TYPE DESIGN INFORMATION PAGE last updated on Mon Feb 8 19:48:08 EST 2016
FONT RECOGNITION VIA FONT MOOSE
Lebanon-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.
At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:
Lebanese designer who created Beantown (2004, an athletic lettering font), Staubach (2004, an athletic lettering typeface based on the lettering of the Dallas Cowboys), Wagner Modern (2011), Kroftsmann (2004, on octagonal face), Kavelry (2004, based on the Kemper Insurance logo), 4th and inches (2008, rounded octagonal; based on the proprietary font used by Russell Athletic, makers of sports apparel as used by Georgia Tech BKB, Washington State, Alabama State, Tennessee State, Mississippi Valley State, and many others in college football), and PopWarner (2004, a Bank Gothic lookalike), Wagner Zip Change (grotesque), Richardson Fancy Block. Creator of some free soccer team lettering alphabets in 2010: Louisville, Puff Script, Red Raiders, Richardson Fancy Block, Wagner Zip-Change (based on grotesque signage letters), ACMilan2009, ASRoma, ChampionsLeague, England2007, MLSUniform, RealMadrid2009. About his GeauxXPDF typeface (2010), he writes: I had extracted a nearly complete set on this one a few years back, except for J and Z which I created on my own. As best I can tell, it only exists as an upper case font without most punctuation, so I created that too to make it more useable. I don't know how much LSU [Louisiana State University] paid for this design, but to me it always looked like something that Larabie or Iconian would have given away. He also extracted HDRadioAlphabet from a rounded Arial typeface he found on HD radio. His UScoreRGK (2012) is a blocky angular font used on-screen by Fox Sports. LCD Display (2012) is a 28-segment LED font. UA Terrafont (2012) was based upon the vector art in this PDF file.
Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿
AramediA Group (Boston and Beirut)
George Hallak's outfit specializing in Arabic Fonts for Microsoft Arabic Windows 95 and Sakhr Windows. Glyph's Arabic Fonts (16) for Arabic Win 95, 3 in 1 package 59.00. Sakkal's Arabic&Islamic Calligraphic Designs (PC or Mac) $49.95. Sakhr's Modern Arabic True Type Font is $30.00. Sakhr's Al-Jawaher Fonts Scalable (Khuttout Tajmiliah) is $50.00. ASC's True Type Font Pack one for Ar. Win 3.x is $30.00. Programmers/Localizers/Consultants Arabization&Software Center, Arabic Educational Multimedia. Jawaher Al Horof 4.0 (Editor): Arabic Editor for Design Applications. Arabic Fonts. Arabic Keyboard Tutor. "The Jawaher Fonts Program provides more than fifty different font styles with all available effects, such as bold, italics, shading and molding. The Jawaher Fonts can be operated under the programs Ustaz 3.1 and Desktop Publishing 3.0 with no special operating requirements in working under Microsoft Arabic Windows and Sakhr Windows. 68USD. Other font families: Sakhr, Kofi, Naskh, Reqaa, Akhbar, Persian.
Al Rassam Al Arabi is the same as Kalimat but for Windows. Al Rassam AlArabi lets you add Arabic text into non Arabic photo retouching and illustration programs such as Adobe Photoshop, Illustrater, Freehand. Corel. Al Rassam Al Arabi comes bundled with 20 Arabic fonts. [Google] [More] ⦿
Lebanese type designer. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic.
Azza Alameddine has been working as a graphic designer for in Lebanon, the Netherlands and the UK since 2009. She graduated with a Masters in Typeface design from the University of Reading and specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. [Google] [More] ⦿
Betterfear.us (or: XXII Fonts, Or Doubletwo Studios)
Lecter Johnson (Betterfear.us) published many free fonts between 2007-2012. At Behance, we find the name John Thorn (Germany) and a mention of Hamburg, but also a reference to Greatwhite in Beirut, Lebanon.
Typefaces: XXII Sinoz DSP (2010-2011, elliptical face), XXII Gory Bastard (2011), XXII BLACKMETAL WARRIOR (2010), XXII Menga (2010, a technical sans family), XXIIARMY (2007, stencil), XXIIDECONSTRUCTION-DESTRUCTION-AREA (2007, grunge), XXIIDONT-MESS-WITH-VIKINGS-HARDCORE (2007, octagonal), XXIISTRAIGHT-ARMY, Army Dirty (grunge stencil), XXIIUltimate-Black-Metal (2007, cracked metal look), XXII Scratch (2007, scratchy face), XXII DEVILS-RIGHT-HAND (hand-printed), XXII BLACK-BLOCK (grunge), XXII MISANTHROPIA (2008, a rigid geometric sans family), XXII Arabian Onenightstand (2008: Arabic or Indic simulation face), XXII Urban Cutouts (2009, grunge), and XXII Static (2007, futuristic).
His web site has a threatening nazi sort of look, but the fonts are (were) free. Betterfear.us claims to be located in St. Pauli, Hamburg, and is also known on MyFonts, where some of its fonts can be bought, as Doubletwo Studios. These include XXII Yonia (rounded script family loaded with opentype features), XXII Goregrinder, XXII Grober Bleistift (2013, marker font), XXII Centar (a sans family with a free regular style), XXII Totenkult (2012), XXII Blackened Wood (2013), XXII Candylove (heavy signage or packaging script), XXII Centars Sans (2012), XXII Daemon Runes (2012), XXII Total Death (2012), XXII HandTypewriter (2012), XXII Daemon (2012), XXII Marker (2011), XXII BLACK BLOCK SERIFA (2008), XXII Mescaline (2009 Western style), XXII Misanthropia (2010, geometric sans), XXII Urban Cutouts (2010), XXII Marker (2011), XXII Blasphema (2011) and XXII STREITKRAFT (2008, a stencil family with grungy versions added). Older list of fonts: Devils Right Hand (blackboard script), Black Block (grunge), Static (techno), Ultimate Blackmetal, Scratch, Don't Mess With Vikings, Army Dirty (grunge stencil), Army Straight, Black Block Eroded.
Typefaces from 2014: XXII YeahScript (signage script).
BluGraphic (Wassim Awadallah, Beirut, Lebanon) specializes in free v ector format graphics including some typefaces. These include the modular sans typeface family Form (2014), and a collection of vector format icons (2013), weather symbols (2013) and arrows (2014). Behance link. [Google] [More] ⦿
Boutros Arabic Typefaces
Boutros calligraphic Arabic fonts (sold by Glyph Systems of Andover, MD) are fonts designed by "Boutros International" a group of experts headed by Lebanese designers Mourad and Arlette Boutros. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.
Their fonts include Boutros Decorative Kufic, Boutros Display, Boutros Koufic, Boutros MB Naskh, Boutros Modern, Boutros New Koufic Modern, Boutros Simplified Naskh, Boutros Asifa, Boutros Farah, Boutros Farasha, Boutros Fares, Boutros Najm, Boutros Thuluth (2012, based on Arabic bamboo calligraphy), Boutros Advertisers Naskh, Boutros Advertising, Boutros BBC Arabic, Boutros GE Tasmeem, Boutros Latin (Serif, Sans Serif), Boutros Maghribi, Boutros Minaret. See also here.
Mourad Boutros is an experienced Arabic creative director, calligrapher and typographer. From his bio: Since 1978, he has been Arabic typographical consultant to many international companies including Letraset. Mourad has designed more than 50 Arabic typefaces, some of which are available on IBM printers as core fonts. Typeface commissions have included corporate typefaces for Mercedes-Benz and for Al Anba, the leading Kuwaiti Arabic newspaper.
At Ascender, Mourad published Boutros Maghribi (2009, codesigned with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.
Here you can download these 2004 fonts by Boutros: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEDinarOne-LightItalic, GEDinarOne-Medium, GEDinarOne-MediumItalic, GEDinarTwo-Light, GEDinarTwo-LightItalic, GEDinarTwo-Medium, GEDinarTwo-MediumItalic, GEEast-ExtraBold, GEEast-ExtraboldItalic, GEElegant-Italic, GEElegantMedium-Medium, GEFlow-Bold, GEFlow-BoldItalic, GEFlow-Italic, GEFlow, GEHili-Book, GEHili-Light, GEJarida-HeavyItalic, GEJaridaHeavy-Heavy, GEMBFarahBold-Bold, GEMBFarashaLight-Light, GEMBFaresMedium-Medium, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSThree-Italic, GESSThree-Light, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GESmooth-LightItalic, GESmoothLight-Light, GETasmeem-Medium, GEThameen-Book, GEThameen-BookItalic, GEThameen-DemiBold, GEThameen-DemiBoldItalic, GEThameen-Light, GEThameen-LightItalic, GETye, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. Here one can find Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, and Boutros-Ads-Pro-Medium-Italic.
Dubai (and before that, Beirut Lebanon)-based designer of Celina (2015), a charming typeface with a hint of art nouveau warmth. In 2015, she created the Arabic kufi-style typeface Kanater. Behance link. [Google] [More] ⦿
David Fleming Nalle
Diana Hamdallah (Beirut, Lebanon) created the Arabic typeface Achelois in 2014 during her graphic design studies. Achelois is an Arabic Naskh font inspired by the work of fashion designer Krikor Jabotian. It is a group project with Mowana Sabeh. [Google] [More] ⦿
Born in Dubai, Elie has worked and studied in UAE, Lebanon and Germany. He holds a BFA in Graphic Design from the American University of Beirut. He has also done his summer internship at Linotype, where he worked under Nadine Chahine, an award-winning Lebanese type designer. He is located in Beirut, Lebanon.
For Polypod, he created an Arabic typeface to match the Latin version for Solidere (a Lebanese company involved in the reconstruction of Beirut's Central District). The Latin version is based on Slab Unit designed earlier by Bill Hill Design.
Free font site, est. 2009. The fonts being displayed and introduced were developed by students in seminars and workshops offered by Pascal Glissmann at the Academy of Visual Arts Hong Kong and the Academy of Media Arts Cologne. Fonts there from 2009
In 2010, new fonts were added. Here is a partial list:
In 2013, Glissmann moved to Parsons in New York City, where he continued the tradition of posting the student work. However, there are no more downloads, and links are not clickable. [Google] [More] ⦿
Graphic designer in Dbayeh, Lebanon. In 2012, he created an Arabic typeface called Al Zakher: A typeface designed based on the typeset used in the 16th century in the first Arabic printing press in the Orient which is located at St. John monastery at Khenchara, Lebanon. The printing press was invented by Al Shammas Abdallah Al Zakher, thus the name.
Hrant H. Papazian
Graphic designer from Beirut with a BFA [Bachelor of Fine Arts] in graphic design from the American University of Beirut (AUB), Department of Architecture and Design. He made an Arabic typeface in 2012 called Kbareh, which was created together with his colleague Tina Balaa. [Google] [More] ⦿
During her studies at the American University of Beirut, Jamal Saleh codesigned the fat outlined Arabic typeface Tabboush (2014, with Ruba Mashtoub), which is inspired by children's books illustrations. [Google] [More] ⦿
Joe Hatem (JH Fonts, Beirut, Lebanon) is a part time lecturer at Notre Dame University Beirut. He created these Arabic typefaces in 2013: JH Amira, JH Beirut, JH Firas, JH Farid, JH Dalya, JH Paola, JH Khalil (squarish), JH Hala, JH Diwany (a calligraphic font that took three years to complete), JH Fares. In 2015, he made the Arabic typefaces JH Thuluth, JH Dima and JH Diwani Thuluth, and the children's (Latin) handwriting font JH Lea Cursive.
Typefaces from 2016: JH Naskh Expanded.
Joe Mahfouz Hatem
Lebanese student who was at McGill University in Montreal. Developer of a free Mac font, Mesha, based on the Phoenician script from the Mesha stela. She also has some interesting exercises on Arabic typography from the American University in Beirut (AUB). [Google] [More] ⦿
Beirut, Lebanon-based designer of the Arabic typeface Midan (2005), which won an award at TDC2 2007. Linotype: Midan is a modern Arabic typeface based on simplified Naskh with a slightly modulated stroke treatment. It is suited for text settings, especially in brochures and magazines.. Free download at OFL.
Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.
After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.
Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).
Lara Assouad Khoury was born in Montreal, and graduated from the American University of Beirut with a Bachelor in Graphic Design degree (BGD) in 1998. She worked as a designer at LeoBurnett (Lebanon, 1998-2000). After one year in Cairo, she moved to Dubai (UAE) and worked as a Senior Designer for Landor Associates (2001-2005) where she was involved in the design of extensive corporate identity projects for large Middle Eastern companies and institutions, such as the visual branding for the country of Jordan. She has graduated with an MA from the Atelier National de Recherche Typographique in Nancy (France), where she studied under renowned type designers such Hans-Jürg Hunziker, André Baldinger, and others. She has researched and is in the process of developing her own extensive Arabic Naskh font. She taught graphic design and Arabic typography courses, at the American University in Dubai. She is an independent type and graphic designer since 2005. She embarked on a project in 2005 with Fred Smeijers to make an Arabic sister, Fresco Arabic, for Smeijers' Fresco family. For this, she takes inspiration from calligraphic samples of the Maghrebi script. Fresco Arabic won an award at TDC2 2008. Her geometric experimental Arabic typeface Tabati (2010) won an award at TDC2 2011. [Google] [More] ⦿
Nadine Chahine (b. 1978) is a Lebanese graphic designer with a special interest in Arabic type design. She started her research on Arabic typography, theory and practice, at the American University of Beirut and at The University of Reading, UK (MA in Typeface Design), where she designed Koufiya (2003). She did a Ph.D. on legibility in the Arabic script. She spoke at ATypI 2003 in Vancouver on Arabic typography. She taught Arabic typography as a visiting lecturer at the American University in Dubai and is currently working at Linotype, Germany, as the Arabic type expert.
In 2004, she started a coop project with Gerard Unger to develop Big Vesta Arabic, a companion of Unger's Big Vesta. At ATypI 2008 in St. Petersburg, she ran the Linotype type design student workshop.
She designed Frutiger Arabic with Adrian Frutiger and Palatino Arabic (2007) with Hermann Zapf, for which she won the Certificate of Excellence in Type Design from the TDC in 2008. For Palatino Sans Arabic, she won at TDC2 2011.
In 2011, she published Univers Next Arabic (with Adrian Frutiger, Linotype).
During a week-end of 2014, she speed-designed the Arabic typeface Hamra Str.
In 2015, she finished ITC Handel Gothic Arabic, a modern monolinear Kufi design.
Naji is a French Lebanese graphic designer, type designer and animator. He studoed graphic design at the Lebanese American University. He also holds a Bachelors degree in Applied Arts from the University of Toulouse Le Mirail, and a Master's degree in interactive multimedia design from the Sorbonne University. Paris-based designer of the Kufi geometric style Arabic typeface Branji (2015) and the Kufi calligraphic Arabic typeface madid (2015). Behance link. [Google] [More] ⦿
Nasri Khattar (1911-1998) was an architect and designer who studied at the American University of Beirut and the Yale School of Architecture, where he obtained an MA in Architecture in 1940. He worked with Frank Lloyd Wright in Spring Green, WI, and Scottsdale, AZ. In 1947, he submitted his Unified Arabic designs to the U.S. Patent and Trademark Office resulting in a patent for the printed form of Arabic in 1950. He designed the first Arabic computer font, Unified Arabic Neo N. [Poster by Brittany Cox].
I am quoting verbatim the biography submitted to Arabic Type by his daughter: Architect, Type Designer, Inventor, Painter, Sculptor, Poet, 1911-1998. Nasri Khattar, architect, practiced his profession for thirty-five years in the United States; in Colombia, South America; and in his country of origin, Lebanon, where he pursued his early education at the American University of Beirut (AUB) with a B.B.A. awarded in 1930. In 1940, he earned an M.A. in Architecture from Yale University, in New Haven, Connecticut. In 1939, he was associated with Frank Lloyd Wright's Fellowship in Taliesin, Spring Green, Wisconsin; and in Taliesin West, in Scottsdale, Arizona.A dual American-Lebanese national, Mr. Khattar was an Arabic consultant to IBM in the fifties, and architect, Arabic calligrapher, and Arabist to Arab-American Oil Company (Aramco) in New York City, 1950-1957. During this time, he made innumerable calligraphic works for both Aramco and the Arabs. He received a Ford Foundation grant for the years 1958-1961, to promote his Unified Arabic, UA system. Unified Arabic is Mr. Khattar's Arabic type system that simplifies the printing and teaching of Arabic, Urdu, Farsi, and other languages utilizing the Arabic alphabet. As he continued to work on his Unified Arabic, Mr. Khattar designed new Arabic typefaces, practiced architecture, and lectured at the American University of Beirut. His topics were Frank Lloyd Wright's architectural achievements and principles of design, and his own work on the writing and design of Arabic type. Impressed by Mr. Khattar's versatility, Martin Giesen of AUB's Architectural Department, called him "the Renaissance Man", for being architect, calligrapher and type designer, painter and caricaturist, poet, and inventor (30-40 patents and copyrights). "It's been a long time since I've seen such perfection," wrote Mr. Giesen in 1977. In 1986, Reverend Dennis Hilgendorg and Dr. Ben Wood, Director of Educational Research at Columbia University, nominated Mr. Khattar for the Nobel Peace Prize for his life's visionary achievements and their vast implications for the fields of linguistics, literacy, printing, computers, and telecommunications. Mr. Khattar is survived by his spouse, Jacqueline Hedrick Khattar, and by his twin daughters, Alexandra Khattar and Camille Khattar Hedrick. His son, Christopher Khattar, passed away in 1992 after a long illness.
Nisrine Sarkis is a Beirut-based graphic designer and letterer. She holds a masters in Graphic Design from USEK's Faculty of Arts. In 2007, she joined WonderEight. During a summer course called Type@Paris (2015), she designed the classical calligraphy-inspired text typeface Kabrit.
Pascal Naji Zoghbi
Penguin Cube seems to be a design studio in Lebanon that serves the Middle Eat since about 2004. One of its people, Nadine Kobayter, designed the dingbat typeface Stereotype-wkg30 (2010). [Google] [More] ⦿
Based in Beirut, Lebanon, Rana studied graphic design and graduated from Central Saint Martins London with an MA in communication design. In 2011 she published Cultural Connectives, which bridges Arabic and Latin scripts. Designer of Parmigiano Arabic (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini. Following a term coined by Thomas Milo, Bodoni's Arabic s Eurabic: it is the Arabic type created in Europe to imitate Arabic script without enough knowledge of or access to true Arabic script expertise. [Google] [More] ⦿
Rana Bulbul (Beirut) created the DNA typeface for Latin and Arabic in 2012. It is based on the structure of DNA. Rana also drew the experimental typeface Fuse 2 Use (2012, a circuit board font for Latin and Arabic). [Google] [More] ⦿
Randa Abdel Baki is a scholar, graphic designer and artist, currently living in Beirut. She chairs the Graphic Design Department and is an Assistant Professor at Lebanese American University. Among the courses she teaches are Intro to Typography and Advanced Typography classes with an emphasis on Arabic type and layout design. Currently, her interest is on highlighting successful bilingual compositional methods, solving the challenges of Arabic and Latin bilingual type layouts. Speaker at ATypI 2010 in Dublin where she explained bilingual (Latin&Arabic) layout systems. [Google] [More] ⦿
During her studies at Rafik Hariri University in Beirut, Lebanon, Rawan Chaaban (b. 1992) created several hybrid Latin typefaces (2015): Spaceship, Coybow, Vampire, Thickwaist, Rocco Style, Circus. [Google] [More] ⦿
At the Academie Libanaise des Beaux Arts in Beirut, Riham Hassan created the decorative caps typeface Poison (2014, Latin and Arabic), Arabic Flotsam (2014), and the textured Latin typeface Scribble Type (2014). [Google] [More] ⦿
Lebanese designer of the experimental typeface Mesomorph (2008). She explains: Mesomorph is digitally created and modified using a variety of repeated geometric forms that often echo the forms of arabesque or meso-american culture, such as Maya and Aztec. Initially derived from Islamic architechtural shapes these forms, taken together, embody a never-ending pattern. Dafont link. [Google] [More] ⦿
Scriptorium (Ragnarok Press, Fontcraft)
Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient faces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.
Images of his best selling fonts. Special subpages:
Fonts from 2014: Highball, Carillon (based on a typeface by Samuel Welo), Edifice (based on lettering by J.M. Bergling).
Fonts from 2015: Gods of mars (an inline sci-fi typeface), Rykov (based on a 1930s Ukrainian constructivist style; Latin and Cyrillic), Vie Moderne (French art deco), Dahlgren.
Fonts from 2016: Rounders (art deco).
Lebanese design studio which created the Arabic text typeface Midan, which won the second prize for Arabic text type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype. [Google] [More] ⦿
Tania Shoukair studied visual communication at The Lebanese University, and worked as a graphic designer and illustrator in Utrecht, The Netherlands. Presently, she is based in Amsterdam. She created Kafiye (2012, a textured Latin typeface influenced by the traditional Arab headdress) and the experimental typeface Ink (2010): Colored ink thrown into clear water was documented and used to detect shapes resembling alphabet letters. Behance link. [Google] [More] ⦿
Arab type site by Tarek Atrissi, a Beirut-born Lebanese professional designer, who is located in Hilversum, The Netherlands. He holds a BA in Graphic Design from the American University of Beirut, Masters of Arts in Interactive Multimedia from Utrecht School of Arts in Holland and an MFA in Design from the School of Visual Arts in NY. A Designer of the 6-weight Arabic family called AT, The Spirit of Doha (2004, for the Asian Games 2006), Al-Ghad (for the Jordanian newspaper Al-Ghad), the Ghad TV font (for the Jordanian station ATV), Etisalat (custom type for Etisalat Communications), Ayna (a squarish 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] ⦿
From the Center for Digital Innovation at UCLA, Hrant Papazian designs and works with type, and is a specialist of Armenian. He has even done multiple master fonts for Armenian. Born in 1968 in Beirut, Hrant specializes in Armenian fonts and legibility issues in general. Designer of Linotype Maral. Founder of The Microfoundry, where he practices type design for Latin, Arabic, Cyrillic, Hebrew, Armenian and Georgian. The company is located in Glendale, CA. Latin faces: Harrier, TMF Daam (with sub-version Domination, Brutaal and Cristaal, all useful as dungeon typefaces), TMF Paphos, TMF Patria (serif). Armernian fonts: Linotype Maral, TMF Arasan (see here for a download), TMF Roupen. Georgian: TMF Akhalkalak. Other fonts: Brutaal, Cristaal, Trajic NotRoman (unpublished, a destructured version of Trajan, submitted to and rejected by Emigre), and DominationAvailable. In 2004, he joined Ultra Pixel Fonts, where he made the pixel typeface Mana. An entertaining speaker and all-round type boulevardier, he will be remembered for many of his insightful and entertaining quotes. He invented the word Helvomita, and once replied this to a poster: I will now Fartura in your general direction. Bio at MyFonts.com. Bio at Linotype. Bio at ATypI. Interview by Daidala. He won an award at Granshan 2008. Speaker at ATypI 2009 in Mexico City. FontShop link. Speaker at ATypI 2010 in Dublin. [Google] [MyFonts] [More] ⦿
TPTQ Arabic Type Foundry
Sarkis has a BA in Graphic Design from Notre Dame University, Lebanon, and a Master's from the Design in Type and Media program at the The Royal Academy of Art in The Hague, The Netherlands. He has worked in the fields of graphic design and branding/advertising, and has taught at Virginia Commonwealth University (in Qatar). He was an independent graphic and type designer based in The Hague, The Netherlands, and is currently in Amsterdam. In 2015, he cofounded TPTQ Arabic Type Foundry. Flickr page.
In a KHTT interview, he writes: My first real experience with type was when I was working with Mohtaraf Beirut Graphics (2007), one of the leading design houses in Lebanon. Mohtaraf has a strong affinity to Arabic type and has produced several beautiful Arabic typefaces. Back then, I was given a task to start drawing a typeface. I was hesitant at first, but got very quickly into it. The design director Yara Khoury noticed that I 'have a knack for this', and encouraged me to go on with it. I was delighted to have the opportunity to understand a lot more about type under Yara's direction, and with some eye-opening sketches from Ali Assi, to research the calligraphic styles and explore the beauty of the Arabic script. I had very limited technical knowledge in font development at the time, therefore after I did the original digital drawings on Adobe Illustrator, Greta Khoury, my colleague at the time, who was and remains one of my biggest sources of inspiration, took over the project, did her magic tricks with it, and produced it into a working font in Fontlab Studio. I owe my start in type design to Yara Khoury and Greta Khoury and to an endless fascination with the Arabic script and the ethereal art of Arabic calligraphy. This drove me to work on self-initiated typefaces which eventually culminated in pursuing a higher education in Type Design at The Royal Academy of Art in The Hague. There, it all went to a whole new level, with countless additional inspirations: from the great teachers that we had, to all the lecturers and the amazing amount of information that was given to us.
Type and graphic design conference, held from 28-30 April 2005 at the University of Beirut, Lebanon. Organized by Zeina El Abed, Nathalie Fallaha and Yasmine Taan, this conference was free of charge and drew 800 people.! Speakers included Ken Garland, Gerry Leonidas, Huda Smishuijzen AbiFares, Reza Abedin, Nadine Chahine, Jean-François Porchez, Heinz Widmer, Tarek Atrissi, Stephen Banham, Johannes Bergerhausen, Filip Blazek, Ashwini Deshpande, Zantides Evripides, Ben Hannam, Lazlo Lelkes, Zeina Maasri, Peter Martin, Stuart Medley, Dan Reynolds, Jennifer Spoon, and Bruno Steinert. Report by Dan Reynolds. Pictures by Porchez (change the 7 to 6, 5, 4, 3, 2, 1 for more). [Google] [More] ⦿
Vladimir F. Tamari studied physics and art at the American University of Beirut where he met and was inspired by Buckminster Fuller (around 1960). He invented and built 3D drawing instruments. In the 1980s he joined the Optical Society of America to keep up with the field and holds U.S. patents for inventions based on his Streamline Diffraction Theory to cancel diffraction in telescopes. He wrote Beautiful Universe: Towards Reconstructing Physics From New First Principles (2005). He paints in watercolors and has designed Arabic fonts for Adobe. He has lived in Tokyo for the past 40 years. In 2005, he made Beautiful Universe, a physics symbol font designed to illustrate his physics theory. [Google] [More] ⦿
After receiving his BA in Graphic Design from the Notre Dame University (Lebanon), Wael Morcos worked for the news website NowLebanon. A year later he joined the branding and design department of Saatchi Beirut where he spent three years developing identities, bilingual typographic solutions and working in print and exhibition design.
His typefaces include Kufam (2013): Kufam is a bilingual typeface originally commissioned by Khatt Foundation part of the Typographic Matchmaking project. The typeface is the result of the collaboration between Dutch type designer Artur Schmal and myself. The Arabic is inspired by early Kufi inscriptions (7th century) and the Latin is inspired by Dutch urban lettering of the 1920's. The font supports the Arabic and Persian scripts.
Born in Beirut, Lebanon in 1986, Zeina graduated in 2008 from NDU (Notre Dame University Lebanon). Presently she is a print and media designer in Florence, Italy.
Creator of the Arabic simulation typeface Gibran (2012), which was created for Lebanese author Gibran Khalil.