The Arabic Type Design Archive

Bahraini Calligraphy Artist & Graphic Designer, His portfolio extends to fields as diverse as Islamic art, font design & web development... Adobe Tools.

Designer and Assistant Professor of Design, the American University of Beirut. Graduated from Notre Dame University, Lebanon, with a BA in Graphic Design and later acquired an MA with distinction at Middlesex University, London. She is the design director of Al Mohtaraf (www.mohtaraf.com) design house, where she designs and produces major corporate identities for the Arab world, corporate publications, books, magazines and Arabic typefaces. She also teaches graphic design at two major universities in Lebanon, LAU and NDU. Published work in several international design books. Winner of an ISTD premium award and D&AD 2005 in-book award for best designed books. Participated as a jury member in the D&AD awards and is a regular jury member in ISTD’s student assessment scheme.

Hojat Nourolahi is a graduate of the University of Art, specializing in type design and font development. He is actively involved in the design and production of both Perso/Arabic and Latin typefaces

He is an Iranian type designer, calligrapher, and researcher, currently based in Hamburg (Germany). He completed his post-master’s degree in typographic research from the Atelier national de recherche typographique (ANRT) at ENSAD in Nancy (France) and a master’s in Manuscript Culture from the Centre for the Study of Manuscript Cultures (CSMC) at the University of Hamburg, where he has begun his PhD studies. His Arabic-script typefaces are based on thorough research practices and his extensive background in traditional calligraphy. Several of his typefaces are distributed by the Iranian type foundry Marayamsoft. Amir’s typefaces have received numerous awards, including TDC certificate of excellence and prizes from Granshan Type Design Competition.

He was born in Teheran. After completing his school education in Iran,he studied illustration and book design at the Hochschule für Gestaltung (HfG), an academy of design, in Offenbach, Germany. Thereafter he was engaged as art director in various advertising agencies in Germany, Switzerland and England. He also worked as a freelance graphic designer with focus on illustration and brand designing for leading producers of brand articles in Europe, and also for broadcasting stations in Germany and other European countries. He was occupied with theoretical work in the field of color and research in the passive perception of color and "after image" phenomena. He carried out an analysis of the letters of the Arabic alphabet and a definition of their structure, enabling him to design a number of modern types of Arabic script. The publication of the illustrated quatrains of Omar Khayyam is his most recent project. He devoted five years of intensive and creative study to produce the book. Naghi Naghashian created the Arianª font family in 2009 and Aban font family, Jasna font family, Anahita Headline font, Avesta ExtraBoldCondensed, Ahoura font family, BiBi Font family, Decora one, Decora Two, Bamdad ExtraBoldCondensed and Parsi Font family in 2010 and 2011.

Alif Type the online home for my, Khaled Hosny, typefaces. It is a virtual type foundry, in the sense that there no physical place, a company, or employees, it is just me doing things I love mostly in my spare time. My typefaces are all free, and open source.

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.

About. Founded in 2014, Black[Foundry] grew from a shared passion for typography and attention to detail. Over the years, we’ve brought together a committed, international team in central Paris, collaborating with clients and partners worldwide.

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.

This is KO-type. The move you probably anticipated, that will knock all free font-haters out of their chairs. That was a joke. Kotype is a community dedicated to the love of Arabic fonts. Whether it’s appreciation, creation, or simply usage, we are all connected by the love of Arabic Fonts, just like our love for the Arabic language.