ⦿

    Sakkal Design
    [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, Arabic type design and Arabic typography since the 1990s. His Arabic fonts often cover all related scripts---Arabic, Sindhi, Kurdish, Uighur, Urdu and Persian/Farsi. Sakkal Design was commissioned to design the corporate Arabic typefaces for Burj Khalifa and Armani Hotel in Dubai, and several of his Arabic fonts are now widely used as Windows system fonts. In 2010, he obtained a PhD at the University of Washington with a thesis entitled Square Kufic Calligraphy in Modern Art, Transmission and Transformation.

    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 won 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.

    AwanZaman (2016, Type Together) by Mammoul Sakkal (Arabic part) and Juliet Shen (Latin part) grew out of the Arabic newspaper type Awan Sakkal had designed on commission for a Kuwaiti newspaper in 2007.

    In 2014, Mamoun Sakkal published the Arabic typeface Bustan (done with Syrian calligrapher Jamal Bustan), which was inspired by Kairawani Kufic and cursive Sunbuli.

    Calibri Arabic (by Mamoun Sakkal and Aida Sakkal) won an award at Granshan 2016. [Google] [MyFonts] [More]  ⦿

    Saleh Souzanchi

    Hamedan, Iran-based designer of the open source Farsi / Arabic text typeface Behdad (2016), the Farsi typeface Farboad (2016), and the highly scripted and multilevel Arabic typeface Special Font Quran (2016, a redesign of Taha).

    In 2017, he designed Yalda and Binama. Home page. [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 typefaces 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 typefaces. Bisheh (2012, with Alireza Amiri) is a condensed sans display family. [Google] [MyFonts] [More]  ⦿

    Seyed Mohammad Vahid Mousavi Jazayeri

    Seyed Mohammad Vahid Mousavi Jazayeri is a well-known Iranian master calligrapher, designer, scholar, and author. MyFonts writes: Mousavi Jazayeri has taken a particular personal interest in the Kufic script and devoted years to independent research, visiting archaeological locations, historic buildings and cemeteries, mosques, libraries and museums to study the script through direct contact. He has developed a systematic research methodology and published his findings in several books.

    In 2018, he published the calligraphic Arabic typeface Jazayeri Kufic Qazvin and Jazayeri Kufic Shoushtar, which is modeled after the decorative Kufic calligraphy inscribed on the walls of the historic Grand Mosque of Shoushtar in southwestern Iran. [Google] [MyFonts] [More]  ⦿

    Shahab Siavash
    [Si47ash Fonts]

    [MyFonts] [More]  ⦿


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

    Si47ash Fonts
    [Shahab Siavash]

    Graphic designer who was based in Rasht, Iran, who dabbles in experimental Persian type design. Reportedly, he is based in Canada in 2020. He has made over 30 fonts, including ReZar, Nassim Distorted, Si47 Ash Dirty (a grungy Farsi font), Si47 Ash Dirty Neat, Si47 Ash Sole (2016, for Farsi). In 2016, he designed the Latin / Farsi font Kay Khosrow (12 squarish styles; for Latin, Arabic and Farsi), which comes with a coloured version. KayKhosrow and Sole are the first ever non-cursive Persian fonts, according to Siavash. Kay Khosrow Chromatic is the first Persian color font.

    In 2017, he designed SepidKhan (Persian Braille), Si47ash Dali, Si47ash NaPeyda, Si47ash Kaboos, Si467ash Garmalad, Si47ash Sangestan, Si47ash Dibacheh, Si47Ash Mash Nazanin, Si47ash Bulb (grungy Arabic typeface) and Si47ash Ruby.

    Typefaces from 2018: Si47ash Fontball (a Persian and Arabic color font), Si47ash Sorkhabi, Si47ash Mana, Si47ash Mashgh, Rainbow Dream Font (a Persian color font in the style of Gilbert), Si47ash Dirin, Si47ash Barbad, Si47ash Apadana, Si47ash Eima (modular, stencil), Dream Fonts (color fonts for Latin and Persian), Shabdiz.

    In 2020, he released Hezareh.

    Typefaces from 2021: Chelleh (a chubby font for Latin, Persian and Arabic), Astaneh (a Persian / Arabic typeface).

    Open Font Library link. Dribble link. Alternate URL. Yet another link. [Google] [MyFonts] [More]  ⦿

    Simin Delvaray

    Tehran, Iran-based designer of the Farsi typeface Hamsoo (2014). [Google] [More]  ⦿


    Software ciompany in Iran, and producer of some Arabic and farsi typefaces. Badr (1997), Homa (1997) and Zar (1997) are here. This page has MitraBold, MitraNormal, NazaninBold, NazaninNormal, YagutBold, YagutNormal, ZarBold, ZarNormal, all made in 1997. The fonts Aram, BaadkonakBold, Class1Bold, JadidBold (1997), Jalal (2002), JalalBold (2002), Karim (2002), KarimBold (2002), LotusBold (1997), LotusNormal (1997), MitraNormal (1997), Modern (2002), NASTNormal (1997), NasimBold (1997), NazaninBold (1997), Paatch (2002), SinaBold (1997), TitrBold (1997), YasminBold (2002), ZarBold, ZarNormal are here. RedleX carries these: Kamran-Bold, Kamran-Normal, Nazanin-Bold, Nazanin-Normal.

    Their Garcé program has fonts that cover Naskh, Ruqaa, Nastaliq and Thuluth writing. [Google] [More]  ⦿

    Soroush Abbassi

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

    Southern Software Inc. (SSi)

    In the late 1990s, SSi used to sell 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]  ⦿


    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

    Arabic 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 typeface 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]  ⦿

    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]  ⦿