Systopie is inspired by stories where fears about dehumanized futures are shown.

The Ahmisya font will give your designs a genuine Middle Eastern feel. Use this font in your super projects to get everyone’s attention. Don’t put off adding an elegant Arabic touch to your design any longer.

JH Lina is an Arabic Naskh typeface, including four weights; it is typical for long running text, headlines, branding , news letters, magazines, signage and electronic publishings ... The diacritic positioning is fine tuned per the publishers requirements.

Salaam. Introducing Almalik, an Arabic style font, created in monoline shape and based on original Arabic letters adapted into Latin typography. Almalik represents the middle-east feel in a modern touch, with fewer calligraphy shapes, and dynamic swashes. Perfect for many purposes such as fashion, food, packaging, label, logo, logotype, quotes, headline, branding, and more! This font provides 400+ glyphs including lots of alternates characters that you can apply to get your design looks more attractive! What you'll get : Uppercase Lowercase Numbers & symbols Stylistic alternates Stylistic sets 01-03 Ligatures Multilingual support. PUA encoded. Thank you for your support!

For decades, the Persian-born Naghi Naghashian has been working as a graphic designer and illustrator in Germany. Arian™ is his first commercial Arabic typeface. Named after his mother, Naghi created the Arian typeface family after years of systematically analyzing the Arabic script. The Arian design is sought to fulfill the many needs and was developed for multiple languages and writing conventions. It's extremely legibilitable not only in small sizes, but also when the type is filtered or skewed. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Introducing "Syamsul" - an exquisite Arabic-style font that combines elegance and functionality. Inspired by the beauty of Arabic calligraphy, Syamsul captures the essence of this ancient art form while offering a contemporary twist. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

HS Almisk Serif is a display typeface. It can be used for titles and graphic projects, which support Arabic and. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. It based on HS Almisk typeface with a serif on some of its characters. (5) Weights has been created for this typeface between the Light weight and Black weight. This typeface with its diversity of (5) weights is intended to be an attempt for a good addition to Arabic typography.

Belqees Pro is a modern Arabic and Latin typeface that belongs to the Kufi font family. This version is distinguished by an improvement in the form of the typefaces, as well as many additions for different uses

Foda Tholoth font is to reflect the beauty of its original Arabic and Islamic calligraphy. This font can be used headlines and Quranic verses. Foda Tholoth is designed by Foda & Esraa Amer and manufactured by Ahmed Eraqi.

TE Mona Tharwat Emara," a masterpiece of Arabic calligraphy crafted by the renowned Egyptian calligrapher, Tharwat Emara. This exquisite Ruqaa font seamlessly blends tradition with innovation, offering a timeless elegance that captures the essence of Arabic script. Tharwat Emara, a distinguished figure in the world of calligraphy, has lent his artistic prowess to create a font that is not merely a collection of characters but an embodiment of cultural richness. Each stroke of the pen reflects the heritage of Egyptian calligraphy, echoing the historical echoes of an ancient civilization. "TE Mona Tharwat Emara" stands as a testament to Emara's dedication to perfection. The font's graceful curves and meticulously designed letterforms pay homage to the classical Ruqaa style, while subtle contemporary touches infuse it with a modern flair. It is a harmonious blend of tradition and innovation, making it an ideal choice for projects that demand sophistication and cultural resonance. Designed with precision and passion, this font is not just a typographic tool; it's a work of art that brings the beauty of Arabic calligraphy to the forefront. Each character is a brushstroke of inspiration, contributing to a seamless flow that captures the eye and mesmerizes the reader. Whether you are working on a branding project, publication, or artistic endeavor, "TE Mona Tharwat Emara" adds a touch of timeless class. Embrace the elegance of Arabic script with this font, where every detail reflects the expertise of a master calligrapher. As you embark on your creative journey, let "TE Mona Tharwat Emara" be your muse. Elevate your designs, captivate your audience, and embrace the heritage of Arabic calligraphy with this exceptional font. Embrace the legacy, embrace the art – TE Mona Tharwat Emara awaits, a font that transcends time and tradition

Alfarooq is the most widely known epithet for the Islamic figure Umar ibn al-Khattab (c. 586 - 644) who was a leading companion and an adviser to the Islamic prophet Muhammad (peace be upon him) who later became the second Muslim Caliph after Muhammad’s death (pbuh) in 632. Muslims widely know Umar ibn Al-Khattab (may Allah be pleased with him) as Alfarooq (i.e., he who knows and distinguishes between truth and falsehood). Alfarooq is a unique, wide, and headline Arabic display typeface. The main trait of this typeface is the novel design of its letters' tails and its dots which renders it as one of the modern stylish typefaces used for headlines and titles. This can be noticed in different letters such as Ain, Ghain, Jeem, Khah, Seen, Sheen, and others. In addition, Alfarooq font has an Arabic character set which supports Arabic, Persian, Kurdish, and Urdu letters and numerals with a limited range of specific Arabic ligatures. This typeface comes in two ultra-bold styles (i.e., Alfarooq and Alfarooq-Pro) and more than 430 distinctive glyphs with a single weight for each style. Alfarooq typeface effectively offers diverse typographic and digital usages including mainly the very large and wide poster-size works. Due to its strong baseline-stroke, Alfarooq typeface is appropriate for heading and titling works in Arabic, Persian, Kurdish, and Urdu newspapers, magazines, and other printed materials. It is also elegantly suitable for signs, book covers, advertisement light boards, street and city names, products- and services names, and titles of flyers, pamphlets, and posters. The wide style of Alfarooq font’s characters gives it more distinction when it is used in greeting cards, covers, exhibitions' signboards, external or internal walls of malls, and also the exits and entrances of airports and halls.

Shalleh is a bold script font, featuring Arabic Style. Designed expertly to make your project or work more modern, this font can be used for various projects such as: greeting cards, branding, logos, screen printing, and many others.

Aulian is an arabic font style made in all characters in uppercase, lowercase, multilingual, ligature, numeric and punc.this typeface with artistic style verym terestingt for loads of different projects and promotions, such as logo, poster, catalogs, advertisement needs, packagingdesign.

Lino Stamp is a geometrical, sans-serif typeface inspired by Futura Bold Condensed. To produce it, letters were carved into linoleum, inked and impressed on paper – giving a worn and distressed finish. Lino Stamp works particularly well for headings, short paragraphs and scrapbook-style designs.

Afronaut PRO (New version of typeface published in 2019) was inspired by vernacular Latin & Arabic typography in St. Louis (on Senegal-Mauretania Border, Africa). Geometric forms working well and contrasting with smooth, round elements. After reading "Afronautics – from Zambia to the Moon" by Bartek Sabela (about Zambian conquest of space) a breif was set to create typeface that looks like mix between: vernacular Arabic script, futuristic typography and some special lettering that I found in Africa during my travels to Guinée, Bissau, Gambia, Senegal, Mauritania and West Sahara. Afronaut has seven weights, also many letters have 3 different forms. Afronaut PRO can work as regular version of my Yalla Typeface.

Introducing Ramadhan Night, a captivating display font that effortlessly captures the essence of Arabic letters. Ramadhan Night pays homage to the flowing beauty of Arabic script, where each letter gracefully connects to the next. It brings the charm of this age-old tradition to your designs. This font maintains low contrast between strokes and curves, ensuring clarity and easy reading in various contexts. Ramadhan Night is highly versatile, making it suitable for various designs. It fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

HS Hadeel is a versatile display typeface designed for use in titles and graphic projects that require both Arabic, Persian and English characters. It draws inspiration from the modern kufi style and boasts a unique blend of sharp and curved lines that lend a beautiful and geometric structure to each character. The sharp endings at the bottom of each character add an additional aesthetic touch. With five weights available, ranging from Light to Black, HS Hadeel offers a diverse range of options for designers seeking to elevate their Arabic typography. Overall, HS Hadeel is a great choice for those seeking a visually striking and flexible typeface for their projects.

HS Hadeel Serif is a versatile display typeface designed for use in titles and graphic projects that support Arabic, Persian and English. It draws inspiration from the modern kufi style and features a unique blend of sharp and curved lines that lend a beautiful and geometric structure to each character. Based on the original HS Hadeel typeface, HS Hadeel Serif includes a serif on some of its characters to provide a more traditional look. Two weights are available for this typeface: Regular and Bold. HS Hadeel Serif represents a valuable addition to Arabic typography, offering designers a visually striking and flexible option for their projects.

Introducing Rofak, a unique and captivating display font. Rofak takes inspiration from Arabic script and introduces a distinct rounded design to the characters. This choice softens the edges while preserving the elegance of Arabic calligraphy, resulting in a typeface that exudes a sense of warmth and approachability. Rofak prioritizes readability by maintaining low contrast between strokes and curves. With its unique combination of rounded forms and low contrast, Rofak is versatile and well-suited for diverse design projects. Rofak fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Badiya is designed by Lebanese designer Nadine Chahine as a modern and slightly modulated Naskh. The design has open counters that enable it to be used in quite small sizes.The resulting effect is that of a clear, legible, and modern text face. Badiya is especially suited for print in magazines and corporate communication. It combines well with Frutiger Arabic and Janna as a text face with a matching headline. The Latin companion to Badiya is Syntax which is included also in the font. The font also includes support for Arabic, Persian, and Urdu as well as proportional and tabular numerals for the supported languages.

Extra bold, extremely black! Siah font comes with 2 weights and provides a modern and clean sans serif Arabic/Persian type experience for headlines and headings! Siah means "Black" in Persian. This font also supports basic Latin. The complete font family is a great choice for all graphic designers, typographers and visual artists. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The Arabetic Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

Raqmi was designed as a serif like font with relatively uniform glyph thicknesses, perfect simplified straight lines and curves, and emphasized isolated letters. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per 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. Raqmi 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.

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. 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. It also includes proportional and tabular numerals for the supported languages. Iranica 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. Iranica'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. Iranica was developed for multiple languages and writing conventions. Iranica 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.

Selauk is a window into the futuristic world of typography’s future. With this theme, this font is the ideal answer for projects that need a touch of modern, sci-fi, and future atmosphere. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

This is an experimental type, something of retro-futurism and modern robotics in one package, with letters of unexpected proportions and forms. It was inspired by the glorious imagination of the past, but it holds in itself themes that are bound with the future. The DBL Cheque family consists of incredible 22 styles, filling every need for demanding designers.

F. O. T. R. is experimental sans serif display font. Space travelling is near so I decided to bring you a brand new typeface based on insight into the future. Clean shapes, a lot of atypical alternates and the futuristic appearance. F. O. T. R. typeface is conceptually connected with a chronophotography project FUTURE OF THE RHYTHM.

Embrace the future together with RAITOR. A slick and sophisticated bold sans-serif, with the touch of futuristic vibes to get prepared for the upcoming metaverse era. Conquer your presence in the future of the visual digital world, armored with RAITOR. Perfectly fit for your logo, branding, poster, album artwork, streaming assets design, futuristic themed design, you name it.

Streamlined Stencil JNL is based on a photo of an Art Deco era shipping stencil saying "With Care" which was heavily influenced by the Futura Black style of lettering. The image was seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).

It is a font that combines futurism and elegance. It is specially designed for logo font creation.