The Arabic glyphs are accompanied by Latin letters designed to achieve a balance of color, weight and proportion between the two scripts. Typically, the trend in co-ordinating Arabic and Latin types has been to unhappily force the Arabic to match the proportions of the Latin. In this font, likely for the first time, the Latin has been adjusted to harmonize with the Arabic: the ascenders and descenders have been lengthened to echo the proportions of the Arabic extenders, and the usual impact of capital letters has been reduced by making them a similar weight to the lowercase.
You may only i embed this font in content as permitted by the embedding restrictions included in this font; and ii temporarily download this font to a printer or other output device to help print content. Tags: Arabic Typesetting , Arabic , arabtype.
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 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 Herlah. Avenir Arabic by Linotype Avenir Arabic proudly incorporates a timeless geometric style with humanistic nuances that made Avenir so famous.
Pivnaya-Arabic 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.
Equipped with a wide coverage of the International Phonetic Alphabet IPA , the font is equipped for multi-purpose usage. Zapfino Arabic by Linotype 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 Latin.
Graphology Arabic by Hanifonts Graphology is an Arabic typeface and the main focus is on blending traditional and modern rules in the formulation and design of the typeface. Aligarh Arabic by Namela Divan Arabic by Naghi Naghachian Divan 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 flexibility.
Arame by DMTR. ORG Version 1. Drab by Pesotsky Victor Drab is a neutral grotesque, but with decorative elements. Suitable for texts and titles. When you do not need a strong accidental but a boring set, Drab is also not suitable. The font was designed by Viktor Pesotsky. A range of retro initials mimicking the keys of an old style typewriter. NaNa Arabic Naghi Naghachian.
Faux Arabic Page Studio Graphics. Decora Arabic Naghi Naghachian. Divan Arabic Naghi Naghachian. Zapfino Arabic Linotype. Arabetics Latte Arabetics. Nusaibah Eyad Al-Samman. Great care was taken in the design and digitization of all outlines. The graceful curves, the dynamic of blunt and rounded terminals, and the contrast between thick and thin strokes are consistent and lively throughout the typeface. In addition to providing all the correct shapes for quality Arabic typesetting, the same care and consistency has been applied in glyphs used for the many other languages, such as Farsi, Urdu, Sindhi, etc.
This means that documents incorporating several language will have a harmonious appearance. The Arabic glyphs are accompanied by Latin letters designed to achieve a balance of color, weight and proportion between the two scripts.
Typically, the trend in co-ordinating Arabic and Latin types has been to unhappily force the Arabic to match the proportions of the Latin.
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