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Zapfino Arabic is meant to be used as a display typeface, for logos, greeting cards, and short headlines. It could also work for short pieces of text, for poetry or chapter introductions, when used in a generous type size and with ample space around it. Its design is soft and elegant and leaves a lot of room for typographic playfulness. Nuyork Arabic was designed to emphasize the individual Arabic letter visual traditional characteristics.
Including 5 weights, it was designed with both text and display applications in mind. This font is intended to produce virtually cursive texts without eliminating the clarity or look-and-feel of the individual Arabic letters. Offering glyphs for the full Extended Arabic Unicode Standards 6.
Careful design considerations were given to make sure that composed Arabetic text is visually prominent and stands well next to Latin.
To ensure legibility in all sizes, vertical strokes are emphasized when possible, while utilizing multiple x-heights to give a traditional Arabian look.
For the first time -back in a contemporary Arabic equivalent to a comprehensive DIN series of fonts was available. In fact, this set of fonts contains the most complete and powerful array of Arabic features commercially today.
It comes in eight weights and includes Latin. It is also enhanced with 30 advanced OpenType features and kerning for all languages. NaNa Arabic is a new creation of Naghi Naghashian. This innovation is a contribution to the modern Arabic fonts, giving the font design of Arabic letters real typographic arrangement and providing greater typographic flexibility.
This step was necessary after more than two hundred years of relative stagnation in Arabic writing style. It also includes proportional and tabular numerals for the supported languages. The design of this font family is inspired by two classic scripts: Kufic and Naskh.
It comes in 5 different weights ranging from Light to Heavy which extends its usage capabilities considerably. The design is mono-linear and with the typical geometric construction associated with the Kufi style. Its usage can vary from headlines to logos to packaging. Given its large counters, it can function quite well in very small sizes too. Its pattern is quite homogenous, so it is not recommended to use this for whole paragraphs. The character set supports Arabic, Persian, and Urdu and also includes Basic Latin letters font styles.
The motivation behind the typeface was to create a neutral and carefully crafted Arab fonts family that can be used on many different applications.
Swissra also aspires to tribute the experience of Swiss graphic design and pass it on to the Arabic graphic design scene. Swissra features sharply cut terminals, which are either horizontal or vertical. It also features closed apertures and a high x-height. It comes with eight weights, that range from thin to black and makes an excellent Arabic fonts download.
Following the great success of Swissra, the condensed Arabian style font cut was designed on the same principles of Swiss graphic design.
Originally Swissra was designed to create a neutral and carefully crafted Arabic font family that can be used on many different applications. Now it creates even more possibilities to help designers in applications such as signage and editorial design where the condensed cut is needed. The typeface is one of very few Arabic condensed typefaces. Swissra Condensed comes in eight weights which range from Ultralight to Black. Abdo Master is a geometrical Arabic font style.
The combination of modern Kufi and Geometrical styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.
This typeface supports Arabic, Persian, Urdu and Kurdish variants and it is available in five weights: light, regular, medium, bold and black. They are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book, and publishing, and creative industries, meeting the purposes of various designs for all tastes. Mada is An Arabian font for desktop applications, for websites, and for digital ads.
Mada font family contains two weights: regular and bold. The font includes a design that supports Arabic and Latin languages. Mada typeface comes with many OpenType features including stylistic sets. The typeface comes with an extensive set of ligatures and OpenType features such as swash and stylistic alternates.
Arabic, Farsi, Urdu, in addition to Kurdish are supported. Abdo Line is a simple Naskh font. It provides one of the best Arabic fonts for books and magazines.
Accurate design and clarity of reading and writing space-saving, it comes in sixth weights: Thin, Light, Regular, Bold, Heavy and Black. This is an OpenType Font supporting Arabic, Persian, Urdu Languages and compatible with the various operating systems and modern software. It is useful for book titles, creative designs, and modern logos.
Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Kufi fatmic where horizontal parts are equal than vertical ones. The font is based on Kufi Fatmic calligraphy along with some derived ideas of decorative fonts, maintaining the beauty of the Arabic font and its fixed rates.
Undoubtedly, the insertion of curved ornament in some parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu, consisting only one weight which can add to the library of Arabic Kufic fonts contemporary models that meet with the purposes of various designs for all tastes.
They were living on the coastal areas of Palestine, Lebanon, and Syria. Since they were traders and they were sailing throughout the Mediterranean, their middle eastern font had an influence on all the cultures and nations in the Mediterranean. The Middle East was located at the center of the Ancient World, which also played a big role in the spread of the alphabet, and this is how the Phoenician alphabet is the mother of both Latin, and Arabic scripts, which are used for Arabic fonts today, as a base.
You will find anything, from an Arabic style font to Arabic script font, and even Arabic calligraphy fonts as well. Nowadays, most of the text typefaces that are available are based either on the Thuluth or the Naskh style. Older styles, such as Diwani, Maghrebi, and Kufi, are found in display typefaces.
We will discuss all of them below. Back in BC, the early alphabet had 22 consonants and no capital letters, and it was written from right to left. It was born in Byblos, on the coast of Lebanon.
In BC, the Aramaic alphabet originated from the Phoenician one. In AD, the Syriac alphabet was created in Mesopotamia, and it originated from the Aramaic and had 22 letters. The early Arabic alphabet only began to appear in Kufa, Iraq, during the middle of the first century.
The Old Kufi had around 17 letter forms, and no accents or diacritic dots. Later, they were added, primarily to help with pronunciation, resulting in the set of letters rising to 29, including the Hamza.
In various Arabian cities, which had different writing tools and techniques, several Arabic calligraphic styles developed. Some of the most known ones include:. The Arabic alphabet has 29 consonants, and 11 vocalization marks, in the shape of accents. The structure has only 19 basic shapes, but the letters actually change their shape, according to the position in the word which can be initial, medial, final, or isolated , and the resulting number of glyphs comes out at There are 23 letters with four alternative shapes, as well as 7 with two alternative shapes.
If you also add the two ligatures of Lam-Alef, that number rises to And, since the alphabet is also used in several non-Arab languages, there are even more alterations to the letter, in order for it to represent all the extra non-Arabic phonetics.
This gives us a new number of glyphs, And, the number of glyphs can increase even further if you add up the combinations within the letters if the typeface wants to mimic the Arabic calligraphy font script completely. So, according to the specific typeface, you can begin with glyphs, and end up in the hundreds. The business demand for a specific language can vary, but you will find that nowadays, Arabic is one that is pretty busy.
It also includes proportional and tabular numerals for the supported languages. Gives the widest potential acceptability. Art Deco Arabic was developed for multiple languages and writing conventions.
Arab Brushstroke by Linotype, Arab Brushstroke is a graceful, upright German calligraphic script. At first glance, Arab Brushstroke does not seem to have much in common with Arabic calligraphy. Yet the gracefulness of its letterforms remind the viewer that calligraphy is a global passion, one that can be seen in the Arab world as well.
In any case, Arab Brushstroke is a good choice for use in headlines, as well as other display applications. Arab Stroke by Linotype, Arab Stroke is an exotic typeface with an Arabian touch which makes a variety of applications possible.
Whether for products from far away lands travel advertisements or anything needing a dynamic look, Arab Stroke is an excellent choice. The font is particularly eyecatching in headlines and combines well with sans serif fonts. Bauhaus Arabic by Naghi Naghachian, Bauhaus is celebrating its centenary in this year.
For the Bauhaus's th anniversary year, art and design museums and galleries around the world are hosting exhibitions and events. Athelas Arabic by TypeTogether, Originally designed independently, it worked entirely on its own and yet already seemed a good fit for Athelas. So it was decided to give Athelas Arabic a thorough reworking to make them appropriate companions while maintaining the natural aesthetic qualities of Arabic.
First, the Arabic letter sizes were readjusted so as to not appear larger next to the Latin, then weight and contrast were changed in the same way. Finally, the spacing and connections in the Arabic were considered to achieve comparable colour as the Latin in a block of text. The graceful, elegant curves of the Athelas heritage have remained a hallmark in each script. With this release it will only gain a wider and quite appropriate audience.
Klapt Arabic by SevenType, Klapt Arabic is a geometric sans serif family that is soft on the outside and sharp on the inside. It is based in the Arabic Kufic style. Klapt Arabic can be bold or very elegant and is well suited for designs ranging from branding and corporate identity to editorial design or web design.
It has a timeless style and is great for display purposes, especially for headlines, posters, magazines, book covers, logos Feel free to share your designs using Klapt Arabic or just get in touch via email to hi seventype. Avenir Arabic by Linotype, Avenir Arabic proudly incorporates a timeless geometric style with humanistic nuances that made Avenir so famous.
Pivnaya-Arabic by Roman Type, Designer Roman Wilhelm finds himself constantly surrounded by Arabic type and hand-lettering in his neighborhood. With this font, he is trying to answer to all these linguistic, type-related, and cultural inspirations. Equipped with a wide coverage of the International Phonetic Alphabet IPA , the font is equipped for multi-purpose usage. Childos Arabic by Namela, The sibling of Childos, with with additional Arabic glyphs for more international fun.
Handwritten rough sans serifs style, as well as the development of free and attractive ligature to fill the space between letters and make playful children feel designs. Palsam Arabic by Abjad, Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites.
The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes.
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. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts.
With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications.
More than characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.
Zapfino Arabic by Linotype, The design is an evolution of Arabic calligraphic traditions that combines Naskh and Nastaaliq to form a backward slanted calligraphic style. The character proportions refer to Naskh traditions but the isolated and final forms bring with them an exaggerated swash-like movement that references the extravagant ascenders and descenders of Zapfino. The font contains a large number of contextual variants that work to create a smooth flow of pen movement, as well as 10 stylistic sets.
The character set supports the Arabic language as well as basic Latin. Ostad Arabic by Naghi Naghachian, Oustad Arabic is designed by Naghi Naghashian. It is a Bold headline font, in 1 weight. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility.
Oustad Arabic supports Arabic, Persian and Urdu. Aligarh Arabic by Namela, Divan Arabic by Naghi Naghachian, Divan Arabic is a new creation of Naghi Naghashian. Divan Arabic is a modern Sans Serif Headline font.
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. Graphology Arabic by Hanifonts, Graphology is an Arabic typeface and the main focus is on blending traditional and modern rules in the formulation and design of the typeface.
Designed with powerful OpenType features in mind. Lotus Arabic by Linotype, Lotus Arabic was published by Linotype. Lotus Arabic contains 2 styles and family package options.
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