29 Letters
[Pascal Naji Zoghbi]

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

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

• Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
• Another project of Zoghbi involves a type family being developed for newspaper headlines.
• In 2007, he created a 3-style Phoenician type family called Fniqiya.
• Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
• Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
• Bukra display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
• A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
• Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
• At FontStruct, he made Arapix (2009).
• UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
• The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
• Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
• For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (2010, OFL).
• 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants. Azer won an award at TDC 2014.
• Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
• LT Makina. An old typewriter font.
• LT Kaff.
• LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
• LT Zeyn. A great high-contrast fashion mag style typeface.
• Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.

3type

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

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

A. Badie Hammami

Designer in Aleppo, Syria, who made these fonts for Arabic: A-Badie-Shahba (1990, Agfa), Joude, ABH-Ogaret-Light, Badie-Dimah-Normal, Badie-Falcon, Badiefont-Dima, Badiefont-Sabeel, SAHBA-NEW. All were done between 1993 and 2003. [Google] [More]  ⦿

Aamir Wali

Aamir Wali obtained his BS degree in Computer Sciences from National University of Computer and Emerging Sciences, Lahore, in 2002 and MS in Computer Science from the same university 2004. He is a lecturer and faculty member in Center for Research in Urdu Language Processing at National University of Computer and Emerging Sciences, Lahore, Pakistan. Since then he has been doing R&D in script processing of Urdu. His has incorporated OpenType GSUB Table 8 into Linux's rendering engine Pango and has worked on OpenType fonts for Urdu such as Nafees Nastaliq, Nafees Naskh and Nafees Pakistani Naskh. At Typotechnica 2005 he spoke on "Contextual Substitution in Nafees Nastaliq Script". [Google] [More]  ⦿

Aamnah Ahmad

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

Abbas Al-Baghdadi

Iraqi type designer who created the traditional Kufi Arabic typeface Firas (2005), which won the second prize for calligraphic Arabic type at Linotype's 1st Arabic Type Design Competition in April 2006. That typeface can be bought from Linotype.

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

Abbas Izad

Contributor to the GNU Freefont project, where he was responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).

Creator of the free font FreeFarsi Monospace about which he writes: This release is first release of this sets that contain one font, FPUF-nakhost, that is based on the Nazli fonts from www.farsiweb.info. FPUF fixed some Unicode problems. The rest of this project's fonts is Copyright 2004 2005 2006 2007 GNUIran.org. [Google] [More]  ⦿

Abdallah Nasri
[Mogtahid]

[MyFonts] [More]  ⦿

Abdel-Hadi Bukres

[More]  ⦿

Abd-Elrahman Ammar
[Abody Ammar]

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

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

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

Abdelrahman Farahat
[Farahat Design]

[MyFonts] [More]  ⦿

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

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

At Hiba Studio, we find HS Futura (2011), which was based on Salem's FS Futura. Also at Hiba Studio, he co-designed the display typeface HS Masrawy (2013) with Hasan Abu Afash.

Based in Tanta, Egypt, he designed these typefaces at his own foundry, Abdo Fonts: Abdo Misr (2013: rounded Kufi / geometric style), Abdo Screen (2013), Abdo Naskh (2013), Abdo Rajab (2013, which grew out of FS Rajab, 1998-2000), Aldo Salem (2013, a revival of his own FSSalem, 1998-2000), Abdo Joody (2013) and Abdo Egypt (2013) Abdo Line (2012) is an elegant text typeface in a simple Naskh style, designed for books and magazines. See also Abdo Title (2013), Abdo Free (2013) and Abdo Logo (2013).

Typefaces from 2014: Abdo Master (+Outline).

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

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

Abdo Mohamed
[Protype (or: Boharat Cairo)]

[MyFonts] [More]  ⦿

Abdoaroof Aburzizh

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

Abdoullah Aref

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

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

Abdul Aziz Mangrio

A number of free Arabic script fonts by Abdul Aziz Mangrio: Mangrio-Aziz_Herodep, Mangrio-Aziz_Hindi, Mangrio-Aziz_I-Chini, Mangrio-Aziz-Outline-PJG, Mangrio-Aziz_Point-PJG, Mangrio_Aziz_Aftab_Talpur_Styli, Mangrio-Aziz_Bashir_bhand_Wow, Mangrio_Aziz_Dharejo_Dedar_Wood, Mangrio_Aziz_Hizbullah_junejo_S, Mangrio_Aziz_Voiceofsindh.net_Love. In addition, we find free Sindhi style Arabic fonts by these designers:

• Umar Rashid and Lateef Sagar Shaikh: PakType Naqsh.
• CRULP: Nafees Pakistani Naskh (2003).
• Abdul-Majid Bhurgri: MB Sindhi Web (2004), MBSindhi (2000), MBSarang Sattar (2003, outlines by Abdul Sattar Samo), MB LateefiM Sattar (2003, outlines by Abdul Sattar Samo), MB Lateefi (2004), MBLateefiBold Sattar (2003, outlines by Abdul Sattar Samo), MB Bhitai Sattar (2002, outlines by Abdul Sattar Samo), MB Kufi (2004).
• PC Friends Developers: MBSania (2003).
• Agha Sabir: MB Agha Sabir Shikarpur (2004), MB Agha Sabir Indus (2004), MB Agha Sabir (2004).
• Ayaz Gul Soomro: Ajrak Sindhi (2003).

Abdulamir L. Mryhij

alAlmaiha Software, Freezone, Naser City, Cairo, Egypt. [Google] [More]  ⦿

Abdulla Waheed

Three (simple) Arabic fonts based on calligraphy by Abdulla Waheed, created in 1995-1996 by Hassan Shujau and Hassan Hameed: A_Waheed, A_Faseyha, A_Utheem. [Google] [More]  ⦿

Abdullah Arif

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

Abdullah Naser Al Mawash

Designer of the Arabic fonts Al-Rashed-Riyadh and Al Mawash Shatt Al-Arab. Download here. [Google] [More]  ⦿

Abdullah Tasci

Born in 1945 in Kayseri, Turkey, Abdullah Tasci entered the Fine Arts Academy in 1967 and graduated from the Graphic Department in 1972. In 1982 he became Assistant Professor at Mimar Sinan University, and retired in 2000. In retirement, he designed font families such as Tasci Kursiv (2000, calligraphic), Tasci Kufi, Tasci Calligraphy and Nokta. Kufiz (2000, Latin) was influenced by the engravings of the Ottoman art and Rumi ornamentations. Tasci Kufi (2009) is constructivist. In 2010, he created the Tasci Sans, Serif and Tasci Condensed families. Tascinorm was published in 2014. [Google] [MyFonts] [More]  ⦿

Abdulrahman Al Qaraawi

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

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

[MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿

Abitar Mohamed

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

Abjad
[Ali Almasri]

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

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

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

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

Abody Ammar
[Abd-Elrahman Ammar]

[More]  ⦿

Abzari Jafar
[McJer Studio]

[More]  ⦿

Adel Banfeel
[Banfeel Type]

[MyFonts] [More]  ⦿

Adien Gunarta

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

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

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

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

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

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

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

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

Typefaces from 2019: Kembang (dingbats).

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

Adil Rehan
[jasarat.com]

[More]  ⦿

Adler Traldi

Type foundry, aka Adlertype, from the middle part of the 20th century, located in Pavona, Italy. Their 1978 catalog includes these typefaces: Forma (sans), Impressum, Times, Modulario, Sirio (sans), Esperia (sans), Victoria, Ionic, Excelso, Bodoni, Aulico, some dingbats, and Akkad (simplified Arabic). [Google] [More]  ⦿

Adnan M. Ghilbishi

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

Adriana Perez Conesa

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

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

Adrien Midzic

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

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

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

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

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

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

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

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

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

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

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

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

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

ae fonts

The "ae" file [ae stands for Arabeyes] contains these free Arabic truetype fonts: ae_AlArabiya, ae_AlBattar, ae_AlHor, ae_AlManzomah, ae_AlMateen-Bold, ae_AlMohanad, ae_AlMothnna-Bold, ae_AlYermook, ae_Arab, ae_Cortoba, ae_Dimnah, ae_Electron, ae_Furat, ae_Granada, ae_Graph, ae_Hani, ae_Haramain, ae_Hor, ae_Japan, ae_Jet, ae_Kayrawan, ae_Khalid, ae_Mashq, ae_Mashq-Bold, ae_Metal, ae_Nada, ae_Nagham, ae_Nice, ae_Ostorah, ae_Ouhod-Bold, ae_Petra, ae_Rasheeq-Bold, ae_Rehan, ae_Salem, ae_Shado, ae_Sharjah, ae_Sindibad, ae_Tarablus, ae_Tholoth. Elsewhere, we can download these 37 Arabic fonts: AlArabiya, AlBattar, AlHor, AlManzomah, AlMateen-Bold, AlMohanad, AlMothnna-Bold, AlYarmook, Arab, Cortoba, Dimnah, Electron, Furat, Granada, Graph, Hani, Haramain, Hor, Japan, Jet, Kayrawan, Khalid, Mashq-Bold, Mashq, Metal, Nada, Nagham, Nice, Ostorah, Ouhod-Bold, Petra, Rasheeq-Bold, Rehan, Salem, Shado, Sharjah, Sindbad, Tarablus, Tholoth. [Google] [More]  ⦿

Afareet

Free Arabic fonts: AL-mohtrefen-2, Andalus, FS_Abdo, FS_Point, FS_Rajab, MCS-Abha-S_I-curve, MCS-Abha-S_I-normal, MCS-Abha-S_U-curve, MCS-Abha-S_U-normal, MCS-Abha-S_U-round, MCS-Alhada-S_I-normal, MCS-Alhada-S_U-normal, MCS-Alsalam-E_U-3d, MCS-Alsalam-E_U-normal, MCS-Alsalam-S_I-normal, MCS-Alsalam-S_U-normal, MCS-Andalos-E_I-3D, MCS-Andalos-E_I-normal, MCS-Andalos-E_U-3D, MCS-Andalos-E_U-normal, MCS-Andalos-S_I-normal, MCS-Andalos-S_U-fissured, MCS-Arafat-E_I-3d, MCS-Arafat-E_I-normal, MCS-Kofy5-S_U-normal, MCS-Kufy-E_U-3D, MCS-Kufy-Madany-E_U-3D, MCS-Kufy-madany-E_U-normal, MCS-Kufy-madany-S_U-normal, MCS-Madina-E_U-3D, MCS-Madinah-E_U-normal, MCS-Madinah-S_U-normal, MCS-Makkah-E_U-3D, MCS-Makkah-E_U-normal, MCS-Makkah-S_U-normal, MCS-Makkah-S_U-slim, MCS-Mamloky-E_I-3D, MCS-Mamloky-S_U-adorned, MCS-Mamloky-S_U-normal, MCS-Modern-E_U-3d, MCS-Modern-E_U-normal, MCS-Modern-S_U-normal, MCS-Mosque-S_U-normal, MCS-Mozdalifa-S_U-honey, MCS-Mozdalifa-S_U-normal, MCS-Nask-E_U-3d, MCS-Nask-E_U-normal, MCS-Nask-S_U-normal, MCS-Omalgora-E_U-normal, MCS-Omalgora-S_I-adorned, MCS-Omalgora-S_U-normal, MCS-Ophor-S_U-normal, MCS-Quds-S_U-normal, MCS-RedSea-S_U-normal, MCS-Rika-S_U-normal, MCS-Rikaa-E_U-3D, MCS-Rikaa-E_U-normal, MCS-Shafa-E_U-3D, MCS-Shafa-E_U-normal, MCS-Shafa-S_U-normal, MCS-Shafa-S_U-round, MCS-Slim-S_U-normal, MCS-Taif-E_U-3d, MCS-Taif-E_U-normal, MCS-Taif-S_U-normal, MCS-Talayea-S_U-normal, MCS-Taybah-E_U-3d, MCS-Taybah-E_U-normal, MCS-Taybah-H_I-normal, MCS-Tholoth-E_U-3D, MCS-Tholoth-S_U-normal, MCS-Wadiy-E_U-normal, MCS-Wadiy-S_U-normal, MCS-Zamzam-S_U-normal, MCS-mamloky-E_U-normal, MCSALMAALIMHIGH, MCSALSALAAMHIGH, MCSTOPAZ3D, faisal-free, onaizah-ayman. [Google] [More]  ⦿

Afghan Discussion Board

A free Pashtu font, Pashtu Waziristan (2001, Khpala Pashtu Inc). [Google] [More]  ⦿

Afghanan Inc

Designers of these Pashto fonts: PashtoAryob, PashtoBreshna, PashtoGhani, PashtoGharghakht, PashtoGorbat, PashtoHamza, PashtoHotak, PashtoNazo, PashtoPasarlai, PashtoReshtin, PashtoRishad, PashtoZazi. The company is also known as Watan Afghanistan. [Google] [More]  ⦿

Afghan-Reality

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

Afzal

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

Ahlam Alsaqrah

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

Ahmad Al Hindi

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

Ahmad Humeid
[Syntax Digital]

[More]  ⦿

Ahmad Shaarawy

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

Ahmad Sha'ath

Arab calligrapher. [Google] [More]  ⦿

Ahmad Shawki

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

Ahmed Alahdal
[Best 76 Free Arabic Typefaces]

[More]  ⦿

Ahmed Ali

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

Ahmed Edrees

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

Ahmed El-Malah

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

AhmED ElqSas

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

Ahmed Eraqi
[Eraky]

[MyFonts] [More]  ⦿

Ahmed Geaissa

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

Ahmed Lakhdar-Ghazal

Designer of ASV Codar (1995, Linotype), about which Linotype writes: ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts include Latin glyphs (Palatino Roman and Palatino Bold), allowing a single font to set text in both most Western European and Arabic languages. The two ASV Codar fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. Klingspor link. [Google] [MyFonts] [More]  ⦿

Ahmed Maged

Lebanese calligrapher. Designer of Hisham (Linotype, 1993), a strong sans typeface for Latin and Arabic.

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

Ahmed Mirza Jamil

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

Ahmed Mohamed Galal

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

Ahmed Safwat

Graphic and type designer who lives in Oman where he works for a newspaper. Designer of the Arabic typefaces Amal, Safwat and New Koufi Fatemic. His company is Safwat Graphics. [Google] [More]  ⦿

Ahmed Sallam
[Sallam Type]

[MyFonts] [More]  ⦿

Ahmed Youness

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

Ahmed Zaza
[Zaza Type]

[MyFonts] [More]  ⦿

AIAP--Iranian Fonts

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

Aisha Sheikh

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

Akira Kobayashi
[Sony Design]

[More]  ⦿

Akira Kobayashi

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

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

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

View Akiro Kobayashi's typefaces.

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

Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Akram Kamil Kareem

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

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

Al Bayan Company for Computer Services

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

Al Koraishy

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

Al Mahbouby

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

Al Mohtaraf Assaudi

Saudi graphic and type designer. Creator of the (Arabic) Chams font family made for the redesign of the Shams Newspaper in Saudi Arabia. The font was digitized by Hasan Abu Afash from Palestine. Al Mohtaraf is his graphic design house with branches and affiliated offices in the Arabian Peninsula and the Middle East. AlMohtaraf has developed complete families of Arabic fonts named AlMohtaraf, AlDarah (for the magazine), AlYawm (for the magazine), Modern, Cortas (or Qurtas: for the Qurtas food company), Mizan, Watad, Basit, SHB (or Saudi Hollandi Bank Font) and Metro. Midan Regular (Linotype) is free at OFL. [Google] [More]  ⦿

Al Mujahed

This series of Arabic fonts includes Al-Mujahed-Al-Anbobi, Al-Mujahed-Classic, Al-Mujahed-Free-2, Al-Mujahed-Free, Al-Mujahed-Gift-5, Al-Mujahed-Untitled. [Google] [More]  ⦿

Al Qalam
[Syed Abrar Hussain Shakirulqadree]

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

Alaa Zakary

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

Alagha Arabic Type

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

Al-Amri

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

Alan M. Stanier

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

Alan M. Stanier
[SouthArabian]

[More]  ⦿

Alan Wood's Unicode Resources

Great Unicode jump page. Has a page showing all fonts that support the various Unicode ranges. Check, for example, his Shavian Unicode sub-page. Unicode font utilities. Some font downloads, including the Unicode font MPH Damase (2005, Mark Williamson). [Google] [More]  ⦿

Alanoud Alawaji

Graphic designer in Riyadh, Saudi Arabia, who created the painted Arabic alphabet Holm (2015). [Google] [More]  ⦿

Alawi Hashim

Alawi Hashim (Islamic Art Tools) made the free Arabic fonts MCS-Hor-1-S_I-Abrade-2000, MCS-Hor-1-S_I-Flag-2000, MCS-Hor-1-S_I-Normal-2000, MCS-Hor-1-S_I-Snail-2000, MCS-Hor-1-S_I-Wave-2000, MCS-Hor-1-S_U-Normal-2000, MCS-Hor-1-S_U-Snail-2000, MCS-Hor-2-S_I-Normal-2000, MCS-Hor-4-S_U-Bite-2000 and MCS-Hor-8-S_I-Normal-2000 in 2005. These can be downloaded here. [Google] [More]  ⦿

Alawi Hashim Bafageeh

Designer of the Arabic font family Shurooq 01 through 29 (1995, 2000). It can be found here. [Google] [More]  ⦿

Alawi Hashim Bagafeeh

Designer a a number of free Arabic typefaces at Arabeyes, including Tholoth, Hor, Haramain, Electron. [Google] [More]  ⦿

Alex Blattmann

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

Alex Khalil

Arabic script software list maintainer. [Google] [More]  ⦿

Ali Abdelghaffar

Mansoura, Egypt-based designer of the Arabic typeface Tagarob (2013). Behance link. [Google] [More]  ⦿

Ali Ahmed Al Buainain

Designer of the Arabic font Boahmed AlHarf Bold (2005). Download here. [Google] [More]  ⦿

Ali Alattas
[Alilato]

[MyFonts] [More]  ⦿

Ali Almasri
[Abjad]

[MyFonts] [More]  ⦿

Ali Almeethali
[Gheen studio (was: AType)]

[MyFonts] [More]  ⦿

Ali Almithaly

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

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

Ali Alrikabi

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

Ali Laith Kaser

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

Alia Azzouz

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

Aliaa Mahmoud

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

Alilato
[Ali Alattas]

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

Alireza Askarifar

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

Alja Herlah

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

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

AlJohara AlSaab

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

Almamoun Ahmed

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

Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts, or: AGA Fonts)
[Mohammad Alagha]

Mohammad Alagha is Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts), an Arabic font producer active since 1994. The (beautiful!) AGA Fonts for Arabic are exclusively sold by Almedia Interactive Limited, which is based in the UK. His fonts include AGA-AbasanRegular, AGA-AladdinRegular, AGA-BattoutaRegular, AGA-DimnahRegular, AGA-FuratRegular, AGA-GranadaRegular, AGA-JuhynaRegular, AGA-KayrawanRegular, AGA-MashqBold, AGA-MashqRegular, AGA-NadaRegular, AGA-PetraRegular, AGA-RasheeqBold, AGA-SindibadRegular.

• Free fonts in 2012: AGA Andalus, AGA Cordoba Reg, AGA Cordoba Bold, AGA Cordoba Reg, AGA Granada, AGA Sindibad Reg, AGA Sindibad Bold, AGA Mashq Reg, AGA Mashq Bold, AGA Rasheeq Reg, AGA Rasheeq Bold, AGA Kayrawan, AGA Balloon, AGA Juhyna, AGA Furat, AGA Aladdin.
• Dingbats, beautiful arabesques and ornaments: AGA Horoof, AGA Arab Cities, AGA Greeting Phases, AGA Islamic Phrases, AGA Kalemaat, AGA Names, AGA Arabesque (Regular, Bold and Outline), AGA Islamic regular, AGA Greetings 1 and 2, AGA Publishing regular.
• Commercial fonts in 2012: Alquds, Gaza, Abu Dhabi, Dubai, Beirut, Demashq, Amman, Baalbek, Baghdad, Doha, Kufa, Aden, Jeddah, Riyadh, Masqat, Benghazi, Onwan, Mishmish, Barqooq, Hassan, Hazem, Zokhrof.

Another URL. Free font sublink. Fontspae link. Dafont link. Download here. The beautiful dingbat fonts AGA Arabesque and AGA Arabesque Desktop (1994-1996) are here and here. OFL link. [Google] [More]  ⦿

Alnaqaaa

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

Alvi Technologies
[Amjad Hussain Alvi]

Amjad Hussain Alvi (Alvi Technologies, Pakistan) makes available a free Urdu font, Alvi Nastaleeq (2008). [Google] [More]  ⦿

Alya AlQarni

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

Amal Elahi

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

Amanat Ali Goher
[uSOFT]

[More]  ⦿

Amardeep Yadav

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

Amgad

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

Amin Abedi

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

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

Github link. [Google] [More]  ⦿

Amin Ebrahim Kamal
[Sughayer Foundry]

[More]  ⦿

Amine Anane
[Digital Khatt]

[More]  ⦿

Amira Al Dakroury

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

Amirmahdi Moslehi
[Bagh-e Tafarroj Studio]

[More]  ⦿

Amjad Hussain Alvi
[Alvi Technologies]

[More]  ⦿

Ammar Bouras
[GrafikarFonts]

[MyFonts] [More]  ⦿

An Evening of Arabic typography

Videos of the presentations on October 26, 2008, in Amsterdam by Titus Memeth, Tarek Atrissi and Thomas Milo on Arabic typography. [Google] [More]  ⦿

Anan Yassin

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

Andreas Reichelt

Four Arabic truetype fonts in this exemplary page: Akhbar MT (1993), Andalus (Mohammed Alagha, 1993), Arabnews (M. Alkazaz, 1994), Siddiqua (Laser Printing Solutions, 1992). [Google] [More]  ⦿

Andreu Balius Planelles
[Type Republic]

[MyFonts] [More]  ⦿

Android Open Source Project

Free downnloads of Ahem, Clockopia, DroidSans-Bold, DroidSans, DroidSansFallback, DroidSansFallback, DroidSansHebrew, DroidSansJapanese, DroidSansMono, DroidSansThai, DroidSerif-Bold, DroidSerif-BoldItalic, DroidSerif-Italic, DroidSerif, MotoyaLCedar-W3-90ms-RKSJ-H, MotoyaLMaru-W3-90ms-RKSJ-H. Droid (2007) and Clockopia (2009) are by by Google (2007) and Motoya is by Motoya Corporation (2010). Ahem (2010, Todd Fahrner) is for the CSS Samurai's browser testing. Motoya was created for mobile machines. [Google] [More]  ⦿

Anfal M. Alzarraj

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

Angel Kwong

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

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

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

Anna Tsuranova
[Letter Muzara]

[MyFonts] [More]  ⦿

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

[More]  ⦿

Apple Fonts

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

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

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

Apple's Arabic Language Kit

Pathetic quality from an aging company. Lots of choice though: Arabic fonts AlBayan (TrueType and Postscript), Baghdad (TrueType and Postscript), Cairo (bitmap), Geeza (TrueType and Postscript), Kufi (TrueType and Postscript), Nadeem (TrueType and Postscript), Thuluth (Postscript), Persian fonts Amir (TrueType and Postscript), Ashfahan (TrueType and Postscript), Kamran (TrueType and Postscript), Mashad (TrueType and Postscript), NadeemFarsi (TrueType and Postscript), Tehran (bitmap). [Google] [More]  ⦿

Arabetics
[Saad Dean Abulhab]

Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer Saad Dean Abulhab (b. 1958, Sacramento, CA, d. Brownstown, MI, 2021), who in 2000 patented the Mutamathil (unified and symmetric) type style for Arabic. He grew up in Karbala and Baghdad, Iraq, but was born in Sacramento, CA. He attended the University of Baghdad, and holds a Bachelors degree in electrical engineering from Polytechnic University and a masters degree in library and information science from Pratt Institute, both in New York. He resides in the USA since 1979. In 2004, he set up Arabetics. His type design work covers Arabic, Urdu, Persian, Kurdish, and Pashtu. Obituary.

His typefaces include Zena (2009), Layal (2007), Mehdi (2005: follows the guidelines of the Mutamathil Taqlidi type style), Sabine (2008: it too follows the guidelines of the Mutamathil Taqlidi type style), Fallujah (2005), Mutamathil Falujah, Yasmine Mutamathil, Mutamathil Taqlidi, Arabic Mutamathil, Arabic Mutamathil Mutlaq (2004), Arabic Mutamathil Tibaah, Arabic Mutamathil Mutlaq Tibaah, Arabic Mutamathil Muttasil and Arabic Mutamathil Tibbaah Muttasil. Mutamathil and Mutamathil Taqlidi include optional Lam-Alif ligatures. See also Kufa Mutamathil (2011). Other font families: Nasrallah, Silsilah, Yasmani, Mutamathil, Yasmine Mutamathil, Amudi, Amudi Mutamathil, Anbar (2008), Handasi, Yasmine Mutlaq, Jazm (2010), Jalil (2011).

In 2012, he added Nuqat, Nastarkib, Lahab, Ibrani, Hallock, Arabetics Latte (for Latin and Arabic), and Banan (Mutamathil Taqlidi type style).

In 2005, he created Handasi, about which he writes: The idea behind Handasi, Arabic word for engineered, was to design a font without a single curve that would at the same time resembles traditional curves-rich Nask style. The font strictly uses straight lines. The design of Handasi is based on the Mutamathil Taqlidi design style where each letter is represented by one normal glyph assigned the basic Unicode number and an additional final shape glyph to letters capable of dual connection within traditional Arabic text. No initial, medial, or standalone shapes are provided.

Arabetics Symphony (2012) is a sans serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts.

In 2013, he published PF Nuyork Arabic at Parachute. His Arabetic fonts from 2013 include Nagham, Arabetics Harfi (for Latin and Arabic), Camille, Raqmi and Raqmi Monoshape.

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

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

Typefaces from 2018: Arabetics Detroit.

Typefaces from 2020: Arabetics Aladdin.

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

Arabeyes.org
[Khaled Hosny]

Free GNU license package of Arab truetype fonts developed by the Arabeyes.org project in 2003, and maintained by Khaled Hosny:

• AAHS fonts: ae_Cortoba, ae_Nagham, ae_Ostorah.
• AGA fonts: ae_Dimnah, ae_Furat, ae_Granada, ae_Kayrawan, ae_Mashq, ae_MashqBold, ae_Nada, ae_Petra, ae_RasheeqBold, ae_Sindibad.
• Futuresoft fonts: ae_Arab, ae_Graph, ae_Japan, ae_Jet, ae_Metal, ae_Nice, ae_Salem, ae_Shado.
• Kasr fonts: ae_AlBattar, ae_AlHor, ae_AlManzomah, ae_AlMateen, ae_AlMohanadBold, ae_AlMothnna.
• MCS fonts: ae_Electron, ae_Haramain, ae_Hor, ae_Tholoth.
• Shmookh fonts (by Shmookh Computer, Riyadh): ae_AlYermook, ae_Hani, ae_Khalid, ae_Ouhod, ae_Rehan, ae_Sharjah, ae_Tarablus.

Fontspace link. Yet another URL. See also here. Old URL. [Google] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Arabian Company for Advanced Computer Systems
[Mohammad Esmat Abdullhalem]

Egyptian designer in 1992-1994 of these Arabic fonts: ACS-Akeek-Bold, ACS-Akeek-Extra-Bold, ACS-Akeek, ACS-Almass-Bold, ACS-Almass-Extra-Bold, ACS-Almass, ACS-Bassmalah, ACS-Fayrouz-Bold, ACS-Fayrouz-Extra-Bold, ACS-Fayrouz, ACS-Hieroglyphic, ACS-Islamy, ACS-Koraan, ACS-Morgan-Bold, ACS-Morgan-Extra-Bold, ACS-Morgan, ACS-Symbols, ACS-Topazz-Bold, ACS-Topazz-Extra-Bold, ACS-Topazz, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod. They can be downloaded here, here and here. [Google] [More]  ⦿

Arabic

Quoting passages from Monotype on the Arabic scripts. Derived from Nabatean, an ancient Semitic script, Arabic script is an alphabet of 28 basic letters of which 25 are consonants, while three letters double as semi-vowels and long vowels. The overwhelmingly consonantal nature of the Arabic alphabet is well suited to the Semitic roots of the Arabic language. In fact, the writing systems of most Semitic languages (see also Hebrew&Syriac) follow the same basic model which can be traced back to Phoenician script. Written from right to left, Arabic is a cursive script in which most letters connect with their neighbors. Arabic script has no block letters, nor does it distinguish letters as upper or lower case. Instead, each letter can have up to four contextual forms: initial, medial, final and separate. When necessary, short vowels and consonant lengthening (gemination) can be indicated by means of small, unattached diacritic marks above and below the basic letters. However, it should be noted that the use of diacritics is usually restricted to Koranic, educational, poetic and unusually complex texts. For instance, diacritics almost never appear in newspapers. Although Arabic text flows in general from right to left, numbers, which are referred to as 'Indian numbers', are written from left to right. For this reason, Arabic script is sometimes described as bidirectional. Since the Nabatean language had fewer sounds than Arabic, the first forms of Arabic script suffered some deficiencies. The Arabic alphabet in its earliest stages consisted of only 15 consonant letters, many of which stood for more than one sound. With time, the sound represented by each letter was made unambiguous through the addition of dots, a distinctive feature borrowed from Syriac script. Also of great importance was the use of some letters to represent both consonants and long vowels. For instance, alef, originally used only for the glottal stop, began to be used also for the long vowel [a:]. Similarly, waw was used as both [w] and [u:]. At a later stage, small diacritics were added to represent short vowels as needed. As the repertoire of Arabic literary texts grew, these developments gained momentum. Even though Arabic script is best suited to Semitic languages, it is, or has been at one time, used to write the following languages which belong to other language families: Farsi, Turkish, Urdu, Pashto, Kashmiri, Sindhi, Malay, Uighur, Hausa, Swahili, etc. In order to accommodate the non-Arabic sounds of these languages, new letters were formed through new combinations of dot diacritics and small appendages with basic Arabic symbols. While it is commonly known that the Latin script has been used for writing more languages than any other script, few recognize that Arabic script follows in second place. The global spread of Islam has been instrumental in the simultaneous spread of Arabic script. Because of the dominant role of calligraphy in Islamic arts, many diverse styles of Arabic script have flourished over the centuries. Among the best known of these calligraphic styles are Naskh, Kufi, Ruqaa, Nastaliq, Maghribi, Diwani and Thuluth. [Google] [More]  ⦿

Arabic

Free Arabic fonts at Howard Berlin's site included Arabic. Includes Djerba, Karbala (by Shaun Astarabadi for the Digital Islamic Library Project), and Siddiqua TrueType fonts. [Google] [More]  ⦿

Arabic calligraphy

General site with links. Check also here. [Google] [More]  ⦿

Arabic FAQ

Knut S. Vikor's Arabic Macintosh page explains about the use of Arabic on Macs. He points out that Macs come with six Arabic fonts already installed, Geeza Pro (the system font), Al-Bayan, Baghdad, DecoType Naskh, Kufi Standard and Nadeem. [Google] [More]  ⦿

Arabic font for Unicode

Mark Leishers's BDF font is 24pt/100 dpi, and has about 600 glyphs. [Google] [More]  ⦿

Arabic fonts by BO-3yon-mch7lat

Arabic fonts in one zip file: ACS-Almass-Bold, ACS-Almass-Extra-Bold, ACS-Almass, ACS-Bassmalah, ACS-Fayrouz-Bold, ACS-Fayrouz-Extra-Bold, ACS-Fayrouz, ACS-Hieroglyphic, ACS-Islamy, ACS-Koraan, ACS-Morgan-Bold, ACS-Morgan-Extra-Bold, ACS-Morgan, ACS-Symbols, ACS-Yaqout-Bold, ACS-Yaqout-Extra-Bold, ACS-Yaqout, ACS-Zomorrod-Bold, ACS-Zomorrod-Extra-Bold, ACS-Zomorrod, AF_Abha-Normal, Hesham-AlSharq-Normal-Traditional, Hesham-Kashkool-Normal-Traditional, AF_Al-Ahsa-Normal, AF_Al-Hada-Simplified, AF_Aseer-Normal, AF_Buryidah-Normal, AF_Diwani-Normal, AF_Ed-Dammam-Normal, AF_El-Kharj-Normal, AF_El-Khobar-Normal, AF_Hijaz-Normal, AF_Jizan-Normal, AF_Najed-Normal, AF_Quseem-Normal, AF_Riyadh-Normal, AF_Tabook-Normal, Hesham-Cortoba-Normal-Traditional, Hesham-Ghorn-Italic, Hesham-Gornata-Normal, AF_Taif-Normal, Hesham-Free-Normal-Traditional, AF_Unizah-Normal, AF_Unizah-Normal, AF_jeddah-Normal, AGA-Abasan-Regular, AGA-Aladdin-Regular, AGA-Battouta-Regular, AGA-Dimnah-Regular, AGA-Furat-Regular, AGA-Granada-Regular, AGA-Juhyna-Regular, AGA-Kayrawan-Regular, AGA-Mashq-Bold, AGA-Mashq-Regular, AGA-Nada-Regular, AGA-Petra-Regular, AGA-Rasheeq-Bold, AGA-Sindibad-Regular, AL-Aser-Outline, AL-Aser, AL-Battar-Outline, AL-Battar, AL-Bsher-Outline, AL-Bsher, AL-Hor-Outline, AL-Hor, AL-Hosam-Outline, AL-Hosam, AL-Hotham, AL-Manzomah, AL-Mateen-Outline, AL-Mateen, AL-Mohanad-Bold, AL-Mohanad, AL-Qairwan, AL-Sarem-Bold, AL-Sarem, AL-Sayf-Bold, AL-Sayf, AdvertisingBold, AdvertisingExtraBold, AdvertisingLight, AdvertisingMedium, Al-Hadith1, Al-Hadith2, Al-Homam, Al-Mothnna, Al-Samsam, MCS-Haramain.-Band-2000, MCS-Haramain.-2000, MCS-Hor-1-S_I-Abrade-2000, Astute-Regular, Bader, Bassam-Ostorah, Borderbats-Filligree-Regular, Compass-Regular, Cut-n-Paste-Regular, Dahrlin-Regular, Daniela-Regular, DropCaps-Regular, FS_Future, FS_Africa, FS_Ahram, FS_Alex, FS_Pincel, FS_Strip, FS_Arabic, FS_Arabic_Kidnap, FS_Arabic_Kidnap_Dots, FS_Arabic_Kidnap_Points, FS_Arabic_Kidnap_Border, FS_Arabic_Kidnap_Shatter, FS_Black, FS_Bold, FS_Cairo, FS_Diwany, FS_Egypt, FS_Fantazia, FS_Fantazia_Thin, FS_Free, FS_Graphic, FS_Hand_Style, FS_Hand_Style_Thin, FS_Hilal, FS_Hilal_Border, FS_Hilal_St, FS_Hilal_St_Dots, FS_India, FS_Japan, FS_Jet, FS_Kofi_Modern, FS_Lotas, FS_Metal, FS_Modern1, FS_Modern2, FS_Modern3, FS_Nice, FS_Old, FS_Point, FS_Rajab, FS_Rope, FS_Salem, FS_Shadow, FS_Shehab, FS_Shehab_Stripe, FS_Wood, FirstGrader-Italic, Funstuff-Bold, Garnet-Bold, Gymnastics-Regular, Hesham-Bold, Hesham-Nagham-Normal-Traditional, HandScriptLefty-Bold, HandStroke-Italic, Hesham-Fostat-Normal-Traditional, Hesham-Normal, HighNoon-Italic, Julius-Regular, Keycaps-Regular, M-Unicode-Abeer, M-Unicode-Dawlat, M-Unicode-Diala, M-Unicode-Hadeel, M-Unicode-Noora, M-Unicode-Sara, M-Unicode-Sima, M-Unicode-Susan, M-Unicode-Wafa, MCS-Aljalalah., MCS-Badr-E_I-normal., MCS-Badr-E_U-normal., MCS-Badr-S_I-normal., MCS-Badr-S_U-normal., MCS-Basmalah-italic., MCS-Basmalah-normal., MCS-Hor-1-S_I-Flag-2000, MCS-Hor-1-S_I-Normal-2000, MCS-Hor-1-S_I-Snail-2000, MCS-Hor-1-S_I-Wave-2000, MCS-Hor-1-S_U-Normal-2000, MCS-Hor-1-S_U-Snail-2000, MCS-Hor-2-S_I-Normal-2000, MCS-Hor-4-S_U-Bite-2000, MCS-Hor-8-S_I-Normal-2000, MCS-Hor-8-S_U-Normal-2000, MCS-Masahif-S_I-normal., MCS-Masahif-S_U-normal., MCS-P_Mohammad., MCS-Taybah-S_U-rose., MCS-Tholoth-1-S_U-Normal-2000, MCS-ARAFAT-HIGH-DEC-OUT, MCS-CLOCK-FAT, MCS-CLOCK-HIGH, MCS-CLOCK-SPINED, MCS-FREEDOM, MCS-TOPAZ, MCS-WADIY-HIGH-BROK-OUT, Mcs-Book-Title-1, Mcs-Book-Title-2, Mcs-Book-Title-3, Mcs-Book-Title-4, Mcs-Book-Title-5, Mcs-Book-Title-6, Mcs-Hadeith-1, Mcs-Hadeith-2, Mcs-Honor, Mcs-Letter-Word-1, Mcs-Letter-Word-2, Mcs-Letter-Word-3, Mcs-Letter-Word-4, Mcs-Letter-Word-5, Mcs-Quran, Mcs-School-1, Mcs-School-2, Mcs-Swer-Al_Quran-1, Mcs-Swer-Al_Quran-2, Mcs-Swer-Al_Quran-3, Mcs-Swer-Al_Quran-4, Mohammad-Dawlat, Motken-noqta-ii, Motken-noqta, Othmani, PageClips-Italic, Pen-Kufi-Shadow, Pen-Kufi, Quran-1, Quran-2, RubyScriptExtrabold-Regular, SC_ALYERMOOK, SC_AMEEN, SC_DUBAI, SC_GULF, SC_HANI, SC_KHALID, SC_LUJAYN, SC_OUHOD, SC_REHAN, SC_SHARJAH, SC_SHMOOKH-01, SC_TARABLUS, ACS-Akeek-Bold, ACS-Akeek, ACS-Akeek-Extra-Bold, ACS-Topazz-Bold, ACS-Topazz, ACS-Topazz-Extra-Bold, Zokrofi. [Google] [More]  ⦿

Arabic Fonts Designerlibrary

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

Arabic module for Pango

Pango is software for X/UNIX for handling/editing Arabic, Urdu and Indic texts. This page by Karl Koehler has some information and links on this free software. [Google] [More]  ⦿

Arabic script

The Arabic script is used for the following languages: Arabic, Farsi (the official language of Iran), Jawi (the Arabic alphabet for Malay used until the 17th century), Kurdish, Pashto (the official language of Afghanistan), Sindhi (an Indo-Aryan language with about 9 million speakers in the south-eastern province of Sind in Pakistan and in India) and Urdu (the official language of Pakistan); it can also be used for Punjabi (which is spoken in Pakistan and the Indian state of Panjab, but only in Pakistan is it written using Arabic script). It is cursive, caseless, and written right-to-left. [Google] [More]  ⦿

Arabic typography

Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More]  ⦿

Arabic Web Resources

This site has a number of free Arabic fonts: AF_Abha-Normal-Traditional, AF_Ed-Dammam-Normal-Traditional, AF_El-Khobar-Normal-Traditional, AF_Hijaz-Normal, AF_Jeddah-Normal-Traditional, AF_Najed-Normal-Traditional, AF_Quseem-Normal-Traditional, AF_Tabook-Normal-Traditional, AF_Tholoth-Normal-Traditional, AF_Unizah-Normal-Traditional, Andalus, FS_Alex, FS_Arabic, FS_Bold, FS_Cairo, FS_Diwany, FS_Fantazia, FS_Free, FS_Future, FS_Graphic, FS_Hilal, FS_Japan, FS_Jet, FS_Metal, FS_Nice, FS_Old, FS_Point, FS_Rope, MCS-Electron-S_U-normal, MCS-Hijon-S_U-normal, MCS-Hor-1-S_U-Normal-2000, MD_Farsi_1, MD_Farsi_2, Ousbouh. [Google] [More]  ⦿

arabi.islamic
[Elharrak Sumaya]

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

Arabismo

Arabic font links, with discussions in Spanish. [Google] [More]  ⦿

Arabs Internet Club

29 New Arabic truetype fonts: AbadiMT, AF_Abha, AF_Ahsa, AF_Aseer, AF_Buryidah, AF_Ed-Dammam, AF_Diwani, AF_El-Hada, AF_Hijaz, AF_Jeddah, AF_Jizan, AF_El-Kharj, AF_El-Khobar, AF_Najed, AF_Quseem, AF_Riyadh, AF_Tabook, AF_Tholoth, AF_Unizah, AkhbarMT, AkhbarMT-Bold, AlexeiCopperplateITC, Algerian, Al_KhatNormal (Al_Khat family by Hisham Diab and Hassan Loutfy), Al_KhatItalic, AGA-Arabesque, AGA-ArabesqueDesktop. [Google] [More]  ⦿

ArabTex
[Klaus Lagally]

If you use LaTeX and want the top of the line in Arabic fonts (and free too!), get the metafont that comes with ArabTex: From the University of Stuttgart, Professor Klaus Lagally's ArabTeX is a LaTeX extension for high-quality Arabic writing. It is free. Lagally is also responsible for the xnsh package for ArabTeX. CTAN archive. He published ArabTEX - Typesetting Arabic with Vowels and Ligatures, EuroTEX'92 (Prague), 1992. [Google] [More]  ⦿

Arab-Vokabeln

Free Arabic fonts: ArabicnewsLight (M. Alkazaz, 1994), MCS-mamloky-E_U-normal., MCS-Jeddah-S_U-fissured., Traditional-Arabic (Glyph Systems, 1993), MCS-Jeddah-S_I-3d., Andalus (Mohammed Alagha, 1993), MCS-Jeddah-S_U-baloon., MCS-Modern-E_U-normal., MCS-Hijon-S_U-3d., MCS-Diwany1-S_U-adorned., MCS-Hijon-E_U-normal. [Google] [More]  ⦿

AramediA Group (Boston and Beirut)
[George Hallak]

George Hallak's outfit specializing in Arabic Fonts for Microsoft Arabic Windows 95 and Sakhr Windows. Glyph's Arabic Fonts (16) for Arabic Win 95, 3 in 1 package 59.00. Sakkal's Arabic&Islamic Calligraphic Designs (PC or Mac) $49.95. Sakhr's Modern Arabic True Type Font is $30.00. Sakhr's Al-Jawaher Fonts Scalable (Khuttout Tajmiliah) is $50.00. ASC's True Type Font Pack one for Ar. Win 3.x is $30.00. Programmers/Localizers/Consultants Arabization&Software Center, Arabic Educational Multimedia. Jawaher Al Horof 4.0 (Editor): Arabic Editor for Design Applications. Arabic Fonts. Arabic Keyboard Tutor. "The Jawaher Fonts Program provides more than fifty different font styles with all available effects, such as bold, italics, shading and molding. The Jawaher Fonts can be operated under the programs Ustaz 3.1 and Desktop Publishing 3.0 with no special operating requirements in working under Microsoft Arabic Windows and Sakhr Windows. 68USD. Other font families: Sakhr, Kofi, Naskh, Reqaa, Akhbar, Persian.

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

archaic
[Peter R. Wilson]

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

Areej Alnahdi

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

Arfonts.net

The mother of all Arabic font archives. [Google] [More]  ⦿

Arine Isk

Beirut-based designer of an untitled Latin / Arabic brush typeface in 2013. [Google] [More]  ⦿

Aring Typeface
[Måns Grebäck]

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

• Acryle Script (2014).
• Actonia (2016). A monoline script.
• Adielle (2018).
• Aerofoil (2017). A vintage bottom-heavy script.
• Airways (2016). A signage script.
• Akayla Script (2018). Calligraphic.
• Aliey (2021). A 4-style Victorian copperplate serif.
• Aliment (2018). A sharp geometric sans.
• Amertha (2020). a fat finger font.
• Amplify (2013). A signage script.
• Angars Runes (2019: medieval, with gothic cathedral curves).
• Angilla Tattoo (2013). A connected spurred tattoo typeface. Followed by Angilla Script (2020).
• Antlers (2012). A calligraphic script.
• Aquate Script (2019).
• Arachnids (2011, graffiti face)
• Artely Inks (2016).
• Artisual Deco (2021). Pure art deco.
• Artographie (2020). An all caps art deco typeface family.
• Atelas (2015). Signage type, baseball script.
• Atures (2018). Futuristic and monoline.
• Autograf (2015) and Autografia (2021). Signature typefaces.
• Ave (2016) in styles called Ave Utan, Ave Betwan and Ave Fedan. A family of baseball scripts.
• Avelana. A connected script.
• Backpack (2014). A thick signage script typeface.
• Backyard (2016). A blackletter typeface.
• Barkants (2011, elegantly hand-printed family).
• Barley Script (2017). A signage script.
• Baystar Script (2021).
• Beautiful Trouble (2012). A rabbit-eared upright connected script.
• Beaked Tyrant (2014). A copperplate calligraphic script.
• Beckasin (2011, signage face)
• Before The Rain (2011, calligraphic) Before The Rain Arabic (2016).
• Belladio (2021). An urban script.
• Bellino (2018).
• Bezar (2020). A script.
• Billion Dreams (2020, by Mans Grebäck and Rangga Subekti). A heavy signage script.
• Billion Stars (2013). A tattoo script font.
• Bira (2012). A retro connected brush / signage script.
• Blaak (2019).
• Black Fox (2014). A sirupy brush face.
• Black Signature (2021). A bold signature font.
• Black Larch (2016) and Dark Larch (2016).
• Bloc Boy (2016). Like handwriting.
• Blockography (2011). A sketched typeface.)
• Block Talk (2011, with Zaydek Michels-Gualtieri)
• Blods (2011, a great blotty brush face)
• Blueberry Script (2017; with Noah Kinard).
• Botanink (2011)
• Bouncy (a cartoon font).
• Bourdos2022). A script typeface.
• Brannboll (2011, baseball signage face), Brannboll NY (2013), Brannboll Connect (2020), Brannboll Stencil (a baseball script) (2020).
• Bready (2011). A retro signage script with art nouveau aroma.
• Brev Script (2014). A connected secretary hand from the 19th century.
• Bronze Script (2014).
• Brother Tattoo (2012).
• Bumblebees (2012). A plump curvy script.
• Bunya (2016). A geometric slightly deco sans typeface family.
• Calendary Hands (2012).
• Caligraf (2020).
• Canela Bark (2015, co-designed with Luis Miguel).
• Caneletter Sans and Script (2013). Upright unconnected and connected scripts.
• Cantona Script (2019).
• Canyon (2021). A wide elliptical sans in 18 styles, featuring a coathanger lower case f.
• Capoon (2018). A ten-style sans family.
• Caprica Sans (2014) and Caprica Script. A plump script.
• Caravela (2020). A pirate map script.
• Casat Cap (2017). An all caps brush typeface family.
• Caster (2019). A heavy poster script.
• Castro Script (2012).
• Catchland (2021). A retro baseball script.
• Celebrater (sic) (2012). An oily font.
• Cellos Script (2013).
• Centeria Script (2012).
• Channel (2011, connected upright script)
• Chapel Script (216). For signage.
• Characteristic (2011).
• Chavenir (2011).
• Chinal (2018).
• Choko (2011, released in 2016). Chocolate and cream-themed decorative typeface.
• Christmas Miracle (2018), Christmas Reign (Tuscan, all caps) (2020), and Christmas Sparkle (2018).
• Chrysante (2020). A monoline flowing pen script.
• Clear Line (2012). A fat finger / signage typeface.
• Clipper Script (2011).
• Clothe (2017).
• Coneria Script (2012). A connected script.
• Conture Script (2018). Elegant, classical, and with exaggerated capitals.
• Crackin (2011).
• Crunchy (2016). An upright connected script.
• Cruz Quaste (2020). A handcrafted blackletter typeface.
• Cubest (2021). A squarish monospaced techno family.
• CutScript (2011, connected script).
• Danbury (2022). A speed-emulating sans.
• Dark Crow (2020). a dry brush script.
• Dollie Script (2013).
• Ebbing (2018).
• Echinos Park Script (2012).
• Ederson (2018). A vintage signage script.
• Ekologie Hand (2012).
• Ekorre 2021). Aa vintage decorative serif.
• Elaya Script (2019). A creamy signage script.
• Electronics (2017). A retro signage script.
• Elevate (2016).
• Emiral Script (2017). A baseball script.
• Encina Script (2016). A thin calligraphic typeface.
• Enlighten (2011)
• Delinquente (2012).
• Denigan (2011, hairline)
• Equal Sans (2012).
• Espesor Olas (2011, fine hand-printed calligraphic family)
• Esplanade Script (2015, by Mario Arturo).
• Ethernal (2017). A connected script.
• Europe Underground (2010, geometric sans with a hairline weight).
• Fabulous (2017) and Fabulous Gold (2017). Signage script.
• Falkin Sans (2016), Falkin Script (2016), Falkin Serif (2016).
• Faltura (2011, constructivist), Faltura Alien (grunge), Faltura Guerra (grunge)
• Faltura Animals (2011)
• Feathergraphy Decoration (2011, calligraphic).
• Duera (2016). A variable width sans typeface family.
• Fargo (2021). A cursive script.
• Fat Wandals (2018). A graffiti font.
• Feathergraphy Clean (2011).
• Fibography (2013). A caps typeface composed of fibers.
• Filbert Brush (2012), Filbert Color (2013, a soft brush font).
• Finition (2017). A connected brush script.
• Fireplace (2020). A connected script.
• Firstly (2020). A flowing calligraphic signature script.
• First Lyrics (2011).
• First Reign (2022). A medieval typeface. Second Reign (2022), Third Reign (2022) and Fourth Reign (2022) are further medieval typefaces.
• Flighter (2018). A retro airplane font.
• Fondy Script (2018).
• Frankentype (2013). An all-caps brush typeface for signage.
• From Skyler (2016).
• Funkygraphy (2011, fat and counterless).
• Gecko (2015, a fine creamy signage script).
• Geza Script (2017). A great angular almost Arabic-looking script.
• Ghang (2011, graffiti family).
• Gingo (2020). A script.
• Goatskin Brush (2015). A great brush typeface.
• Golden Hopes (2021). A signature script.
• Gonzi (an 31-style sans). Published in 2021.
• Graced Script (2016). A wide calligraphic connected brush script.
• Grandi (2016). A ten-style display sans.
• Gready (2021). A fat signage script.
• Greback Grotesque (2012). The Thin is very very thin.
• Gretoon (2011, cartoon family)
• Griphite (2018). A rough brush typeface.
• Guld Script (2015).
• Habanero (2016). A fat signage typeface.
• Handtalk (2010, silhouettes)
• Harbell (2013).
• Hard Block (2011, Western slab face).
• Hastafi (2022). An 8-style sharp-edged display serif.
• Haydon Brush (2016).
• Heavy Rain (2021). Decorative initials, and an all caps wedge serif.
• Hemicube (a wide squarish all caps sans) (2020).
• Hemmet (2013). A signage script.
• Hierograf (2016). A layered textured handcrafted poster typeface family.
• Hitalica (2011).
• Honeymoon (2017). A connected script.
• Housegrind (2013, connected script).
• House of the Dragon (blackletter). Published in 2021.
• Hoyle (2020). A slab serif.
• Hundred Miracles (a signage script). Published in 2021.
• Impregnable (2013). A connected script.
• Indiana Script (2017). A baseball script.
• Inked Bones (2019). a hand-painted blackletter font.
• Intrique Script (2013). A baseball script.
• Isle Body (2019), Isle Headline (2019).
• Jacked Eleven (2011), Jacked Eleven Highlight (2011), Jack Pirate (2020: a tattoo blackletter typeface), January Script (2013).
• Jaymont (2018). A sharp-edged wedge serif typeface family.
• Jengotan (2021). A dry brush script.
• Jumper (2021). A 13-style sans. Free download for personal use only.
• Kandira (2018). A sleek sans family.
• Kanvas (2020). A script typeface.
• Kerater (2011, sans)
• Lace 2.0 (2012). A thin connected script co-designed with Matteo Milazzo.
• Lacosta (2020). A signage script.
• Kompar (2018).
• Krinkes (2015, baseball script). A connected swashy signage script.
• Kurri Island (2020).
• Lakesight (2014). A connected script.
• Larch (2016). A crisp script typeface.
• Largelake (2021). A signage script.
• Las Enter (2013). A neon light script.
• Leaders (2020). A blackletter font.
• Ledare (2021). A 14-style bold and expressive sans.
• Letric (2021).
• Let Me Ride (2011)
• Levitee (2011, a lively connected script).
• Lighthouse (2013). A bold high-contrast script face.
• Lina Script (2012). A tattoo script done with Vicky Mardian.
• Lourino (2018).
• Low Casat (2017) and Low Casat Fat (2017).
• Lyrics Movement (2011, tall-ascendered hand).
• Lyster (2020).
• Mandoul Script (2021) and Mandoul Black (2021: a brush script).
• Mainland (2018). A sans family.
• Mainstream (2017). Graffiti style.
• Manofik (a 4-style warm retro serif with a coathanger lower case f; for Latin, Cyrillic and Arabic). Published in 2021.
• Martyric (2014, brush script),
• Masteries (2013). A connected formal script.
• Mastoc (2014).
• Mauritz Caps (brushed) and Mauritz (a great wild script family), both published in 2021. Followed by Mauritz Sans (a brush script with a strong personality and a cartoon vibe) in 2022.
• Mean Casat (2018).
• Medish Script (2018). A great calligraphic handwriting typeface.
• Together with Noah Kinard, he designed the calligraphic typeface Melay Script (2016).
• Middle Ages (2019). A Lomardic blackletter in Regular and Deco styles.
• Milasian Circa (2015) and Milasian. A connected script.
• Merry Christmas (2015). A retro script in Flake and Star styles. Followed in 2017 by the color script font Merry Christmas Color.
• Milkyway Hotel (art deco sans).
• Miraikato Hand (2022) and Miraikato Script (a rustic script) (2022).
• Mistuki (2015). An oriental brush simulation font.
• Mochary (2016). A signage or tattoo script.
• Molly Sans (2019). Caps only.
• Monsta Tag (2013): a graffiti font.
• Motion Picture (2013). A heavy connected retro script.
• Mount (2012).
• MAWNS Graffiti (2010) and MAWNS Serif (2010)
• MAWNS Handwriting (2010).
• Made With B (2011, sketched face).
• Mardian (2012). A calligraphic tattoo script done with Vicky Mardian.
• Markera (2011, marker pen family)
• Many Weatz (2011)
• Mawns Rock (2011)
• Monoment (2011). A fat upright connected script.
• Moneymachine (2022).
• Monosphere (2012-2016). A futuristic monospaced typeface.
• Murality (2022). A readable graffiti or mural typeface.
• Myteri Tattoo (2021) and Myteri Script (2021: a calligraphic script).
• Nacinth (2020). A script.
• Nino Script (2018). A tattoo font.
• Nobella (2021). A retro baseball script.
• Normale (2014). A set of distressed typewriter fonts.
• Notera (2014). A connected handwriting font. Followed by Notera 2 in 2018.
• Odenburgh (2020). A medieval calligraphic typeface.
• Optien (2011, techno face)
• Ordinatum (2011, a severe sans).
• Original Black (2021). A fat blackletter typeface.
• Ornamental Versals (2011, ornamental caps)
• Painter (2016). A sign painting script.
• Patched (2021).
• Pennybridge 1563 (2010, blackletter)
• Pharmount (2014). A calligraphic connected script.
• Phraell (2013). A great italic formal calligraphic script with optional swashes.
• Pigeon (2016).
• Pineapple (2012).
• Plates Napery (2015).
• Plicata (2016).
• Pligo (2016). A balloon or cartoon font.
• Preside (2017).
• Prime Script (2012).
• Prognostic (2011)
• Qaskin (2015). A semi-formal connected script typeface with Black and White (outlined) styles.
• Qhuman (2021). A 6-style Victorian serif.
• Qraxy (2016). Quache Variable (2020) and Quache (2020). A 28-style flexible sans family.
• Quanton (2022). An 8-style angular serif.
• Querino Sans (2019). A very bold sans. Followed by Querino Script (2019).
• Quickier Pro (2012). A swashy calligraphic script face.
• Quincho Script (2016).
• Quintal Script (2021). A retro signage font.
• R-2014 (2011, LED face).
• Rabento (2021). A 6-style condensed display slab serif.
• Race Fever Pro (2015, in Brush and Pen versions) and Race Fever Brush (2015).
• Radio 187.5 (2010, techno family)
• Rakoon (2014). A creamy ultra-fat upright script. Followed by Rough Rakoon in 2016.
• Rangly (2017-2018). A paint roll font.
• Raspberry Script (2017).
• Recorda Script (2013). A formal calligraphic script.
• Reditum (2014). A decorative script.
• Reeler (2014, with Noah Kinard).
• Remachine Script (2013). Retro signage script. In 2020, Mans added Remachine Script Arabic.
• Respective (2011, calligraphic script, +Swashes).
• Respondent (2021). A script.
• Rider (2011, a 30-style "versal" sans family)
• Ringer (circle and arc-based sans)
• Ristella (2017). A baseball script.
• Rivera 2022). A narrow sans in 10 styles.
• Rodrigues (2021). A script typeface.
• Roona Sans (2018: modernist and organic curves).
• Ropest (2018). A rope font.
• Roskrift (2011, calligraphic; + Roskrift Clean).
• Rougant (2021). An organic display font.
• Roughen (2020).
• Rurable (2015).
• Ruthless Wreckin (graffiti typefaces), Ruthless Drippin' (dripping paint family)
• Safir Script (2016). A fat baseball script.
• Saker Sans (2017).
• San Andre (2021) and San Andreas (2021), the free version. A baseball script.
• Santa Claus (2019). A blackletter typeface, accompanied by Santa Claus Deco, a snow crystal font.
• Scantype (2016).
• Sculptor's Hand (2011, connected chancery hand).
• Second Lesson (2022). A wide script.
• Second Lyrics (2011, Treefrog-style handwriting)
• Sequal (2020). Graffiti style.
• Sicret (2020) and Sicret Mono (2020). An all caps family.
• Servin' for Salute (2011)
• Shaded Larch (2016).
• Sharpe (2019). A sharp-edged high-contrast serif typeface family. See also Sharpe Variable (2020).
• Shenandoah (flowing signage script).
• Shimes (2015).
• Shipped Goods (2011). A copperplate calligraphic script.
• Shortbrush (2011)
• Signerica (2011, connected flowing hand)
• Sketchica (2011, sketchy face)
• Skyzhi (2016). An advertising headline typeface.
• Society Editor (2013, connected script).
• Snacker Comic (2013).
• Snowstreet (2013, an octagonal typeface) and Snowy (2013).
• Some Weatz (2011, calligraphic, copperplate; +Swashes)
• Sonika (2018).
• South African (2014). A movie poster brush typeface.
• Southern Aire (2013, connected script face).
• Specify (2016). A 40-style sans family. Download, free for personal use.
• Spoken (2019). A graffiti font.
• Sponger (2021). In the VAG Round genre.
• Square Worm (2011)
• Stackyard (2015). A script.
• Stainy (2013). A signage script.
• Starella Script (2019) and Starella Tattoo (2019).
• Starge (2019).
• Starkey (2020).
• Stormland (2021). A wide monoplinear sans.
• Stormline (2021). All caps, wide and outlined.
• Strawberry Script (2017).
• String Lines (2018).
• Stroke Dimension (2011). A 3d typeface.
• Struck Base (2021). A baseball script.
• Suecos Locos (2011---yummy!).
• Sultan Cafe (2014). An interlocking poster typeface.
• Sunny Sam (2020). A script typeface.
• Sverige Script (2012). Calligraphic wedding font.
• Tall Casat (2018).
• Tamoro Script (2014).
• Taylor Hand (2020). A signature script.
• Tevegraphy (2011, elliptical)
• The Hills (2017).
• The World is Yours (2011, quaint)
• Throwupz (2011)
• Toley Hand (2019).
• Tipbrush Script (2011).
• Tomino (2016).
• Top Comic (2013). A very fat cartoon bubble face.
• Treehouse (2011, upright connected script; +Snowhouse for a snow-covered version)
• Tusch Touch 1 (2011)
• Two and Three (2011: a tattoo parlor blackletter family)
• Typographic Onedalism (2011, graffiti simulation face).
• Undergone (2014). Decorative and calligraphic.
• Unthrift (2015). A pen script.
• Vacer Sans and Vacer Serif (2016). The latter is a slab serif.
• Validity Script (2020, with Misti Hammers).
• Ventography (2013). A bold signage script.
• Vinho De Amora (2021). A vintage all caps wedge serif and a stencil version.
• Waiter (2017).
• Walk Da Walk One
• Wandals (2018). A graffiti font.
• Wankstaberg Battles (2010, a tall fat script)
• White Dream (2021). A retro script.
• White Larch (2016). A connected script typeface.
• Wholecar (2021). An unerground train graffiti typeface family.
• Wild Growth (2011).
• Wildline (2021).
• Winfield Script (2019).
• World Series (2021). A baseball script.
• Xtreem (2012) and Xtreem2 (2014).
• Yanty, Yanty Big, Yanty Script, and Yanty Script Big (2012).
• Yaquote Script (2014).
• Yaty (2019).
• Yoghurt (2011).
• Zoney (2021).

View Mans Grebäck's typefaces.

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

Arlette Boutros

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

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

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

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

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

Two TrueType fonts: ARP Numfont replaces characters by ASCII values, and Celtic-Iberian is just that. All fonts by Anton van de Repe. Contains an archive of 40 Arabic fonts. [Google] [More]  ⦿

Art and Fonts by Sean (aka The BlackBox)
[Sean Moldenhauer]

Free fonts by Sean Moldenhauer of Michigan City, Indiana, a graduate of the Art institute of Chicago who apprenticed with Donna Karen. Sean has beautiful Japanese calligraphic prints (shodo style) as well as fonts based on carefully researched historical typefaces. Examples: JapaneseZenSampler1 (2001), TheTombwinterandspring1 (1997, "heavily inspired by the incised letters from the tomb of Henry III, Westminster Abbey, about 1272"), Thorns (1997), VampyresGarden (1997, initial caps inspired by a copy of the Romant de la Rose from the beginning of the 16th century), HoursintheRain (1997), SevenWavessighsSalome (1997, caps). Very nice gothic and medieval style creations. He showcases great Arab, Japanese and Chinese calligraphy. [Google] [More]  ⦿

Artur Schmal
[Original Type]

[More]  ⦿

Arya Bakhsheshi

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

Aseel Sharawy

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

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

[More]  ⦿

Ashoora

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

Ashurbanipal Software

About 60 free Arabic truetype fonts by Ashur Cherry at Ashurbanipal Software. These include the Arabic, Baghdad and Iraq families. See also here. The original link went dead in 2003. [Google] [More]  ⦿

Ashwag Madkhali

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

Asiasoft

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

Asiasoft (Liwal Group)

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

Asiatype

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

Aslam Kamal

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

Asma Al-Helali

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

Asmaa Al-Ghalib

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

Asmaa AlOmair

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

Assunnah ML

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

Asyan Design
[Ismail Abdurrasyid]

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

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

Atlas Font Foundry
[Christoph Dunst]

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

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

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

Aurélie Gasche

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

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

AvanType
[Habib Khoury]

Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA.

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

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

He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More]  ⦿

Avenir Next World

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

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

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

Awami Nastaliq
[Peter Martin]

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

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

AXT Arabic

Arabic fonts that can be downloaded here. [Google] [More]  ⦿

Aya Al-Kotob

During her studies in Beirut in 2014, Aya Al-Kotob created experimental Latin and Arabic typefaces. [Google] [More]  ⦿

Aya Barqawi

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

Aya Fekry

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

Aya Youssef

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

Ayah Okasha

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

Ayesha AlSharid

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

Ayman Anwar

Art director in Cairo, Egypt, who designed the Arabic typeface Corpo Arabic (2016). [Google] [More]  ⦿

Azhim Ferdaus

As a student in Jakarta, Azhim Ferdaus created the Latin / Arabic / Hebrew typeface family Ben Yehuda in 2013.

Behance link. [Google] [More]  ⦿

Aziz Mostafa

Aziz holds a BSC in Communication Engineering 1979, Basra University, and lives in Iran (Tehran) and Iraq (Basra). In 2011, he created two new Naskh fonts called Naskh Aziz. [Google] [More]  ⦿

Azza Alameddine

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

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

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

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

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

Azza Alammedine

Lebanese graduate of the MATD program at the University of Reading in 2012. Azza's graduation typeface is Sila (2012, for Latin and Arabic). [Google] [More]  ⦿

Azzeddine Lazrek

Moroccan computer scientist / typographer who works at the Department of Computer Sciences, Université Cadi Ayyad, Semlalia, Marrakech. He coauthored these papers: (1) Mohamed Elyaakoubi and Azzeddine Lazrek, Arabic scientific e-document typography, 5th International Conference on Human System Learning, ICHSL5, pp. 241-252, Marrakech, 2005. (2) Mostafa Banouni, Mohamed Elyaakoubi and Azzeddine Lazrek, Dynamic Arabic mathematical fonts, Lecture Notes in Computer Science (LNCS), Springer Verlag, Volume 3130, pp. 149-157, 2004. Abstract of the latter paper: This paper describes a font family designed to meet the requirements of typesetting mathematical documents in an Arabic presentation. Thus, not only is the text written in an Arabic alphabet-based script, but specific symbols are used and mathematical expressions also spread out from right to left. Actually, this font family consists of two components: an Arabic mathematical font and a dynamic font. The construction of this font family is a first step of a project aiming at providing a complete and homogeneous Arabic font family, in the OpenType format, respecting Arabic calligraphy rules. [Google] [More]  ⦿

Babel Font
[Brahim Boucheikha]

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

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

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

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

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

Bagh-e Tafarroj Studio
[Amirmahdi Moslehi]

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

Baharestan

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

Baheeg

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

Bahia Shehab

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

Bahman Eslami

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

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

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

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

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

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

Baloo
[Girish Dalvi]

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

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

Banfeel Type
[Adel Banfeel]

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

Basharat Ali

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

Basim Salim Rashid El-Mahdi

Basim Salim Rashid El-Mahdi was born in 1973 in Alnassiriya, Iraq. He graduated from the Technology Institute / Electricity in Alnassiriya. Since 1998 he works as a graphic designer and calligraphic artist. He is now the head of the Society of Iraqi Calligraphists-Thi-Qar. Basim drew the Basim Marah in CorelDraw and then had it digitized by Hasan Abu Afash. In 2008, Basim Marah was upgraded by Mirjam Somers.

Klingspor link. Old Tasmeem fonts link. [Google] [MyFonts] [More]  ⦿

Bassam Al-Mohammadi

Riyadh-based designer of the Arabic font Bassam Ostorah (2000). Download here or here. [Google] [More]  ⦿

Bayo Suti XV
[Imran Nasution]

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

Dafont link. [Google] [More]  ⦿

Becca Hirsbrunner Spalinger

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

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

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

Ben Jones
[Protimient.com]

[MyFonts] [More]  ⦿

Ben Wittner

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

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

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

Benjamin Gomez
[Dépli]

[More]  ⦿

Beno Bagheri

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

Best 76 Free Arabic Typefaces
[Ahmed Alahdal]

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

Bidi

Typing Arabic for PCOM GDI printing (1997, Latin/Arabic font based on IBM Courier) and Cumberland Heb (Agfa/Monotype version of Courier for Latin and Hebrew). [Google] [More]  ⦿

Bigelow&Holmes
[Charles Bigelow]

Bigelow&Holmes was founded by Charles Bigelow and Kris Holmes. Charles Bigelow (b. 1945, Detroit) is a type designer and teacher, who runs his own studio, Bigelow&Holmes. Bigelow was a colleague of Donald Knuth at Stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:

• The Lucida family (1985). Lucida is used in several scientific publications such as Scientific American. Its origins go back to Computer Modern. I find it more appropriate for screens than paper, but that is just a personal view. The Lucida family contains LucidaConsole (1993), LucidaSansTypewriter (1991), LucidaFax, LucidaCalligraphy, LucidaBright, Lucida Blackletter (1991, a bastarda) and Lucida Handwriting. It has been recently expanded to comply with the Unicode Standard, and includes non-Latin scripts such as Cyrillic, Greek, Arabic and Hebrew. Charles Bigelow created the font families Lucida Math (with Kris Holmes, 1993), Lucida Sans (with Kris Holmes, 1985), Lucida Typewriter Sans (with Kris Holmes, 1985) and Lucida Serif (with Kris Holmes, 1993). The paper by Charles Bigelow and Kris Holmes, The design of a Unicode font (Electronic Publishing, 1993, pp.289-305), explains the design issues such as letter heights, readability studies, and typeface designs for readers versus non-readers of the various scripts.
• Syntax Phonetic.
• Leviathan (1979).
• Apple Chicago (1991), Apple Geneva (1991).
• Microsoft Wingdings (1992).
• For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go Sans and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. CTAN link.

Bitstream Cyberbit

From Bitstream's web page: "Bitstream Cyberbit is our award-winning international font. Based on one of our most popular and readable type designs (Dutch 801 BT [note: Bitstream's version of Times and Times New Roman]), it includes all the typographic characters for most of the world's major languages. Cyberbit is now available! The product release includes the roman weight of Dutch 801 BT, a "serif" font. (A serif font has small finishing strokes at the end of the main stems, arms, and tails of characters, while a sanserif font does not.) The font is in TrueType format for Windows 95 and Windows NT. Future releases will provide support for "sanserif" typefaces, other platforms, other font formats, and even more languages. Bitstream Cyberbit is a work in progress. Bitstream is now distributing the roman weight of Cyberbit, free of charge, over the Internet! Remember, this release is in TrueType format for Windows 95 and Windows NT". --- Well, Bitstream no longer offers the font. It is still out there however. Try here, here, here, or here. Has these unicode ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Spacing Modifier Letters, Greek, Cyrillic, Hebrew Extended (A and B blocks combined), Thai, Latin Extended Additional, General Punctuation, Currency Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Dingbats, Alphabetic Presentation Forms, Combining Diacritical Marks, Enclosed Alphanumerics, Arabic, Arabic Presentation Forms-A and -B, CJK (Chinese, Japanese, Korean) Symbols and Punctuation, Hiragana, Katakana, Bopomofo, Hangul Compatibility Jamo, Enclosed CJK Letters and Months, CJK Compatibility, Hangul, CJK Unified Ideographs, CJK Compatibility Ideographs, CJK Compatibility Forms, Small Form Variants, and Halfwidth and Fullwidth Forms. [Google] [More]  ⦿

Black Foundry
[Jérémie Hornus]

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

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

Blancoletters
[Juan Luis Blanco]

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

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

A list of his typefaces:

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

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

Bohloul Arabic Type Design
[Reza Bohloul]

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

Borna Izadpanah

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

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

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

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

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

Borna Rayaneh

A company whose Arabic language fonts, all dated 2000-2001, can be freely downloaded: BArabicStyle, BArash, BAria, BArshia, BBadkonak, BChini, BCheshmeh, BCheshmehBold, BCompsetBold, BCompset, BDavat, BElham, BEsfehanBold, BFantezy, BFarnaz, BFerdosi, BHaleh, BHalehBold, BHoma, BJadidBold, BJalal, BJalalBold, BJohar, BKamran, BKamranOutline, BKamranBold, BKaveh, BKoodakOutline, BKoodakBold, BKourosh, BMahsa, BMajidShadow, BMasjed, BMedad, BMoj, BMorvarid, BNarm, BNasimBold, BPaatchBold, BPaatch, BRoya, BRoyaBold, BSahra, BSiavash, BSinaBold, BSooreh, BSoorehBold, BSorkhpust, BTabassom, BTanab, BTir, BTitrBold, BTrafficBold, BTraffic, BVahidBold, BVosta, BVostaItalic, BYagut, BYagutBold, BYas, BYasBold, BYekan, BZar, BZarBold, BZiba, IPTChini. Designer of B Mitra (2000; see also here), B Lotus (2000, see also here), B Titr (2000), and B Zar and B Nazanin (2001). RedleX carries these: B-Arabic-Style, B-Arash, B-Aria, B-Arshia, B-Badkonak, B-Badr, B-Badr-Bold, B-Compset-Bold, B-Davat, B-Elham, B-Esfehan-Bold, B-Fantezy, B-Farnaz, B-Ferdosi, B-Homa, B-Jadid-Bold, B-Jalal, B-Jalal-Bold, B-Johar, B-Kamran, B-Kamran-Bold, B-Kamran-Outline, B-Kaveh, B-Koodak-Bold, B-Koodak-Outline, B-Lotus, B-Lotus-Bold, B-Mahsa, B-Majid-Shadow, B-Masjed, B-Medad, B-Mitra, B-Mitra-Bold, B-Moj, B-Morvarid, B-Narm, B-Nasim-Bold, B-Nazanin, B-Nazanin-Bold, B-Nazanin-Outline, B-Paatch, B-Paatch-Bold, B-Roya, B-Roya-Bold, B-Roya-Bold, B-Sahra, B-Sina-Bold, B-Sorkhpust, B-Tabassom, B-Tanab, B-Tawfig-Outline, B-Tir, B-Titr-Bold, B-Traffic, B-Traffic-Bold, B-Vahid-Bold, B-Vosta, B-Vosta-Italic, B-Yagut, B-Yagut-Bold, B-Yas, B-Yas-Bold, B-Yekan, B-Zar, B-Zar-Bold, B-Ziba, IPT-Kaveh, Kamran-Bold, Kamran-Normal, Nazanin-Bold, Nazanin-Normal. Alternate file with Rayaneh's fonts. One more site. [Google] [More]  ⦿

Borys Kosmynka

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

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

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

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

Botio Nikoltchev
[Lettersoup]

[MyFonts] [More]  ⦿

Boutros: download

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

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

Boutros International (or: Boutros Arabic Typefaces)
[Mourad Boutros]

Boutros calligraphic Arabic fonts (sold by Glyph Systems of Andover, MD) are fonts designed by "Boutros International" a group of experts headed by Lebanese designers Mourad and Arlette Boutros, who run Boutros Foundry out of London, UK. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.

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

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

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

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

In 2008, Boutros co-designed Tanseek Modern and Tanseek Traditional with Richard Dawson and Dave Farey.

Here you can download these 2004 fonts by Boutros: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEDinarOne-LightItalic, GEDinarOne-Medium, GEDinarOne-MediumItalic, GEDinarTwo-Light, GEDinarTwo-LightItalic, GEDinarTwo-Medium, GEDinarTwo-MediumItalic, GEEast-ExtraBold, GEEast-ExtraboldItalic, GEElegant-Italic, GEElegantMedium-Medium, GEFlow-Bold, GEFlow-BoldItalic, GEFlow-Italic, GEFlow, GEHili-Book, GEHili-Light, GEJarida-HeavyItalic, GEJaridaHeavy-Heavy, GEMBFarahBold-Bold, GEMBFarashaLight-Light, GEMBFaresMedium-Medium, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSThree-Italic, GESSThree-Light, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GESmooth-LightItalic, GESmoothLight-Light, GETasmeem-Medium, GEThameen-Book, GEThameen-BookItalic, GEThameen-DemiBold, GEThameen-DemiBoldItalic, GEThameen-Light, GEThameen-LightItalic, GETye, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. Here one can find Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, and Boutros-Ads-Pro-Medium-Italic.

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

In 2018, Boutros Fonts published URW Geometric Arabic.

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

Brahim Boucheikha
[Babel Font]

[More]  ⦿

Brill
[John Hudson]

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

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

Brooq Qatar

Arabic font archivette: AF_Tabook-NormalTraditional, AF_Tholoth-NormalTraditional, DecoTypeNaskhVariants, DecoTypeThuluth, DiwaniLetter, FS_Diwany, FarsiSimpleBold, M-Unicode-Dawlat, M-Unicode-Sima, OldAnticBold. [Google] [More]  ⦿

Bruno G. Khater

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

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

Bushra Sughayer

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

Bustanul Arifin

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

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

Buthainah Alkreedees

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

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

[MyFonts] [More]  ⦿

Calvin Kwok

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

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

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

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

Cara Mudah Menulis Arab di Windows Latin

(Slow but useful) Arabic font archive.

• From DecoType: ANDecotype, ANDecotypeE, ANDecotypeS, ANDecotypeV.
• From Bitstream: AMMalik, AMMalikL, AMSharif, AMSharifB, AMSharifL, ANJahida, ANJahidaL, ANMedina, ANMedinaB.
• From Agfa: ANFatiaI.
• From LaserPrinting Solutions: ASiddiqua.
• From Monotype: AKMonotype, AMudirMT, ANAkhbar, ANAkhbarB, ANMonospace, ANTraditional, ANTransparent.
• From Sakhr: AKSakhr, ARSakhr.
• From Peter Wiegel: AMDjerba.
• From Bundabah: AGhubarAF, AKAndalus, AKMonotype, AKQusim, AKQusimO, AKSakhr, AMAbhar, AMBuryidahAF, AMDammamAF, AMDjerba, AMFaruqi, AMJizanAF, AMKharjAF, AMKhazan, AMKhazanI, AMMalik, AMMalikL, AMSharif, AMSharifB, AMSharifL, AMTabuk3D, AMTabukAF, AMTabukO, AMTahoma, AMUnizaAF, AMudirMT, ANAkhbar, ANAkhbarB, ANBayt, ANDecotype, ANDecotypeE, ANDecotypeS, ANDecotypeV, ANDziaI, ANFarisi, ANFatiaI, ANFawzy, ANHilm, ANJahida, ANJahidaL, ANJuriaB2, ANJuriaR, ANJuriaR5819, ANMedina, ANMedinaB, ANMonospace, ANNajdAF, ANRiyadhAF, ANTraditional, ANTransparent, ANZainAF, ARSakhr, ARaihaniAF, ASiddiqua, ATDecotype, ATsulutsAF, MAbha, MAbhaC, MAbhaCI, MAbhaI, MAbhaR, MAlhada, MAlhadaI, MAlhambra, MAlhambraI, MArafat, MArafatI, MCSRiqa, MDiwani, MDiwaniA, MDiwaniI, MDiwaniN, MDiwaniNI, MDiwaniO, MDiwaniOI, MDiwaniS, MDiwaniSI, MGulf, MGulfI, MHijon3D, MHijonO, MJeddah, MJeddahD, MJeddahF3, MJeddahI, MJeddahL, MJeddahLI, MJeddahM, MJeddahMI, MJeddahR, MJeddahS, MJeddahT, MJeddahTI, MJidda, MJidda3, MJidda32, MJidda3I, MJiddaO, MJiddaOI, MLed, MLedI, MMadinah, MMadinahI, MMadinahO, MMadinahOI, MMamloky, MMamloky3D, MMamlokyD, MMamlokyO, MMasykO, MModern, MNastaliq, MNastaliqI, MNastaliqO, MNastaliqOI, MQurtuba, MRedsea, MRedseaI, MTauki, MTaukiI, MTaukiO, MTaukiOI, WANJuria.

Carole Magued

During her studies in Cairo, Carole Magued designed the Arabic typeface Marah (2018) and the Latin display typeface Elegole (2018). [Google] [More]  ⦿

CAT Design Wolgast
[Peter Wiegel]

Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

• In 2019: Kufi Pattern.
• In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
• In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
• In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
• In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
• In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
• In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
• Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
• In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
• In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
• In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, Tschichold, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
• Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

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

A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).

Abstract Fonts link. Dafont link. Kernest link. Klingspor link. CAT Fonts link. Fontesk link. [Google] [More]  ⦿

Catmando

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

CDAC

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

C-DAC, GIST PUNE: Urdu

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

Celine Salameh

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

Changchun Ye

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

Chantal Sherif

For a school project in 2012, Chantal Sherif (Cairo, Egypt) created an Arabic version of Otl Aicher's Rotis. She also made Kubic Kufic (2013), an Arabic version of Cube by Fontfabric. [Google] [More]  ⦿

Charles Bigelow
[Bigelow&Holmes]

[MyFonts] [More]  ⦿

Charles Nicholas Cochin

Parisian copperplate engraver, b. Paris, 1715, d. Paris, 1790. His work influenced the letter shapes of Baskerville, Didot and Bodoni. His engraved tall-ascendered letters have been preserved in many fonts bearing the Cochin name. One of the best revivals is by Georges Peignot in 1913. The irregularities of the metal are well preserved in the digital typeface Nicolas Cochin (+Italic) (P22/Lanston). Monotype made a Cochin Open face.

In 1977, Matthew Carter expanded Peignot's revival into the three style family Cochin---the digital versions are sold, e.g., by Linotype. Another family by Linotype is Nicolas Cochin LT (2004)---it is a variation that is taller, rounder, and less archaic than Cochin. Finally, we find a digital version by URW simply called Nicolas Cochin.

For an Arabic extension, see Badr (1970, Osman Husseini, Linotype).

Cochin is now one of the standard Apple fonts---it is in the basic font set on the iPad and elsewhere on Apple computers.

View and compare various digital typefaces related to Cochin. [Google] [MyFonts] [More]  ⦿

Che Guevara

Ha, there is an interesting alias! Palestinian designer of this calligraphic piece (2005), called Homeland or Death. Web page. [Google] [More]  ⦿

Chi No

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

Chief Commander

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

Christina Ismail

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

Christina Skaf

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

Christine Adel

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

Christoph Dunst
[Atlas Font Foundry]

[MyFonts] [More]  ⦿

Classical Text Editor (CTE)

A project by Stefan Hagel at the Austrian Academy of Sciences in Vienna, CTE is a universal (Windows, Mac) text editor for many languages. It has a battery of fonts for various languages, such as Hebrew and Arab. [Google] [More]  ⦿

Claude Nassar

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

CLGraph

Arab calligraphy pages with particular sections on the Koufi, Duwani and Tughraa scripts. [Google] [More]  ⦿

Colin Banks

Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.

Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.

Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.

The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.

The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.

Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More]  ⦿

Computer Corporation

Company marketing Urdu language software and text editors. No fonts, as far as I can tell. [Google] [More]  ⦿

ComStar: List of Links

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

Connary Fagen

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

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

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

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

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

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

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

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

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

Typefaces from 2022: Quiverleaf Arabic CF.

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

Cool Text

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

• 1942 (by Johan Holmdahl)
• Adler (by Maquina de Escribir)
• Brenton Scrawl Type (by B.W.P. Inc)
• Carbon Type (by Vic Fieger)
• Dactylographe (by Match Software)
• DeadPostMan (by Mr. Fisk)
• Depot (by Squaresville Hall)
• Dirty Baker's Dozen (by Ray Larabie)
• Ebola Kikwit (by Susan Townsend)
• GF Halda (by GFonts)
• GF Ordner (by GFonts)
• Ghostwriter (by PizzaDude)
• Harting (by David Rakowski)
• Hootie (by Máquina de Escribir)
• Incognitype (by anke-art)
• Junkos Typewriter (by junkohanhero)
• Kingthings Typewriter (by Kingsthings)
• McGarey (by David Rabowski)
• Mechanical Fun (by The Font Emporium)
• Mom's Typewriter (by Christoph Mueller)
• MonospaceTypewriter (by Vernon Adams)
• My Old Remington (by Free Typewriter Fonts)
• MyUnderwood (by Tension Type)
• Nashville (by Matthew Austin Petty)
• NoRefunds (by Christoph Mueller)
• Plastique (by Jeff Vorzimmer)
• Sears Tower (by Tension Type)
• Seraphim (by Utopiafonts)
• Shredded (by Paul Reid)
• Smash (by Máquina de Escribir)
• SpecialElite (by Cpr.Sparhelt)
• Splendid 66 (by Free Typewriter Fonts)
• Stock Quote (by Andy Krahling)
• STOMPER (by CHANK!)
• Underwood Champion (by Astigmatic)
• Veteran Typewriter (by Vic Fieger)
• XBAND Rough (by Catapult Entertainment)

Corrie Boustany

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

Cosette Saliba

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

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

Esoteric fonts and special symbols by Kenneth Hirst. Includes shareware and full version ($$) fonts such as Astro (1993), Alchemy, American Indian (2001, dingbats), Arabic, Flowchart, SpecialPi, Sequoyah (for Cherokee), CircleBullets, ArrowBullets, GD Enochian (2011, Enochian and Astrology symbols based on the Golden Dawn system), Siddiqua (Arabic: Laser Printing Solutions. P.O. Box 5362, Irvine, CA 92616), Starfisher Uni (2014, an astrological & sans font originally designed by Laser Printing Solutions).

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

CreaSchool
[Rais Bilal]

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

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

Free Arabic fonts available here:

• Nafees Nastaleeq (2003). Download at Open Font Library.
• Nafees Naskh (2003). They write: Open Type Font for writing Urdu in Naskh script with full aerab support based on Unicode standard. This font is developed according to calligraphic rules, following the Lahori style of Syed Nafees Al-Hussaini (Nafees Raqam) (http://www.geocities.com/sajjadkhalid/Profiles/Nafees.html), who is one of the finest calligraphers of Pakistan. Guidance and calligraphy of basic glyphs for the font has been provided by Syed Jameel-ur-Rehman. He is a pupil of Syed Nafees Shah and Hafiz Syed Anees-ul-Hassan. Nafees Naskh OTF contains approximately 500 glyphs, including less than 10 ligatures.
• Nafees Pakistani Naskh (2003, for Urdu, Balochi, Pashto, Punjabi, Sindhi and Saraiki in Naskh script): an extension of Nafees Naskh.
• Nafees Web Naskh (2004, 2005): Open Type Font for writing Urdu in Naskh script based on Unicode. Guidance and calligraphy of basic glyphs for the font has been provided by Syed Jameel-ur-Rehman. He is pupil of Syed Nafees Shah and Hafiz Syed Anees-ul-Hassan. Nafees Web Naskh OTF contains approximately 330 glyphs, including 5 ligatures.
• Hussaini Nastaleeq (2013, Syed Jameel-ur-Rehman). Derived from Nafees Nastaliq, it covers Arabic and Farsi, and is named after Syed Nafees Al-Hussaini, whose calligraphy style is followed by Nafees Nastaleeq. Open Font Library download link. OFL download link for Nafees Nastaleeq.

D News

Arabic font Trk-Quraan (1996, Amgad), and the accent font family Burhani (2002, Bismillah). [Google] [More]  ⦿

D. Paul Alecsandri
[Every Witch Way]

[More]  ⦿

Dahass Yassir

Based in Tanger, Morocco, Dahass Yassir designed the Arabic typeface Salim (2012).

In 2013, he published the simplified monoline Arabic typefaces Al Doha (2013) and Nachwa (2013). His company is called YSR Type. [Google] [More]  ⦿

Dalal Alhartani

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

Dalia Sherif

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

Daliya Mohammad

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

Dalton Maag
[Bruno Maag]

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

The Dalton Maag team designed these commercial fonts:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Damien Collot

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

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

Dana Alhasan

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

Dana Osman

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

Dana Seif

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

Daniel Grumer

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

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

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

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

Daniel Ralph

London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

Dareen Ismail

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

Darien Valentine
[Fixedsys]

[More]  ⦿

Dari--Farsi fonts

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

DariSoft

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

David Brezina

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

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

His typefaces include

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

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

David Williams
[Manchester Type]

[MyFonts] [More]  ⦿

DCD (or: Dubai Civil Defence)

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

Dépli
[Benjamin Gomez]

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

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

DecoType
[Thomas Milo]

Thomas Milo founded DecoType in Amsterdam in 1985, together with Peter Somers and Mirjam Somers. They introduced the notion of dynamic fonts, and developed Ruqaa (1987), licensed by Microsoft. They also developed the DecoTypeSetter, which was included in Adobe PageMaker MiddleEast. Deco Type is perhaps best known for its extensive DTP Naskh family, which has hundreds of variations of all letterforms, and permitted people to typeset calligraphic Arabic, as it is in a style emulating the hand of the Ottoman calligrapher Mustafa Izzet Efendi. Part of that package is the DecoType Authentic Naskh typeface. DecoType donated a custom version of Naskh to the Unicode Consortium for printing the Arabic parts of their manuals. Other fonts include DTP Nastaaliq. Thomas Milo is also a specialist of Turkic and Slavic linguistics. His company's beautiful fonts sell for 125 USD: P.O. Box 55518, 1007 NA Amsterdam, The Netherlands. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.

In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.

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

Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg.

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

Deema Abdo

Amman, Jordan-based designer of a multiline Arabic typeface in 2018. [Google] [More]  ⦿

Deema Merdad

Saudi designer in Jeddah who obtained an MA in typeface design from The University of Reading (2009), based on her monoline comic book script typeface Squiggly. It was designed in several styles for children's story books.

In 2015, she made Botanical Alphabets. [Google] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.

Alternate download site. Wiki page with download information.

Fontspace link. Open Font Library link. [Google] [More]  ⦿

Despina Meimaroglou

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

Devika Bhansali

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

Dhuha

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

Diab Jaser
[Tanween Type Foundry]

[MyFonts] [More]  ⦿

Diana Hamdallah

Diana Hamdallah (Beirut, Lebanon) created the Arabic typeface Achelois in 2014 during her graphic design studies. Achelois is an Arabic Naskh font inspired by the work of fashion designer Krikor Jabotian. It is a group project with Mowana Sabeh. [Google] [More]  ⦿

Diego Sanz Salas

Peruvian creator (b. 1984, Arequipa, Peru) at FontStruct in 2009 of Sencilla (+Cuadrada, +Morena), a family that covers Latin, Cyrillic, Extended Latin, Hebrew, Greek, Armenian, Coptic, Arabic, Thai, and Devanagari. At FontStruct in 2008, he made mercury and mercury_bold. At Cocijotype, he created the artsy Incan stone wall-inspired Quincha (2009), which according to this site is the first commercial font made in Peru. It won an award in the experimental category at Tipos Latinos 2010.

Amarilis (2011) is an ornamental caps face, which can be bought here.

Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.

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

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

Digital Khatt
[Amine Anane]

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

Digital Type Company (DTC)
[Volker Schnebel]

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

Catalog of Volker Schnebel's typefaces.

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

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

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

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

In 2014, Profonts published his text typeface Martin Pro.

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

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

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

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

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

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

Digitek

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

DILP Urdu resources

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

Dina Al Khatib

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

Dina Fahmi

Graphic designer in Cairo, who created the Arabic typeface Al Bagaa (2013). [Google] [More]  ⦿

Dinah Merhej

Student at Central Saint Martins College, Lonodon, who created Wadi for Arabic and Latin in 2011. This typeface is loosely based on the Naskh style of writing. [Google] [More]  ⦿

Diwan Mishafi
[Hamid Al-Saadi]

A calligraphic Arabic typeface with over 3000 glyphs, by Diwan Software. "Mishafi contains more than three thousand shapes, making it possible for the first time to compose proper Quranic calligraphy with all their shapes, markings and recitation symbols. It is also most suitable to compose traditional text of Hadith and commentary texts in respectable form. Both classic and modern Arabic poetry can be presented by it in clear and elegant formats." The typeface was designed by the acclaimed Iraqi calligrapher Hamid Al-Saadi (b. Baghdad, 1955), and won the Type Directors Club 2000 award. [Google] [More]  ⦿

Diwani script

From Encyclopaedia Britannica: Cursive style of Arabic calligraphy developed during the reign of the early Ottoman Turks (16th-early 17th century). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520-66). As decorative as it was communicative, diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters. [Google] [More]  ⦿

Dominic Stanley
[Stanley Fonts]

[More]  ⦿

Don Raed

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

Donna Wearmouth

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

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

Douna Daou

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

Dr. Shirley J. Rollinson

At Shirley J. Rollinson's site in Portales, New Mexico, an archive with Greek, Coptic, Hebrew and dingbat fonts. A sampling: AWI105 (Amien World International), Alex, Altrussisch, AltrussischBold, AltrussischBoldItalic, AltrussischItalic, American-PresidentsSAMPLE, AngloSaxonRunes, AngloSaxonRunes1, AngloSaxonRunes2, Animals, Animals2, AntoniousJJencom, AntoniousJJencomHollow, AntoniousJJencomThin, AntoniousJJencomWide, AntoniousNormal, AntoniousNormalHollow, AntoniousNormalThin, AntoniousNormalWide, AntoniousOLOverLine, AntoniousOLOverLineHollow, AntoniousOLOverLineThin, AntoniousOLOverLineWide, Athenian, Athletes, BSTGreek, BSTHebrew, Basics, CU_SYMBL, CarrAnimalDingbats, CarrArrowsfilled, CarrArrowsoutline, CarrDingbats2, CarrDings, CelticPatterns, ChayaBold, ChemCycles, ChristianCrosses, ClassifiedDingbats, CommonBulletsNormal, Coptic-Regular, Coptic-Regular, CopticNormal, Dastafarin-Regular, Dingbat-Cats2, DivChem, DwarfRunes, DwarfRunes1, DwarfRunes2, Eggs, FOOD, Fabeldyr-2, Flower-Show, FontForFree, Futura-Thin, Futura-ThinItalic, GermanicRunes, GermanicRunes1, GermanicRunes2, GideonMedium, Grammata, Greek-Regular, Greek-Regular, Greek, GreekOldFace, GreekOldFaceC, HWGreek, Hebpar, Hebrew-Italic, Hebrew-Regular, Inter, Ismini, KirillicaWincyr, Kitchentile, KoineMedium, Koptos-Regular, Korinthus-Italic, Korinthus, Kur2siv-Italic, Lashon-Tov, Lavra-Plain, Linear-B, LudlowDingbats, MENA-1, Martin-Vogel's-Symbols, Medicine, MendelSiddurBold, MendelSiddurMW-Bold, Milan-Greek, MonitorNormal, New-Dingcats, Noam-New-Hebrew, NovaNormal, Novgorod-Plain, Ornaments, Paleo-Hebrew-NormalA, PecanSoncHebrew, Pni2na, Pointers, QuiltersDelight, RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic, Rashi, Roman-Catholic, RuthFancy, SILDoulosIPA, SILGalatia, SILGalatiaBold, SILGalatiaExtras, SILGalatiaExtrasBold, SILManuscriptIPA, SILSophiaIPA, SPAchmim, SPDamascus, SPDoric, SPEdessa, SPEzra, SPIonic, SPTiberian, Sgreek-Fixed, Sgreek-Medium, ShalomOldStyle, ShalomOldStyle, ShalomScript, ShalomStick, ShebrewMedium, States, Statuer, Symbol-Accentuated, SymbolMW-Bold, SymbolMW-BoldItalic, SymbolMW-Italic, SymbolMW-Normal, TLHelpCyrillic, TattooNo1, TattooNo2, TimesNewRomanNavajo, TimesNewRomanNavajoBold, TimesNewRomanNavajoBoldItalic, TimesNewRomanNavajoItalic, TorahSofer, TransliterationItalic, Tzipporah, Ugarit, VintageDingbats, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, YourKeys, ZapfDingbats, button_by_fanta, fantas-second, hebrew, persische-Keilschrift. [Google] [More]  ⦿

Dralve Muraine

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

Droid font collection
[Steve Matteson]

A font family designed in 2006-2007 by Steve Matteson (Ascender Corporation) for Google's Android project, mobile phone software for handsets. From Ascender's technobabble announcement: The Droid family of fonts consists of Droid Sans, Droid Sans Mono and Droid Serif. Each contains extensive character set coverage including Western Europe, Eastern/Central Europe, Baltic, Cyrillic, Greek and Turkish support. The Droid Sans regular font also includes support for Simplified and Traditional Chinese, Japanese and Korean support for the GB2312, Big 5, JIS 0208 and KSC 5601 character sets respectively. At a presentation in Montreal, Steve said that the Droid project was the project he enjoyed best---in his entire life. He was particularly impressed by the enthusiasm of the Google team.

For Arabic, we have Droid Arabic Naskh and Droid Arabic Kufi (2010) by Pascal Zoghbi, both downloadable from OFL.

Download the truetype versions here: Droid-Sans-Bold, Droid-Sans, Droid-Sans-Fallback, Droid-Sans-Mono, Droid-Serif-Bold, Droid-Serif-Bold-Italic, Droid-Serif-Italic, Droid-Serif.

Alternate URL. Fontspace link. [Google] [More]  ⦿

duas.org

Small Arabic font archive. Contains a subarchive of Quranic fonts made by/for King Fahad Complex.

The other fonts: 1TRAFIC-Outline, Al_Mushaf, Amien-01, ArabicKufiOutlineSSK, ArabicKufiSSK, ArabicNaskhSSK, ArabicRiyadhSSK, ArabicWeb, ArabicZibaSSK, ArialMT, Djerba_simpl, Globatec1, HQPB1, HQPB2, HQPB3, HQPB4, HQPB5, HQPB7, Husseini, Impact, ImpactNormal, ImpactTransliteration, Imperium, ImplicitCapsSSi, ImprintMT-Shadow, Karbala, NajafBoldPS, QCF_P440, QCF_P442, Quran-Standard, Quran-Standard, Siddiqua, Tracer, Trains, TransformersNormal, Transliteration-OI-Beyrut-NormalA, TransliterationCalisto, TransliterationCalistoMT, TransliterationFelix, TransliterationGeorgia, TransliterationTimesNewRoman, TransliterationTimesNewRomanBoldItalic, TransliterationTimesNewRomanItalic, TransliterationVerdana, TransmaidensNormal, TransmetalsNormal, Transportation, WL-ArabicDiwani, WL-ArabicRiyadh, PDMS_Saleem_QuranFont. [Google] [More]  ⦿

Duha Aladwan

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

Eastern Language Systems

Creators of the Arabic script type family Majalla (1992). [Google] [More]  ⦿

Eastern Language Systems of Vazhe Negar

Vazhe Negar is a registered trade mark of Eastern Languages (UK-based). Contact Habib Yosri. [Google] [More]  ⦿

Easy Recite Arabic

Syed Khairulbashar proposes a "Single Case Arabic Font" (30 symbols), and other things to improve reading Arabic. [Google] [More]  ⦿

Ebrahim Jaffar
[Eje Studio]

[More]  ⦿

Ecological Linguistics
[Lloyd Anderson]

Located at P.O. Box 15156, Washington, D.C., 20003, this outfit published Arab language fonts, as well as fonts for Sinhalese, Tamil, Bengali, Gujarati, Hindi, Kannada, Malayalam, Punjabi, Telugu, and Tibetan. In addition, it had Kharoshti, Brahmi and Harappan symbols, and sold typefaces for many "complex alphabets". Free truetype fonts with plenty of Maya icons, made in 1997 by "Ecological Linguistics": Abaj, AbajBold, DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. See also here.

The Times-Roman-like font AlaBas (1998) is also due to Ecological Linguistics. [Google] [More]  ⦿

Ectaco

In 1999, this company produced a number of fonts that combine Latin with other languages such as Cyrillic, Greek, Turkish and Arabic. Download here. [Google] [More]  ⦿

Editions Alternatives

French publisher which has a nice series of books on writing. These include "Le Verbe géomètre Numérographies et écritures mathématiques" (Valère-Marie Marchand, 2004), "Lettres Latines Rencontre avec des formes remarquables" (Laurent Pflughaupt), "Les alphabets de l'oubli Signes et savoirs perdus" (Valère-Marie Marchand), "Le Bruissement du calame Histoire de l'écriture arabe" (Sophia Tazi-Sadeq), and "Entre Ciel et Terre Sur les traces de l'écriture chinoise" (Shi Bo). [Google] [More]  ⦿

Edo Smitshuijzen

Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). In 2013, he published Sculpting Type (Khatt Books), which deals with 3d type design. [Google] [More]  ⦿

Ehnd

Creator of Tod Script (2007) aboiut which he writes: Kalmyk-Oirat Clear Script (Todo Bichig) is written in vertical columns running from top to bottom and left to right. Each letter has a different shape depending where it appears in a word, and special letters are used for combinations of some letters. [Google] [More]  ⦿

Eileen Trayan

Cairo-based designer of a few Arabic typefaces in 2013. [Google] [More]  ⦿

Eje Studio
[Ebrahim Jaffar]

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

El Shaarani

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

Elena Schneider

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

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

In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

Cargo Collective link.

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

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

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

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

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

Elharrak Sumaya
[arabi.islamic]

[More]  ⦿

Eli Heuer

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

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

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

Elias Issa El-Khoury

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

Elie Abou Jamra

Born in Dubai, Elie has worked and studied in UAE, Lebanon and Germany. He holds a BFA in Graphic Design from the American University of Beirut. He has also done his summer internship at Linotype, where he worked under Nadine Chahine, an award-winning Lebanese type designer. He is located in Beirut, Lebanon.

Creator of an Arabic graduation typeface influenced by the destruction of Beirut.

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

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

Elie Boufadel

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

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

[More]  ⦿

Eman Makki

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

Emanuela Conidi

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

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

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

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

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

Emin Barin

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

Bio (in Turkish). [Google] [More]  ⦿

Engy Helmy

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

EPOC

This site has the following fonts: Tolkien-Dwarf-Runes, Math (Monotype), BungaloSCapsSSK, SymbolMT, Jaridah (1993; Arabic font by Hisham Diab and Hassan Loutfy). [Google] [More]  ⦿

EPS51

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

Eraky
[Ahmed Eraqi]

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

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

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

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

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

Eric Karnes

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

Esmat M. C. Chanbour

Also written Ismet Chanbour. Designer at Linotype of the Arabic fonts Al Harf Al Jadid One and Al Harf Al Jadid Two, and of Mariam (1992). Mohamed Hacen writes: Al Harf Al Jadid is still the major popular headline font widely used in most Arabic newspapers and magazines. Mariam is also popular font and had some success in Egypt in the 80-90s. [Google] [MyFonts] [More]  ⦿

Esra Ati

Cairo-based designer of a blackletter and a squarish Arabic typeface in 2014. She also created some pictograms in 2014. [Google] [More]  ⦿

Esraa Alhaddab

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

Esraa Alkulaibi

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

Esraa Amer

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

Ethar Elnour

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

Eurabic

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

Every Witch Way
[D. Paul Alecsandri]

D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.

Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.

Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.

Fontspace link. [Google] [More]  ⦿

Eyad Al-Samman

Eyad Al-Samman is a graphic designer, typographer, photographer, translator, and a freelance literary journalist. He was born in Sana'a city, Yemen, in 1976. Eyad has a Bachelor's Degree in electrical engineering. He started working as a graphic designer in 1999. His first typeface is Concordia (2005, a squarish techno typeface that was named after the university in Montreal where he studied). Sherbrooke (2009), a free pair of sans serif fonts, is named after Sherbrooke Street in Montreal (Luc's home...).

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

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

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

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

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

Typefaces from 2018: Danah.

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

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

Eyelash

Arabic font archive. [Google] [More]  ⦿

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

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

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

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

In 2007, he created the organic sans typeface IronThree.

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

In 2009, Foco Italics was published.

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

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

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

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

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

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

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

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

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

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

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

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

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

[MyFonts] [More]  ⦿

Fadi Awwad

Born in Amman in 1985, Fadi holds a bachelor of Graphic Design and Fine Arts degree from Yarmouk University in Jordan. He created several Arabic typefaces in 2012. [Google] [More]  ⦿

Fadiah Alharbi

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

Fadiah Alharbi

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

Fahd Al Fraikh

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

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

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

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

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

Faisal Abbas

Faisal Abbas "merged" (?) an Arabic font by Jamil ur Rahman and a Latin font by Astigmatic in his free typewriter fonts Profaisal Elite Riqa and Profaisal Elire Tahreer (2012, OFL). [Google] [More]  ⦿

Falwah Alhouti

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

Farah Alarifi

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

Farah Asaad

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

Farah Elkouny

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

Farah Emam

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

Farah Farag

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

Farah Khaled

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

Farah Sbaiti

Designer in Tripoli, Libya, who created Spatula (2013, a Latin display face) and an untitled digital Arabic typeface (2013). [Google] [More]  ⦿

Farah Wael

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

Farahat Design
[Abdelrahman Farahat]

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

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

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

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

Fareed Abd Raheem Al-Ali

Kuwaiti calligrapher. [Google] [More]  ⦿

Farhad Abdolian

"Persian font", a Monotype truetype font with both Arabic and Latin characters, modified by Seema Consulting/Farhad Abdolian. [Google] [More]  ⦿

Farhan Latif

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

Farhood Moghaddam

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

Farida ElKhodary

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

Farsi font

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

Farsi Fonts

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

Farsi Fonts

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

Farsi Info

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

FarsiTEX

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

FarsiTex Project Team
[Vafa Khalighi]

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

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

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

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

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

Fatema Awami

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

Fatemeh Hajipour

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

Faten Jamal

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

Fath al-Mubin Publications and Islamic Humanitarian Service

Creators of Arabic fonts such as the Transliteration series (2000): Transliteration-OI-Beyrut-NormalA, TransliterationCalisto, TransliterationCalistoMT, TransliterationFelix, TransliterationGeorgia, TransliterationTimesNewRoman, TransliterationTimesNewRomanBoldItalic, TransliterationTimesNewRomanItalic, TransliterationVerdana. Download site. [Google] [More]  ⦿

Fatima Abdulrahman

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

Fatima Kodssi

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

Fatimah Alibraheem

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

Fatimah Al-mulla

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

Fatma Askari

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

Fax-away Urdu website

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

Fay Alaqeel

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

Fayzah Alghamdi

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

Fazlur Rahman Quraishi

Designer in 2001 of these Arabic fonts: SC_ALYERMOOK, SC_AMEEN, SC_DUBAI, SC_GULF, SC_HANI, SC_KHALID, SC_LUJAYN, SC_OUHOD, SC_REHAN, SC_SHARJAH, SC_SHMOOKH-01, SC_TARABLUS. They can be downloaded here and here.

OFL link. [Google] [More]  ⦿

Ferdosi.com

Three free Arabic truetype fonts: KoodakBold (SinaSoft, 1997), SimplifiedArabic-Bold, SimplifiedArabic. The last two fonts are by Compugraphic/Monotype. [Google] [More]  ⦿

Fereshteh Sabbagh

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

Fereydoon Moshiri

Sepehr truetype fonts. [Google] [More]  ⦿

Ferran Milan Oliveras

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

He created the Latin / Arabic typeface Bubblegum (2011) during his studies there. Bubblegum is soft and rounded, but is remarkably well-suited for small text thanks the careful use of inktraps.

In 2012, he won the Bronze Prize in the Latin category of the Morisawa Type Design Competition for Baldufa. Baldufa was also crowned at TDC 2013. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.

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

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

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

Finder

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

Fiona G.E. Ross

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

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

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

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

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

Bio at ATypI. Her books and/or essays:

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

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

Firago

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

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

Fixedsys
[Darien Valentine]

Free truetype fonts: Tai Le Valentinum (for the Tai Le script used in China, Burma and Laos), Valentine Arabic, the faux pixel font Sounds of Apathy, and the unicode faux pixel font Fixedsys Excelsior 2.0 (2007). The latter covers Latin, Greek, Cyrillic, Hebrew, Armenian, Tamil, Hylian, N'Ko, Ethiopic, blackletter, Dehong Dai, Pahawh Hmong, Thaan, Arabic, Thai, Ogham, runic, and IPA. All fonts made by Darien Valentine in 2004. See also here. [Google] [More]  ⦿

Fo Da
[Nohamad Foda]

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

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

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

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

Font Bud
[Mikolaj Grabowski]

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