Kayla McEncroe

Arabetics Detroit is a monoshape font family with a fixed single shape per each Arabic Unicode character. This font family supports all Arabetic scripts covered by Unicode Standards 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes three weights: regular, bold, and light, each of which has normal and left-slanted (Italic) versions. The design of this font family follows the Arabetics Mutamathil style design principles utilizing varying x-heights and no glyph substitutions. The Mutamathil type style was introduced by the designer more than 15 years ago. The Arabetics Detroit font family includes all required Lam-Alif ligatures in addition to all soft vowel diacritics (harakat), which are selectively positioned with most of them appearing on similar high and low levels—top left corner—to clearly distinguish them from the letters. The Tatweel or Kashida lengthening character is a zero-width glyph.

Thulth font (Thulth Tharwat Emara Golden) distinguished by beautiful artistic structures and ready-made sentences to help you design the designer designs and paintings easily. It also retains the beauty of its original Arabic calligraphy.

This font can be used in titles of books, magazines and Quranic verses. Also specialized in printing on clothes, Najaf and antiques.
It is the first font that you can write complete sentences and Ayat of Quran by beautiful artistic structure like as those written by the calligrapher. It also simulates the handwriting and no need to calligraphy it when you have this font.

Loew Next is the modern, honest and straightforward go-to sans serif type family aimed at a global user. Painstakingly reworked from the original design (Loew) to further enhance the consistency of detail between individual weights and improve its compatibility to support non-latin script languages. Details include over 800 characters with italics, alternative lowercase a, e, g and l. Seven variations of numerals, small caps with accents, Opentype features inferiors, superiors, fractions and language support covering Cyrillic, Greek, Western, South and Central Europe.

There’s an appealing quirkiness about Amrys, which offers a confidently unusual alternative to more conventional designs. Its charm lies in its tapering tips, flexing stems, and unexpected notches, which combine to suggest something of the chiseller’s tool at work.

As a modulated serif, its letter shapes live between serif and sans serif, lending the design a sense of pleasing irregularity – something that’s really highlighted at larger sizes. However this is also a typeface that works for text, injecting rhythm and texture into reading.

“It’s distinctive, idiosyncratic, and weird,” says its designer, Ben Jones. He started designing Amrys while studying an MA at Reading University, creating it in response to a brief for a magazine typeface.

Amrys features an extensive and impressive character set. In addition to Latin, Amrys covers several scripts including Cyrillic, Greek, Arabic and Armenian. The family consists of 8 weights, from Light to Black, with matching italics.

Harpagan is an experimental type family characterized by scalable construction from mono linear grotesk to display bold. I’ve designed this typeface after my trip to Kyrgyzstan, Ubzbekistan and Kazachstan, where i’ve been impressed by the impact of arabic script in Asian style Cyrillics. The Harpagan type Family consist of 5 futuristic styles.

Sultan Ruqah is a attracting font, Designed by Sultan Maqtari. This is one font of the Sultan Fonts families that supports a variety of scripts including Arabic, Persian, Urdu, Uthmani, and Kurdish.

The Sultan Ruqah has its own family with 8 unique fonts varying in weights and width. All characters, punctuation and styling have all been improved keeping in mind the required feel and beauty of the font for a wide corporate use, The 8 fonts include lots of styles.

JH Lina is an Arabic Naskh typeface, including four weights; it is typical for long running text, headlines, branding , news letters, magazines, signage and electronic publishings ...
The diacritic positioning is fine tuned per the publishers requirements.

JH Farid font is designed based on Naskh calligraphy; it is typical for book covers including spine, headlines, short text paragraphs, poetry…..

HS Gold is based on some modern lines of Naskh calligraphy which supports Arabic, Persian with a Sans Serif with subtle round on stems and corners.
The typeface has been optimized for corporate identity work, editorial design and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested.
It features swash, ligatures and swash ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of two weights (regular and bold) which can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes.

SF Kitab is An Arabic typeface for desktop applications.
The font is dedicated for printing diverse books and publications.
SF Kitab is clear and the reader feels comfortable reading long texts.
It is contains two weights: normal and bold.
This font supports Arabic, Persian and Urdu.