Below you will find a selection of high quality Arabic fonts from the font experts at Linotype.com. Let this selection of our personal favorites inspire you!
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Documents referring to these items ...
By Adrian Frutiger
Much has been written about the evolution of type: how the forms of our letters took shape, from the roman capitals to the Carolingian minuscules, and how the Latin alphabet was then, essentially, finalized for eternity by the first printing presses of the Renaissance Age.
Looking back from where we stand now, we could say that the original forms of our uppercase letters are around 2,000 years old, while those of our lowercase letters would be over 1,000 years old. And [...]
Adrian Frutiger has spent decades working very closely with Linotype. In the many years of this fruitful collaboration, we’ve accumulated a number of photographs of Adrian Frutiger. These images show glimpses of the different periods and highlights of his life so far, including pictures of him working in his studio, moments of him along with his typefaces, and even more recent shots of him working together with Akira Kobayashi.
We hope that you enjoy browsing through these images.
Text Category 1st Prize
Sultan Free by Sultan Maktari (Yemen)
Judge's choice for Dr. Fiona Ross
Text Category 2nd Prize
Midan™ by Kameel Hawa, Director of Almohtaraf assaudi (Lebanon)
Judge's choice for Hermann Zapf
Honorary Mention 3rd Prize
RSIexquisite by Ramzi Ibrahim
Honorary Mention 4th Prize
Fluid by Omar Safa
Honorary Mention 5th Prize
Sultan by Sultan Maktari
Display Category 1st prize
Isra™ by Almamoun Ahmed (Sudan)
Judge's choice for Mamoun [...]
4. Frutiger
Frutiger® – the sans serif classic.
Get the original from Linotype as single fonts, in a Value Pack, or on CD.
About Frutiger
Famous type designer Adrian Frutiger created a masterpiece with this typeface. Faced with the challenge of designing an exceptionally legible type for the signs of the Charles de Gaulle Airport in Paris, he developed the now legendary Frutiger in 1968. The original Linotype typeface has since been expanded to include 14 weights and is of course not just [...]
5. Arabic Fonts
Shop for Arabic Fonts in the Linotype Library
Linotype offers a lot of new, modern and traditional Arabic fonts. These fonts are available in OpenType format and they support the Arabic, Persian and Urdu languages. But that´s not all: These fonts also include basis Latin characters that match the Arabic in style and weight, and an extra set of proportional numerals, and they adhere to Linotype´s high standard of technical quality.
Linotype´s 1st Arabic Type Design Competition:
The jury [...]
The right fonts for the three official alphabets of the European Union. With the entrance of Bulgaria in January 2007, the Cyrillic script joined the Latin and Greek alphabets to become the Union’s third official alphabet.
Linotype Original Fonts with the “W1G” additional marking meet the character set allocation in accordance with Linotype W1G (World Glyph 1) norm.
Here is a list of all languages supported by W1G fonts (PDF file English/German, 1 mb).
Search our [...]
Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
Max Miedinger – born 24.12.1910 in Zurich, Switzerland, died 8.3.1980 in Zurich, Switzerland – type designer.
1926-30: trains as a typesetter in Zurich, after which he attends evening classes at the Kunstgewerbeschule in Zurich. 1936-46: typographer for Globus department store’s advertising studio in Zurich. 1947-56: customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. From 1956 onwards: freelance graphic artist in [...]
Linotype previously had three design studios located around the globe:
Mergenthaler Linotype, in the United States, was founded in Brooklyn, but later moved to Melville, NY, and then to Hauppauge, NY. Mergenthaler Linotype's design studio employed at varying times up to 80 designers under the direction of Chauncey H. Griffith, Jackson Burke, Mike Parker, and Matthew Carter.
In continental Europe, Linotype typefaces were produced by the D. Stempel AG typefoundry in Frankfurt, Germany. [...]
Ismet Chanbour created the fonts Al Harf Al Jadid™ (1980) and Mariam® (1992).
Al Harf Al Jadid is a traditional-style Arabic display typeface. Al Harf Al Jadid Two is an outline version of Al Harf Al Jadid One. Although their design is ultra bold, its forms remain a readable Naskh, in response to the needs of secular lettering for emphatic headlines and signs. Al Harf Al Jadid One and Two are characterized by a distinctive, strong baseline-stroke, reminiscent of a similar [...]
Ahmed Lakhdar-Ghazal, Director of the Morocco Institute of Research et Studies on Arabization, created the font ASV Codar® in 1999.
ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (Palatino® Roman and (Palatino Bold inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two ASV Codar fonts include the [...]
Osman Husseini created the font Badr® ca. 1970.
Badr is a traditional-style Arabic text typeface with two weights: Badr Light and BadrBold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Cochin® Roman and Cochin Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two Badr fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the [...]
Abbas Al-Baghdadi created the font Firas™ in 2005.
Firas is a traditional Kufi and a winner in Linotype’s first Arabic Typeface Design Competition. The design is very geometric and bold with very high level of contrast. This makes it suitable for large display sizes, especially in the area of advertising. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.
Firas is part [...]
Hakim Ghazali created the font Hakim Ghazali™ in 2005.
Hakim Ghazali, designed by Hakim Ghazali in 2005, is an Arabic typeface in the style of Maghribi and a winner in Linotype’s first Arabic Typeface Design Competition. This style, which originated in western North Africa, is characterized by a strong baseline and long, fluid, and curvaceous curves. It can be used in headlines or in text and gives a very fresh and calligraphic look. The font includes a matching Latin design and [...]
Hassan Sobhi Mourad was born 1942 in Syria.
1970 Graduation from Damascus University.
1974 M. A. Degree in Arabic Calligraphy.
Fonts: Hassan® (1996).
Hassan is a traditional-style Arabic text face designed by Mr. Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art. First produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993, the family is now available in OpenType format.
An individual Naskh style, Hassan cleverly combines elegant [...]
Nadine Chahine is an award winning Lebanese type designer with a special interest in Arabic typography. She studied Graphic Design at the American University of Beirut and Typeface Design at the University of Reading, UK. During her study at Reading, she focused on the relationship of the Arabic and Latin scripts and the possibilities of creating a harmonious relationship between the two. She taught Arabic type design as a visiting lecturer at the American University in Dubai and then joined [...]
This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica™ had to be modified for the Linotype system. Over the years, Helvetica™ was expanded to include many different weights, but these were not coordinated with each [...]
Ahmed™ is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s.
Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design.
The contrasting proportions of the tall vertical strokes and the rather elongated counters [...]
Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades [...]
Amer™ is a modern Arabic headline face, distributed in OpenType format. This OpenType font includes Latin glyphs from Kabel™ Book, allowing users to set text in both most Western European and Arabic languages without switching between fonts.
Amer includes the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu [...]
Corporate design across the global market requires a universal typographic identity. The prize-winning Helvetica Linotype is the latest revision to our world famous Helvetica typeface. Offering support for important linguistic groups, such as Arabic, Cyrillic, Greek, Hebrew, and Vietnamese, Helvetica Linotype allows worldwide usability within a single font! The powerful Unicode technology behind the fonts’ OpenType format makes Helvetica Linotype the only standard font to include such a broad [...]
With the invention of the printing press, a longing for formal refinement began to awaken. First leaning on the bold and distinct typography of incunabula, styles gradually progressed to culminate in the decorative classical fonts of the 17th and 18th centuries. This growing preoccupation with ever greater refinement was also reflected in the architecture of the times, as well as in objects of daily use, especially furniture. But also the fashionable attire worn by the upper classes of each [...]
Popular throughout the world for over 30 years, the Frutiger® typeface now has companion Arabic fonts. Just like its predecessor has been used in the West, now designers the world over can use Frutiger Arabic for signage systems, documents, logos, and corporate identity work.
Developed by Nadine Chahine, Frutiger Arabic is based on the Kufi style, but its design incorporates aspects of Ruqaa and Naskh forms as well. Adrian Frutiger acted as Nadine's advisor during the creation [...]
About Arabic Fonts
Al Harf Al Jadid, Firas and Hakim Ghazali are trademarks of Linotype GmbH and may be registered in certain jurisdictions. ASV Codar, Amer, Badr and Hassan are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Frutiger and Helvetica are trademarks of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
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