This font family is simplified Arabic which was inspired from the modern Naskh style, where the reverse contrast is low and the counter forms are open. The original design is from the Lisboa Sans typeface Latin, published on 2005 and after some years, this multi-script family is the compromise and balance between these two different scripts. This typeface contains characters for setting Arabic, Persian and Urdu Naskh by Tharwat Emara, USDIt is known as the Naskh Font for its extensive use in the copying and transmission of books because it helps the writer to write more quickly than any other font since the Islamic times and then Naskh font wrote the "Quran".And the advantages of Naskh font are clarifying the letters and show their beauty and - Unknown licenseKhan - Unknown licenseKhan - Unknown licenseKhan - Unknown licenseKhan - Unknown licenseKhan - Unknown licenseKaat by USD"Kaat" is a new type 2013. It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on by Arabetics, USDKhatt tries to mimic the concept behind the meaning of the Arabic word Khatt a straight horizontal line. The word Khatt is also the word for calligraphy in the Arabic language. Even though Khatt is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Khatt supports all Arabetic scripts covered by Unicode and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with five weights, regular, medium, bold, light, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Khatt includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Katts’s soft-vowel diacritic marks harakat are positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of by Suomi, USDThis is That a family of four weights with roman and true italics, and also with chiselled medium weight, and Irregular variant for, well, by Identikal Collection, USDPhat was published by Identikal Collection. Phat contains 6 styles and family package by USDThe Takhie Pro Multilingual Brush Font is a 100% hand-drawn decorative font with which you can achieve a handwritten-type lettering feeling. TThis typeface is a multilingual lettering font with Greek of course, Latin characters and diacritics. The style of the font is perfect for your modern graphic design needs. Also, the font has a really nice flow so you use it in a large text if you want to give them a touch of personality. In addition, this typeface can be used on social media content, for branding or packaging. Also, this font is perfect for crafting and invitations by Naghi Naghachian, USDKashi is the Persian word for tile. This font is inspired from building decorations of 16th and 17th centuries in Iran. It is extremely legible even in very small design fulfills the following needsHashi by Sylvestre Studios, USDHashi is for the tech by Pixilate, USDRaski was designed by Kemie Guaida Ortega and published by Pixilate. Raski contains 6 styles and family package 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. Perhaps that feeling was the inspiration behind this typeface’s name? In any case, Arab Brushstroke is a good choice for use in headlines, as well as other display 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 is celebrating its centenary in this year. For the Bauhaus's 100th anniversary year, art and design museums and galleries around the world are hosting exhibitions and events. The publication of „Bauhaus Arabic“ font family is my contribution to celebrate this Arabic, created by talented Iranian designer Sahar Afshar, is an elegant typeface for fine digital and printed books — perfect for Arabic literature’s captivating forms. 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. Ultimately, both the Latin and Arabic are graceful designs based on classic proportions, prioritising the beauty, tranquility, and fluid nature of the wordsmith’s art. With extensive Middle Eastern language coverage and the expected OpenType features, Athelas Arabic is the counterpart for which Athelas Latin, Greek, and Cyrillic have been waiting. 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. The complete Athelas family has been optimised for today’s varied screen uses, along with our entire 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 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... you name it!This font family of four weights includes an extended character set supporting most Latin languages ⁠and extended Arabic, including Persian and free to share your designs using Klapt Arabic or just get in touch via email to hi Arabic is the extension of Klapt Arabic extension to Adrian Frutiger’s Avenir typeface family was created by Nadine Chahine for Monotype. Avenir Arabic proudly incorporates a timeless geometric style with humanistic nuances that made Avenir so famous. Featuring six weights from Light to Black, Avenir Arabic supports OpenType features for Arabic, and includes Windows codepage 1256 Arabic character set Arabic font designed by a German living in Berlin’s Neukölln district, between Karl-Marx-Strasse and Sonnenallee. This is the Latin+Arabic version of poster/display font Pivnaya designed and published 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. It works for Afrikaans, all languages of the Arab World, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Farsi, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Urdu, Vietnamese, Zulu. Equipped with a wide coverage of the International Phonetic Alphabet IPA, the font is equipped for multi-purpose sibling of Childos, with with additional Arabic glyphs for more international 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 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 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 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 1000 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 Arabic is designed by Nadine Chahine as the Arabic companion to Hermann Zapf’s iconic Zapfino typeface, with the approval of Prof. Zapf. 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 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. It also includes proportional and tabular numerals for the supported Arabic is new version of Aligarh with the addition of Arabic glyphs, for Arabic, Urdu, and FarsiBasic form for arabic font is refers to the arabic kufi style, semi-slab serif font formed with a smooth rounded bracket whose edges end with unique shapes, an exploration of combining unique styles in a typefaces to harmony with Latin 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 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 Arabic was published by Linotype. Lotus Arabic contains 2 styles and family package Arabic was designed by Hermann Zapf and published by Linotype. Palatino Arabic contains 1 Arabic was published by Monotype. Arial Arabic contains 2 styles and family package Arabic was published by Monotype. Traditional Arabic contains 2 styles and family package Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 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 font version of Gumela, still with Gumela latin style, based on rounded sans serif whose edges end with unique shapes, to line up in harmony between Latin and is a harmonized Arabic - Latin font with childish characters. The sloping geometric terminal shapes gives Tufuli a playful Arabic is part of Kohinoor Multiscript, a sans serif super family covering many of India’s official writing systems. The typeface is ideal for text-heavy multilingual projects, including corporate design; editorial design; electronic-embedding in apps; navigation and signage systems; product instruction manuals; television subtitling; or UI/UX. Kohinoor Arabic’s clear, inviting, and easy-to-read letterforms are drawn in the Naskh style, with large and open counters. The vowel mark shapes aren’t fussy. Stroke contrast is low, but there is still some modulation at junctures, keeping typographic color from getting too dark. Many strokes begin or end with lightly-sheared lines; these subtle angles add a trace of the calligrapher’s hand back into the generally-static language of sans-serif-style designs. Kohinoor Arabic includes all of the glyphs necessary for setting Arabic, Persian, and Urdu, as well as several other languages written with the Arabic script.