The Arabic Type Design Archive

An award-winning Lebanese type designer. Nadine has an MA in Typeface Design from the University of Reading, UK; a PhD in legibility research from Leiden University, The Netherlands, and a Master of Studies in International Relations from Cambridge University.

Mike Abbink est le directeur exécutif de la création dans l’équipe Brand Experience and Design au sein d’IBM. Il a démarré sa carrière en 1996 en tant que designer chez MetaDesign à San Francisco. Il est ensuite devenu directeur de la création pour le Museum of Modern Art, pour Wolff Olins, pour Saffron Consultants et pour Method (dont il est également le cofondateur). Il a par la suite occupé le poste de directeur du design chez Apple Computer. En parallèle de sa carrière de graphiste, Mike Abbink a également créé des polices au caractère énergique pour lesquelles il a reçu plusieurs récompenses, telles que FF Kievit, FF Milo, GE Inspira, Brando Serif et Sans et, plus récemment, IBM Plex®. Enfin, Mike Abbink continue de concevoir et de collaborer à la création de polices avec Bold Monday.

Seyed Mahdi Seyedinia, born in 2002 in Kashan, is an active and experimental designer in the field of type design (logotype, typography, and typeface design).

Born in 1962, I am a type designer based in Barcelona and Son (Alt Àneu). I design retail and custom typefaces at typerepublic and I have been awarded with several Excellence in Type Design for my type design work. I am a member of AGI (Alliance Graphique Internationale) and ATypI (Association Typographique Internationale). I hold a PhD in Design from the University of Southampton (UK) and teach typography and type design at EINA, University School of Design and Art, in Barcelona. Apart from these type affairs, I also love hiking and riding on my mountain bike.

Lebanese-Dutch Tarek Atrissi is one of the most recognized designers across the Arab world. He is the founder of Tarek Atrissi Design (www.atrissi.com), a design studio based in Barcelona and with offices in The Netherlands. The studio’s typographic and cross-cultural design approach has produced projects that have left a significant influence on the contemporary graphic design landscape in the Middle East, gaining Atrissi international recognition. Tarek Atrissi’s awards include the prestigious German Design Award, the D&AD Award, the Type Directors Club New York (TDC) Awards, the Adobe Design Achievement Awards, and the Brand Impact Awards, among others. He was listed in 2017 as one of the 100 most influential Lebanese professional figures around the globe. Early in his career, in 2005, he was selected for Print Magazine’s “Twenty under Thirty,” an international review of the most accomplished visual artists under the age of 30.

We specialise in letters in a broad sense, from type design to lettering, from Latin to Arabic, passing through other scripts such as Armenian, Cyrillic, Georgian, Greek, Hebrew and Thai. We are surrounded by a network of bright collaborators and consultants in order to ensure the best possible quality. Our work has been recognised internationally in several type competitions such us TDC, ED-Awards, Morisawa, Granshan, Modern Cyrillic and Horouf.

Abjad aspires to develop and transfer the Arabic typography, to the same level, that was reached by Arab and Muslim calligraphers, who came from very diverse cities and civilizations, extending from Samarkand and China in the east, to Andalusia in the west. This diversity has produced countless forms and schools of Arabic calligraphy.

Our names are Sahar Afshar and José Solé, and we are partners in life and in Dogray, a type foundry based in the south of London. We met in 2017 in a type conference⁠—⁠here’s to our dearly departed TypoLabs Berlin⁠🍻⁠—⁠and hit it off (we actually met in 2015 at our friend Kalapi’s wedding in India, but that’s a story for another time). After working in a large type design studio for some years, we decided to leave the safety of our full time jobs and get back to what brought us to making fonts in the first place; the joy of creative decision making in the design of typefaces, and reconnecting with the wider design community. We started Dogray Type Foundry to do just that; to enjoy designing fonts we feel will be useful, and bring fun back into our careers. Very importantly, we wanted to embrace collaboration over competition; we center co‑creating at the heart of our foundry⁠—⁠not just in combining our individual strengths and skills, but also by using each of our library fonts as an opportunity to collaborate with a different creative from the wider fields of Arts and Humanities. We do this because of our fundamental belief; that best work happens when unique and diverse perspectives collide.

Protype is an independent type foundry and a place to explore beautifully typefaces that are made with love.

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