The Arabic Type Design Archive

Joe Hatem is a Lebanese type-designer (born 1961 in Hammana, Lebanon) who founded JH Fonts, a foundry producing Arabic, Latin, and multilingual fonts. After studying in the United States and working as a systems engineer, he turned to font design driven by his belief that many existing Arabic digital fonts lacked the authentic calligraphic feel.

He is an award-winning typeface designer whose work spans multiple scripts and design cultures. His path to type was anything but linear – having gone from juggling and organising concerts to working in visual communication, graphic design, illustration, web design, packaging, and animation. He finally chose to pursue his passion with typography. Kostas graduated the MA in Typeface Design from the University of Reading with distinction and held a senior designer role at URW Typefoundry, before becoming one part of Foundry 5 in 2021. He enjoys innovative explorations in Latin, Greek, Cyrillic, and Arabic type design, and spends his time designing original typefaces, expanding script support of existing ones, and offering consultation for designers and type foundries such as Google Fonts, TypeTogether, and NaN. He has received acclaimed awards and recognitions for his work by the Type Directors Club, Granshan, EdAwards, EVGE, and Communication Arts, and he has served as a juror for both TDC and Granshan competitions. Among his most notable works is Averta, named one of the top 100 most-used web fonts. He co-designed Peridot Latin and Peridot PE, expansive families that support Latin, Greek, and Cyrillic scripts with over 120 styles, as well as other popular fonts such as Commissioner, Oi, Zona Pro, and Evert.

type designer and founder of the Fontamin website.

A graphic and type designer, a lettering artist, a researcher and an instructor from Jerusalem, where she obtained a BDes in Visual Communication, specializing in graphic and typographic design. She is a trained social archivist at Khazaaen and a researcher at the Arabic Design Archive (ADA), as well as the founder of the ArabicTypeWalks in Palestine. Currently, she is pursuing her MA degree in type design at The Royal Academy of Art, The Hague. Her interest spreads across the whole spectrum of Arabic design from Arabic type design, lettering, typography, calligraphy, Arabic design history, and all what is in between.

"Graphic designer, UI/UX designer, and active in the startup ecosystem."

Founded in 2009, the Indian Type Foundry (ITF) designs and distributes fine-quality multilingual fonts for both Indian and global markets.

A typeface design studio and font distributor that addresses the needs of global typography. Together with our collaborators, we create original fonts for a polyphonic world. Our research-based practice has been recognized and received awards from within the industry. But most importantly it has enabled people to read better in their native language.

Monotype Fonts transforms the way modern brands work by making font licensing and management simple, secure, and scalable across teams.

A leading and established boutique type foundry known for creating fonts that are distinctively human and full of character.

Being the first and most experienced independent font foundry from South America, PampaType was founded in 2001 in Argentina by Alejandro Lo Celso, with the purpose of developing high quality typefaces for the widest range of uses, engaging in both retail & bespoke font industries. Since then their passion and work, which pioneered the Latin American type design scene, have become widely known and appreciated. Their typefaces have been broadly recognized for their quality and originality, and their team have become more international and more experienced. They believe in the idea of diversity. It is not unusual that PampaType families include various styles, some of them meant for immersive reading, some others for titling or decorative use. Their fonts are carefully handcrafted. They pay serious attention to details so characters look good both printed and on screen. Spacing and kerning are made by hand following visual strategies rather than mathematical methods. Therefore instead of feeling mechanical, their fonts build an organic rhythm, aiming at a friendly atmosphere and comfortable reading.