Ahmed is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s. Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design. The contrasting proportions of the tall vertical strokes and the rather elongated counters lend a monumental look to Ahmed, allowing its effective use in titling. During the later 1980s Ahmed was developed into a traditional typeface, with the introduction of medial forms to improve character spacing and balance. Recently, Ahmed has been converted into the OpenType font format, ensuring its continued popularity as a heading face for newspaper typesetting. The Ahmed typeface contains two weights, Ahmed and Ahmed Outline. Both of the OpenType fonts include Latin glyphs from Clearface Gothic Roman inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Ahmed fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Karim is a traditional-style Arabic text face, designed in response to a demand for a traditional text face adapted to setting Quranic commentaries. Within the constraints of the standard character set and typesetting program, Karim’s design aims to recall the style and fluency of manuscript Naskh without, however, reproducing the idiosyncrasies of any particular calligrapher. The line weight chosen is heavier than usual for a traditional light face in order to benefit the reproduction of small size Tafsir text. A tall kaf, deep descenders and slightly inclined alifs and lams all help to suggest the cursiveness of manuscript. The type-style that emerges is characterized by restraint and clarity; qualities suited to Karim’s original purpose, and ones that recommend it for wider use. Karim ships includes Latin glyphs from Janson Text Roman, allowing the single font to set text in both most Western European and Arabic languages. Karim’s code pages incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The font includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Abyan is An Arabic typeface for desktop applications & display. Abyan is suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Abyan typeface comes with many opentype features. Designer: Sultan Maqtari Design date: 2019 Publisher: Sultan Fonts

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

Linotype Franosch™ is a three weight display typeface designed by artist/graphic designer Max Franosch. Around the time of making the initial sketches, Franosch was looking a lot at Arabic newspaper and magazine headlines. He was drawn to their bold and very graphic" type. A common feature was the "floating" dots which added a rhythmic quality to the text. This came to influence the use of dots in Linotype Franosch™. Apart from this influence, Linotype Franosch also has a very clean and futuristic feel to it, due mainly to the highly geometric nature of the characters and the uniform stroke weight. More about the usability of this typeface can be seen at the Font of the Week of Linotype Franosch. Linotype Franosch is perfect for party flyers, headlines, and internet banner ads. All three faces in the Linotype Franosch family are part of the Take Type 4 collection from Linotype."

Manas is the name of the epic of the Kyrgyz Turks. The font family is also designed with serifs to reflect the characteristics of the epic from which it is named. This typeface, which is a serif, consists of three families: ▪ Manas: Font family containing Latin letters ▪ Manas Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Manas World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets

Shabaq is a heavy, ultra black Arabic font. It is suitable for 'Display' and large print use cases, especially billboards and advertisement. It also performs well as a title and header font. Shabaq is a geometrical font based on the charactristics of the traditional Naskh typeface with a perfectly fresh and modern appearance. Shabaq is super-black, dazzles the eyes of the beholder and leaves them deeply influenced. Shabaq supports Arabic, Persian and Kurdish languages.

Bayannur is a typeface published by Monoco Type Foundry inspired by Arabic Calligraphy in Chinese Tradition. This font has extensive Latin script support with many ligatures and stylistic sets, as well as Cyrillic and unique Arabic design with contextual alternates and many ligatures. The glyphs in this font also specifically support Uyghur script typing*. Abdurrahman Hanif, designer based in Jakarta, trying to develop this font as his appreciation for this beautiful Art of Calligraphy.

Manas is the name of the epic of the Kyrgyz Turks. The font family is also designed with serifs to reflect the characteristics of the epic from which it is named. This typeface, which is a serif, consists of three families: ▪ Manas: Font family containing Latin letters ▪ Manas Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Manas World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets

Manas is the name of the epic of the Kyrgyz Turks. The font family is also designed with serifs to reflect the characteristics of the epic from which it is named. This typeface, which is a serif, consists of three families: ▪ Manas: Font family containing Latin letters ▪ Manas Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Manas World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets

Esfand is a modern Sans Serif font family in three weights, Light, Medium and Bold.The Esfand innovation is a contribution to the modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Esfand supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Esfand Font family is available in Three weights; Light, Medium and Bold. Its intuitive design arrangement fulfills the following needs: - It is precisely crafted for use in electronic and print media. Esfand is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Esfand is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Esfand's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. - Esfand is an eye-catching and classy typographic image that was developed for multiple languages use and writing conventions. - Esfand uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Esfand typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Origins is based on letters hand-drawn with a crow quill on parchment paper, a testament to calligraphic grace and antique ambiance. Its tight, energetic angularity can be complemented with swooping swash capitals, alternate ascending and descending letterforms, and graceful ending characters. Origins sings in settings related to food and wine, celebrations, travel, and history. Origins features 120 alternates and swashes, 8 ligatures and 20 ornaments. See what’s included! http://bit.ly/2ci2wgE *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Shabon Dama is a cheerful fun Arabic typeface, it bridges the gap between formal and fun, thus keeping it readable. It fits well with video games rated for everyone, kids comics and books, and cheerful marketing. Featuring three weights: Light, Regular, and Bold. ARABIC CHARACTERS ONLY.

Sultan free is an Arabic text typeface for desktop applications. Sultan free is a freestyle script. It is available in One style, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a support for Arabic, Persian, and Urdu. Sultan free typeface comes with many opentype features.

HS Gold is based on some modern lines of Naskh calligraphy which supports Arabic, Persian and Latin with a Sans Serif with subtle round on stems and corners. The typeface has been optimized for corporate identity work, editorial design and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested. It features swash, ligatures and swash ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of two weights (regular and bold) which can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes and projects.

About Molhim: I first designed Molhim in 2016 as a personal project to digitalize my handwriting. Molhim 2016 was a static typeface, including two weights, and supported basic Arabic only. Since it was my first typeface to design, it had several issues regarding letterform design and aesthetics, good curve drawing, proportions, font programming, and correct OpenType features. So, in 2019 I started redesigning my handwriting font from the beginning to produce a neat Multi-lingual typeface suitable for diverse purposes. Arabic letterforms are redrawn with a focus on proportions and unity. Molhim Variable characteristics: Supports basic Arabic, and Arabic script-based languages, such as Persian and Urdu. Supports Basic and extended Latin characters. Includes 200+ ligatures and alternate styles for a natural flow of letters. Latin small letters have both separated and connected script forms. The variable font comes in two axes, Weight (wght) and Softness (SOFT): The Weight axis ranges from thin to bold, while Softness changes the stroke's cap from a round cap to a sharp projecting cap. Although I see the new Molhim Variable as a different typeface, I decided to keep the name 'Molhim' for the new typeface with the addition of 'Variable'. Molhim is an Arabic word that means 'inspiring'; this is how I hope people would perceive my handwriting.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

This is an Arabic font designed according at the standards of Calligraphy. It contains a consistent styling and can be used in many functions.

Zena is an Arabetic typeface design with visually connected glyphs, named for designer’s younger daughter, Zena, for her twelfth birthday. Zena follows the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards, and one additional final form glyph for each Arabic letter that can connect with other letters from both sides in traditional cursive Arabic strings. Zena employs variable x-height values. It includes all required Lam-Alif ligatures and selected marks. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form, if desired. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. The Zena typeface family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, in addition to Standard English keyboard punctuations and major currency symbols. Zena is available in regular and italic (slated to the left) styles.

Waleed est une police de caractère Arabe, et latin inspirée du Naskh

Jan Regular combines an experimental, bold, mono-weight geometric sans serif with the Arabic writing system's means of joining letters. Adding in script-like letter connections, a feature that is found in both western cursive and Arabic type, as well as distinctly Arabic-like accents above and below certain letters, Michael Parsons has created a cross cultural typographic statement. Jan Regular is best used for headlines, and small strings of text, in sizes large enough to view and appreciate the unique counter forms within the letters. This font is one of 10 creations from the young Swiss designer Michael Parson included in the Take Type 5 collection, from Linotype GmbH."

Shubbak Variable is a highly flexible and dynamic Arabic Sans (Kufic) typeface that was designed to work with a wide range of Latin counterparts. A friendly and human typeface family that is very flexible when coupled with many popular fonts you may already use. It includes a full set of Arabic, Farsi (Persian) and Urdu character sets as well as a basic Latin set are included. Designed originally by British designer Ruh Al-Alam, further developed by Mohammed Gabr, Muhammad Hadi and then fully expanded by Abdelrahman Farahat. Archetype Foundry aims to help revolutionise and spread the use of beautiful Arabic and multi-lingual typefaces.

At Tupats is inspired by the name of a common food from Indonesia during Eid: ketupatfood. This font is in the Arabic style but for writing latin characters and words. The ligatures, stylistic sets, and contextual features of this font will make your writing similar to Arabic calligraphy. It is very suitable for writing in a Middle Eastern style and for use in restaurants, magazines, souvenirs, web, and many Ramadhan-themed projects.

Godysun Arabic style font. Create the perfect Arabic and Islamic decorative design with this collection of exclusive value examples. With this stylish font, you can create all kinds of themes, from elegant to modern, and get the same result as shown. To get a variety of styles into your projects, they come in both upper and lower case, as well as several Alternates. You will be able to easily create quality designs.

Matricia by Pera Ribalta, José Manuel Urós / OpenType, 3 styles Nostalgically, the three weights of Matricia try not to recreate the modern pixel fonts but the noisy needle printers. The Uno and UnoXt are made of squares and the Dos version of dots.

Golnama is a modern Sans Serif headline font. Golnama supports Arabic, Persian, Urdu and Latin. It includes proportional and tabular numerals for the supported languages.

This unusual font was designed by Alessio Leonardi, who plays with the difference between content and impression. At first glance the font looks almost like a row of pictograms or Asiatic characters. The forms become Arabic letters when the characters are set together to form words. HaManga Irregular is a good font to use when the reader is supposed to contemplate not only the text but the form of what he or she sees.

Introducing "Te Hafs tharwat Emara" - An Exquisite Arabic Font for the Holy Quran Unveil the beauty and elegance of Arabic calligraphy with "Te Hafs tharwat Emara," a meticulously crafted font designed specifically for typing the Holy Quran. This magnificent typeface pays homage to the rich cultural heritage of Arabic script while embracing modern design elements, resulting in a captivating blend of tradition and innovation. With its unique and enchanting aesthetic, "Te Hafs tharwat Emara" captures the essence of Islamic art and typography, making it an ideal choice for any project related to the Holy Quran. Whether you're designing Quranic verses, Islamic manuscripts, or educational materials, this font will elevate your work to new heights and leave a lasting impression on your audience. The essence of "Te Hafs tharwat Emara" lies in its harmonious balance of form and function. Every letter has been meticulously crafted to ensure legibility and clarity, even at smaller sizes. The thoughtful spacing and meticulous attention to detail make this font a delight to read, enhancing the overall reading experience of the Holy Quran. One of the standout features of "Te Hafs tharwat Emara" is its ornate and intricate calligraphic strokes. Each character is a masterpiece in itself, reflecting the skill and expertise of traditional Arabic calligraphers. The fluidity of the strokes and the subtle curves create a sense of rhythm and grace, evoking a sense of reverence and spirituality. The versatility of "Te Hafs tharwat Emara" allows it to adapt effortlessly to various design contexts. Whether you're working on printed materials, digital platforms, or even signage, this font will maintain its beauty and legibility, ensuring your message is conveyed with utmost clarity and impact. To further enhance its usability, "Te Hafs tharwat Emara" includes a comprehensive set of Arabic ligatures, diacritical marks, and punctuation, enabling you to accurately represent the intricacies of the Arabic language. These thoughtful additions ensure that your typography remains authentic and faithful to the traditions of Arabic script. When it comes to font selection, readability is of utmost importance. "Te Hafs tharwat Emara" has been meticulously optimized for digital and print environments, ensuring exceptional legibility in both mediums. Each character has been carefully tested and refined to guarantee optimal reading comfort, making this font an excellent choice for long passages of text. Moreover, "Te Hafs tharwat Emara" supports a wide range of OpenType features, granting you creative control over your typography. From alternate character forms to contextual alternates, swashes, and ligatures, this font offers a plethora of options to customize and elevate your design. With such flexibility at your fingertips, your creativity knows no bounds. Beyond its technical prowess, "Te Hafs tharwat Emara" is a font with a story. It symbolizes a rich cultural heritage, embodying the devotion and reverence associated with the Holy Quran. Its elegant curves and intricate details evoke a sense of spirituality, making it a perfect choice for projects aimed at preserving and celebrating Islamic traditions. In conclusion, "Te Hafs tharwat Emara" is more than just a font; it is a celebration of Arabic calligraphy, Islamic art, and the beauty of the Holy Quran. With its exquisite design, unparalleled legibility, and versatile application, this font is an invaluable asset for any project related to Islamic typography. Embrace the artistry of "Te Hafs tharwat Emara" and elevate your designs to new heights of beauty and elegance.

Introducing "Te Hafs1 tharwat Emara1" - An Exquisite Arabic Font for the Holy Quran Unveil the beauty and elegance of Arabic calligraphy with "Te Hafs1 tharwat Emara1," a meticulously crafted font designed specifically for typing the Holy Quran. This magnificent typeface pays homage to the rich cultural heritage of Arabic script while embracing modern design elements, resulting in a captivating blend of tradition and innovation. With its unique and enchanting aesthetic, "Te Hafs1 tharwat Emara1" captures the essence of Islamic art and typography, making it an ideal choice for any project related to the Holy Quran. Whether you're designing Quranic verses, Islamic manuscripts, or educational materials, this font will elevate your work to new heights and leave a lasting impression on your audience. The essence of "Te Hafs1 tharwat Emara1" lies in its harmonious balance of form and function. Every letter has been meticulously crafted to ensure legibility and clarity, even at smaller sizes. The thoughtful spacing and meticulous attention to detail make this font a delight to read, enhancing the overall reading experience of the Holy Quran. One of the standout features of "Te Hafs1 tharwat Emara1" is its ornate and intricate calligraphic strokes. Each character is a masterpiece in itself, reflecting the skill and expertise of traditional Arabic calligraphers. The fluidity of the strokes and the subtle curves create a sense of rhythm and grace, evoking a sense of reverence and spirituality. The versatility of "Te Hafs1 tharwat Emara1" allows it to adapt effortlessly to various design contexts. Whether you're working on printed materials, digital platforms, or even signage, this font will maintain its beauty and legibility, ensuring your message is conveyed with utmost clarity and impact. To further enhance its usability, "Te Hafs1 tharwat Emara1" includes a comprehensive set of Arabic ligatures, diacritical marks, and punctuation, enabling you to accurately represent the intricacies of the Arabic language. These thoughtful additions ensure that your typography remains authentic and faithful to the traditions of Arabic script. When it comes to font selection, readability is of utmost importance. "Te Hafs1 tharwat Emara1" has been meticulously optimized for digital and print environments, ensuring exceptional legibility in both mediums. Each character has been carefully tested and refined to guarantee optimal reading comfort, making this font an excellent choice for long passages of text. Moreover, "Te Hafs1 tharwat Emara1" supports a wide range of OpenType features, granting you creative control over your typography. From alternate character forms to contextual alternates, swashes, and ligatures, this font offers a plethora of options to customize and elevate your design. With such flexibility at your fingertips, your creativity knows no bounds. Beyond its technical prowess, "Te Hafs1 tharwat Emara1" is a font with a story. It symbolizes a rich cultural heritage, embodying the devotion and reverence associated with the Holy Quran. Its elegant curves and intricate details evoke a sense of spirituality, making it a perfect choice for projects aimed at preserving and celebrating Islamic traditions. In conclusion, "Te Hafs1 tharwat Emara1" is more than just a font; it is a celebration of Arabic calligraphy, Islamic art, and the beauty of the Holy Quran. With its exquisite design, unparalleled legibility, and versatile application, this font is an invaluable asset for any project related to Islamic typography. Embrace the artistry of "Te Hafs1 tharwat Emara1" and elevate your designs to new heights of beauty and elegance.

This curly, swirly antique offering is based on a Victorian-era typeface called "Fillet". Opening and closing flourishes can be found at the brace and bracket positions, and the ribbon effect can be carried between words by using the underscore character in place of a space. Due to the highly ornate nature of this font, it does not contain math operators, fractions or superior numbers. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.

I dedicate this font family to Nima Yooshij (1896-1960), the great poet and innovator of Persian poetry. Nima is a new creation of Naghi Naghashian. Nima design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Nima was developed for multiple languages and writing conventions. Nima supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Hey! I'm happy to introduce to you my new font in fast speed style. Dry brush stroke with grunge lines and dots. Perfect for Taxi logo, Race poster, Sport identity, etc. You’ll get: * Uppercase (lowercase glyphs are the same) * Numbers * Symbols Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

This font family is simplified Arabic which was inspired from the modern Naskh style, where the reverse contrast is low and the counter forms are open. The original design is from the Lisboa Sans typeface (Latin), published on 2005 and after some years, this multi-script family is the compromise and balance between these two different scripts. This typeface contains characters for setting Arabic, Persian and Urdu languages.

Sultan Nahia, designed by Sultan Maktari in 2005, is a modern Kufi and a winner in Linotype’s first Arabic Typeface Design Competition. The design is very geometric and bold. This makes it suitable for large display sizes, especially in the area of advertising. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Hasan Alquds U is an Arabic display typeface. It is useful for titles and graphic projects where a contemporary, streamlined look is desired. The font is based on the simple lines of Kufi calligraphy, and the uniform slope of its strokes gives it a structured, geometric feel. It supports Arabic, Persian and Urdu languages. Hasan Alquds is the first released typeface of collaboration between Hasan Abu Afash and Mamoun Sakkal.

Personlighed was originally a handdrawn font, but I decided to trace each glyph and make this super clean font instead. The idea of the font is about making a hybrid between the handdrawn lines and the “computerized” vector. If you look closely, I have some uneven lines here and there (not many, but are here and there!) I’ve also added some alternative versions of j, k, q, r and the ampersand

Zahran is a lovely Latin and Arabic handwritten script, Inspired by modern calligraphy style. This style is a challenge for me in designing Arabic letters, I tried joining Arabic on one side so that the baseline shape is dynamic. Come with many feature; Stylistic alternate, character variant (cv01 to cv12), ligatures, multilingual characters, begining and ending swash, and lovely connecter for lowercase, that can be accessed with opentype feature. Zahran is perfect for branding project, product packaging, tile, logo, wedding, quotes and where ever you need lovely design.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

Sutixo is the font for speed enthusiasts. Designed with the sports racing theme in mind, this font is perfect for creating bold and attention-grabbing designs. It comes with four variations, each with its own distinct style, and various alternate characters and ligatures to take your plans to the next level. Whether you’re creating graphics for a motorsport event or simply want to add a touch of excitement to your branding, Sutixo is the font you need. So gear up and get ready to race with Sutixo! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support