Araby Rafique is a part of the Take Type Library, winners of Linotype’s International Digital Type Design Contest. This font was designed by the British artist Tehmina Rafique. The forms lean sometimes left, sometimes right, which, combined with the stroke contrast, gives the font a dynamic character. Other distinguishing characteristics are the mix of teardrop and fine hair strokes and the handwritten style. This font is good for very short texts and headlines, especially when the look of the text is as important as its meaning.

This unusual penscript is based on letterforms discovered in the classic Zanerian Manual of Alphabets and Engrossing. The economy and the sinuous quality of the pen strokes, combined with the severe backslant, suggest--without mimicking--the grace and beauty of fine Arabic calligraphy. The Opentype, Truetype and Windows Postscript versions of this font contain both the Windows 1252/ANSI character set and the 1250/Central European character set.

Kufwan Arabic style display font can be used to give your designs a genuine Arabic touch. The display font displays a beautiful style similar to the handwriting on a typical Arabic book. Use this font in your super projects to grab everyone’s attention. Don’t put off adding an elegant Arabic touch to your designs any longer.

Katuku is an Arabic Style Font based on the exquisite Arabic calligraphy style, which means that the writing style is highly decorative and highly variable. Arabic style fonts will give your designs a genuine Middle Eastern feel. Use this font in your super projects to grab everyone’s attention. Not only is it perfect for logos and headlines, but it adds an elegant Arabic touch to the design and will give you a real edge over your competitors’ designs.

Beginning in January, 1932, Becker, at the request of then-editor E. Thomas Kelly, supplied SIGNS of the Times magazine’s new Art and Design section with an alphabet a month, a project predicted to last only two years. Misjudging the popularity of the “series”, it instead ran for 27 years, ending finally two months before Becker’s death in 1959, for a grand total of 320 alphabets, a nearly perfect, uninterrupted run. In late 1941, almost ten years after the first alphabet was published, 100 of those alphabets were compiled and published in bookform under the title, “100 Alphabets”, by Alf R. Becker. And so, as published in August, 1937, The Fontry presents the truly "modern" version of Becker’s 187th alphabet, Moderne Caps, complete with OpenType features and Central European language support.

Nadishaq - Arabic Font is a captivating typeface with a unique Arabic letter theme. Each character in this font is meticulously crafted using the basic Arabic letterforms, resulting in a font that authentically captures the essence of Arabic script. It retains the distinctive features of Arabic letters, such as dots and swashes, which adds an extra layer of authenticity to your designs. Perfect for logos, packaging, branding, books, titles, and posters designed with an Arabic theme, Nadishaq seamlessly integrates into designs focusing on the Arabic language and culture. It's a font that encapsulates the beauty and intricacies of Arabic script, making it a versatile choice for a wide range of projects. With its Arabic-inspired design, Nadishaq allows you to infuse an authentic Arabic touch into your creative works, making them truly stand out

Badr is a traditional-style Arabic text typeface with two weights: Badr Light and Badr Bold, and include Latin glyphs (Cochin Roman and Bold), allowing a single font to set text in both most Western European and Arabic languages. The two Badr fonts incorporate the Basic Latin and the Arabic character sets, which support Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Step into the world of cultural sophistication with Turban Genie - Arabic Font. This meticulously crafted digital typeface embodies the elegance of Arabic calligraphy, adorning your designs with intricate details and strategically placed dots on select characters, reminiscent of traditional Arabic writing.

Amer was originally designed for dry transfer and redrawn and digitized by Adrian Williams. Amer is a modern Arabic headline face, which includes Latin glyphs from Kabel Book, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Amer includes the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Kufi is a traditional-style Arabic headline face available in two styles, Kufi and Kufi Outline. Both of the OpenType fonts include Latin glyphs from Kabel Heavy inside the font files, allowing a single font to set text in both most Western European and Arabic languages The two Kufi OpenType fonts incorporate the Basic Latin character set and the Arabic, 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.

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. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Jalal is a modern Arabic text typeface with two weights: Jalal Light and Jalal Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Optima Demi Bold and Optima Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The Jalal fonts incorporate 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.

A multilingual type family that features a modern Arabic Naskh with very short descenders and ascenders, which matches with a full-caps Latin counterpart. Molsaq is perfect for setting applications that require tight leading, such as posters, hence the name, which means poster in Arabic. With 1050 glyphs, Molsaq Pro supports Arabic, Farsi, Urdu, and Kurdish, it also supports more than 60 languages that use the Latin script. Molsaq Pro comes with many Opentype features such as, stylistic alternates, ligatures, swashes, and small caps. Molsaq Latin includes all the Opentype features and the full languages support, except for the Arabic script. While Molsaq Arabic doesn't include Opentype features, and only support the Arabic script.

Introducing Nur Hidayah Arabic Calligraphic Font this is an Arabic display style font that weaves intellect with imagination in a harmonious flow of letterforms. Nur Hidayah Arabic Calligraphic Font demonstrates a mysterious beauty of Arabic typography which is found to be essential for narrative content titling. The font is also suitable for branding and visual advertising. in the Arabic Language, Nur Hidayah refers to the Holy Enlightment. It also indicates the person who’s allready get a clear bright enlightment in their spiritual journey. The font features a unique writing style with a solid geometric structure which suits titling and creative heading. Nur Hidayah Arabic Calligraphic Font consists of three (3) style; Regular, dotted and Bold.

A multilingual type family that features a modern Arabic Naskh with very short descenders and ascenders, which matches with a full-caps Latin counterpart. Molsaq is perfect for setting applications that require tight leading, such as posters, hence the name, which means poster in Arabic. With 1050 glyphs, Molsaq Pro supports Arabic, Farsi, Urdu, and Kurdish, it also supports more than 60 languages that use the Latin script. Molsaq Pro comes with many Opentype features such as, stylistic alternates, ligatures, swashes, and small caps. Molsaq Latin includes all the Opentype features and the full languages support, except for the Arabic script. While Molsaq Arabic doesn't include Opentype features, and only support the Arabic script.

Huraira - Arabic Font, a captivating digital typeface that beautifully captures the essence of Arabic calligraphy. With a design that closely resembles traditional Arabic letters, this font features the intricate inclusion of dots on select characters, mirroring the visual elegance of classic Arabic writing. Huraira brings an air of authenticity and cultural richness to your designs, making it a versatile and impactful choice across a spectrum of design applications.

Introducing Khumairoh, a new Arabic font, inspired by classic Latin handwriting and Arabic letters. The letterforms are designed with a blend of Arabic typography and calligraphy. Khumairoh is designed to be versatile so you can use this font for many themes, not just Islamic or Arabic. It can be applied to posters, logos, branding, greeting cards, weddings, clothing, cosmetic labels, packaging, book covers, short body text, quotes and more!

Furqan - Arabic Font beautifully encapsulates the essence of Arabic calligraphy, with its distinctive style that closely resembles traditional Arabic letters. Each character is adorned with intricate dots, paying homage to the intricate detailing found in classical Arabic writing. This font carries an air of authenticity and cultural richness, making it an excellent choice for a wide array of design purposes. From logos and branding materials to posters, product packaging.

Barokah Ramadhan is script font inspired by arabic alphabet / calligraphy,come with alternate and multilingual features.This font very suitable for your arabic stylish design.

Mitra is a modern Arabic text typeface with two weights: Mitra Light and Mitra Bold. Both of the fonts include Latin glyphs (from Optima Medium and Optima Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Mitra fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), 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.

The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Mettle Bilingual Arabic font, Latin-Arabic for print and web. The Mettle font family contains four weights: thin, normal, medium, and broad. This font supports Arabic, Latin, Persian, Urdu, and Kurdish languages. The digital designer can use the variable Mettle font to access wider options in working with the text.

Tufan is a dynamic Arabic typeface abstracted from Kufi Arabic typescript, manifest a strong contrast between bold and thinner strokes, giving it a stylistic overview suitable for title and retro posters. Tufan is an Arabic word meaning flood or typhoon, it represents the boldness and the power of the font.

Afsoon is a decorative headline font designed by Naghi Naghashian.This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real modern arrangement und provides more typographic flexibility. Afsoon supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages.

The DEWANY (ALMONA DEWANY ) font is a font of original Arabic fonts and is specialized in writing in the offices of the Sultan and Arab’s Kings. It is also one of the most beautiful Arabic fonts as it has the flexibility to write official graduation certificates, certificates of appreciation, scientific progress and decorations. It is also commonly used in writing posters and sequences for serials, films, medals and decorations on clothes. The ALMONA DEWANY font has its aesthetics derived from its round and interlocking letters. In this version of Dewany font ( Almona Dewany ) you will find many of Arabian names, Ayat of Holley Quran and Good names of Allah (Asmaa Allah Al-Hosnna) and all of this is ready to written quickly by one click and choose glyphs you want to add.

The Mutamathil Taqlidi type family is the largest size member of the Mutamathil type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. With each glyph being slightly symmetrical around its vertical axis, this family is only suitable for right to left ordering. The Mutamathil Taqlidi family includes all required Lam-Alif ligatures and uses final position glyph substitutions, ligature substitutions, and marks positioning. Text strings composed using types of this family are non-cursive with stand alone isolated glyphs. The Mutamathil Taqlidi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Hisham is a modern Arabic headline face, designed by the Lebanese calligrapher, Ahmed Maged, originally for Linotype-Hell Ltd. The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype’s Arabic headline fonts. This OpenType font includes Latin glyphs from Optima Extra Black, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Hisham incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

HS Sama is an Arabic display typeface designed for book titles, creative graphic projects, and modern logos. It falls under the "titles" category and is based on the rules of Fatmic Kufi calligraphy, featuring a beautiful idea and special dimensions that maintain the beauty of the Arabic font and its fixed rates. With support for Arabic, Persian, and English, this font comes in two weights (Regular and Bold) that can be added to the library of contemporary Arabic Kufic fonts, meeting the needs of various designs for all tastes. Its versatile design makes it a great addition for those looking for a modern Arabic font with a unique touch.

Qadi is a modern Arabic display face that includes the traditional range of letterforms. These extra bold shapes are striking, graceful, and confidently calligraphic. Produced in the mid 1980s under the design direction of the noted British typographer Walter Tracy, Qadi proved to be a very popular typeface for magazine and newspaper publications. Qadi has been updated to take full advantage of digital technology for accurate diacritical positioning and kerning refinements, ensuring high quality Arabic typesetting. The OpenType font incorporates the Arabic codepage, and supports Arabic and Persian. It also includes both tabular Arabic and Persian numerals, as well as Latin figures and complete punctuation.

Jali is a humanist sans serif typeface ideal for wayfinding, supporting Arabic, Greek, and Latin. 'Jali' means clear in Arabic, its design embodies this with low-contrast strokes, distinct marks, and a warm, readable style. Jali excels in demanding typographic spaces. Awards: TDC Certificate in Typographic Excellence, Granshan’s 1st Prize, Arabic & Latin Category, 2019.

Hasan Hiba is an Arabic display typeface. It is useful for titles and graphic projects The font is based on the simple lines of Fatemic Kufi calligraphy. Hasan Hiba won the 5th place in Linotype’s first Arabic Type Design Competition. It supported Arabic, Persian and Urdu. In November, 2008, Hasan Hiba was upgraded by working with Mirjam Somers an award-winning Arabic type designer to the DecoType font format for use in WinSoft Tasmeem which is now bundled with InDesign CS4.

Jali is a humanist sans serif typeface, suitable for wayfinding. It supports Arabic, Greek, and Latin. ‘Jali’ means clear in Arabic. Its design reflects clarity, with low-contrast strokes, ample counters, and distinguishable marks. Jali offers a warm and efficient reading experience. Awards: TDC Certificate in Typographic Excellence and Granshan’s 1st Prize, Arabic & Latin Category, 2019.

Introducing our newest font called Qojarun. With Arabic Style display fonts, you can easily give your designs a genuine Middle Eastern feel. This font features characters in an Arabic style, and goes well with a wide variety of design projects, from posters to logos and beyond. Elegant calligraphy Arabic letters are easy to read, just like writing in general. This download pack contains all the characters needed to translate your project into an Arabic theme, complete with the full character set, punctuation marks, and numbers.

Welcome Ramadhan is an Arabic-styled display typeface. This font features irresistible characters which make this font unique because it looks like the standard Arabian alphabet or is written in Arabic style. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic style. Using this font, you will get an Arabic feel for every text you type. Made with serif characters so that it can be read internationally and does not have to be able to read by Arabic characters It is PUA encoded which means you can access all of the glyphs and swashes with ease! Add it confidently to your projects, and you will love the results.

This Arabic typeface family was created by Younes Alaboudi. Yanson proudly incorporates a timeless geometric style with humanistic nuances. Featuring three weights from Light to Bold, Yanson supports OpenType features for Arabic.

Kastibu is our newest font which has Arabic style. Do you want to add an elegant Arabic touch to your designs? There’s no need to spend a fortune on an actual antique Arabic font. You can get the same look with a sample set of values, guaranteed to work in your design software, and give the results exactly as shown.

Ruqaa font is one of the original Arabic fonts. It is the most common font and is written in most Arab countries because it has the potential to be written in a narrow space when compared to other Arabic fonts. It is used in the titles of books, magazines, daily newspapers, commercials, banners, advertising, holiday cards, newspaper headlines, Introduction to students.

The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. 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. Handasi 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. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Mehdi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Mehdi employs variable x-height values. Its design uses full curves with variable distributed weights. Mehdi family 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. The family employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. 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. Mehdi 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. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The February 19, 1923 issue of The Film Daily contained an ad for Mack Sennett's new Ben Turpin comedy entitled "The Shriek of Araby". No doubt this was a spoof of the popular Rudolph Valentino film "The Sheik". The ad tries to emulate Mideastern or Arabic typography via a standard Western alphabet. It somewhat captures the flavor, but its free-form hand lettering comes off as more of a novelty-type style. This is now available digitally as Desert Sands JNL in both regular and oblique versions.