Type designing retail & bespoke multi-script fonts that cater to the global community. Expert in Arabic and Latin typography. Based in Madrid, Spain and collaborating with professionals internationality.
One file can now do what many files had to do separately: it contains a whole type family, if not a whole super family. Whereas before, each standard (or static) font was accommodated in one file, and each file is one style of the typeface. Now everything is opened up. One compressed TrueType or WOFF2 (Web OpenFont Format 2) file has a whole family of fonts in a versatile design space, including all the styles in itself and everything in between.
29LT Okaso is a vibrant geometric typeface with distinctive letterforms. The outlines of its letters challenge traditional structures while preserving legibility. It incorporates a carefully studied balance between solid forms and dynamic contours, giving it a lively feature within a corporate and serious existence. The Arabic character set is inspired by a unique set of letters found in vernacular Aljamiado manuscripts, and its accompanying Latin is drawn with alternating letterforms to echo the active nature of the Arabic script and its lively flow.
29LT is progressing from a bi-script Arabic and Latin digital type industry into a multi-script fonts entity. The global market we live in and the continuous integration of different cultures is demanding the need for multi-script type systems.
First additions are the Cyrillic and Greek scripts to 29LT Zarid Sans typeface making it cover four scripts; the Arabic, Cyrillic, Greek, and Latin scripts.
29LT Zarid Stencil typeface is the cut version of 29LT Zarid Sans and comes in 8 weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold and Black. It is the sixth inline family member within the 29LT Zarid superfamily ongoing development since 2016.
29LT Zawi is a present-day simplified typeface drawn with extreme refinement incorporating a mono-linear structure that unveils causality within a corporate atmosphere. A mixture of straight vertical, horizontal, and diagonal letter structures fused in-between sharp corners and edges give the typeface a dynamic characteristic and rhythmic feel. Its straight terminals and mono-spaced Latin letters lend the typeface a young and contemporary image that makes it suitable for diverse number of projects from fun and urban to serious and corporate.
29LT Zarid Display is the valiant version of 29LT Zarid Text. In the Arabic script, the neo-Naskh glyphs transform into amalgams inspired by both the Thuluth and the Naskh calligraphic styles. Thuluth is considered as the most elegant style in classical Arabic calligraphy that was crafted for important writings. Naskh is however known as the common style designed for standard copy text. The design decision adopted to blend these two realms together gives the typeface a unique characteristic and makes it offer a new Arabic typographic hierarchy option. In the equivalent Latin script, the letters gain vertical contrast inspired by the pointed-pen expansion principle, whilst keeping a hint of the broad-nibbed pen translation structures in the bowls and finials. This design choice gives Zarid Display Latin a unique appearance and preserves consistency with the rest of the type family as well as bridging the Latin and Arabic scripts together.
29LT Zarid Slab type family consists of 16 styles: 8 Standard styles and 8 Slanted styles, covering the following weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold and Black. The range of weights provides suitable typographic hierarchical solutions in bi-script Arabic and Latin layouts. Its design approach makes it ideal for display text as well as short copy text. A hybrid Arabic typographic design that lives between the geometric and cursive realm echoes a strongly built Latin slab serif type design of firm and agile qualities. The design of the two distinct scripts agreeably coexists while each one of them retains its’ own structure and characteristics.
29LT Zarid Text type family consists of 8 styles: 4 Standard styles and 4 Slanted styles, covering the following weights: Light, Regular, Medium, and Bold. The range of weights provide suitable typographic hierarchical solutions in bi-script Arabic and Latin layouts. Zarid Text is the lucid neo-calligraphic version of Zarid Serif after numerous design and technical modifications were executed on the latter. Improved legibility in small point size and habitual appearance are its key characteristics. Its purpose revolves around continuous reading and aims to be friendly to the reader’s eyes in conventional typesetting; hence making it ideal for diverse editorial typographic layouts such as newspapers, magazines, and books in digital and print applications.
29LT Zarid Sans is direct and fresh. It is a combination of an Arabic Neo Naskh accompanied with a unique Sans Latin counterpart. It respects and inspires from the calligraphic writing systems while drawn with modern features and graphical qualities.
29LT Zarid Serif is a bold & thoughtful typeface consisting of 16 styles, 8 standard & 8 slanted. Its persona contains a robust arsenal of qualities & attitudes appropriate for countless bilingual typographic visual applications.
29LT Azer type family consists of 14 styles, 7 Standard styles, and 7 Slanted styles, covering the following weights: Thin, Extra Light, Light, Regular, Medium, Bold, and Black.
The Arabic and the Latin mirror each other’s appearances much like fraternal twins with compatible attitudes. Azer Latin is earnest and sincere; Azer Arabic is direct and austere.
Type offers so many possibilities to give depth and atmosphere when reading a book– just like our voices would when telling stories. In designing Riwaya I set out to create a family of type suitable for comfortable continuous reading, as well as eloquent storytelling; a typeface that would not be neutral, but lend a pleasant voice to the author.
29LT Azal is a sturdy geometric font with contemporary Arabic features that are inspired from the old Eastern Kufic manuscripts…
29LT Bukra type system currently consists of 94 styles, 47 Standard styles and 47 Slanted styles ranging from Hairline to Black in Condensed, Semi Condensed, Normal, Semi Wide and Wide.
29LT Baseet Type System: 29LT Baseet type system consists of 16 styles; 8 Standard styles and 8 Slanted styles. The…
The RTA Dubai bespoke multilingual typeface is composed of a distinct contemporary Naskh style Arabic accompanied by a humanistic and…
Since most documentation and references about the Arabic script stem from the calligraphic methodology, this article will tackle the problem…
Reza Abedini designs vibrant posters with 29LT fonts A Collaborative approach between a graphic designer and a type designer 29LT…
29LT publishes it 1st type specimen showcasing an overview of its multilingual Arabic & Latin typefaces.
29LT Zeyn is an elegant, contemporary Arabic and Latin typeface. Each weight contains 900-plus glyphs covering the Arabic, Persian, Urdu, and…
Graffiti: Changing Language, Changing Worlds اللغة تتحول، العالم يتغير Designers: Pascal Zoghbi and DUAL Mural Painting: DUAL Wall Size: 10…
Swatch Corporate Typeface (Swatch CT) is a contemporary multilingual typeface covering all Western and Middle Eastern languages used in…
Noor Type is a simplified, hybrid Kufi/Naskh type family in three weights, light, regular, and bold. Its contemporary outlines reflect…
MIA type is a contemporary, bilingual Arabic and Latin type-family based on the Eastern Kufic calligraphic style drawn in four…
29LT Makina is a revival of an Arabic, Persian and Latin typewriter. “Makina” in Arabic means ‘machine’, which is inspired…
29LT Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities.
UA Neo B, originally known as UA Beiruti Modern, and UA Neo N, originally known as UA Neo-Nashki, belong to…
Last August in Beirut, I had the opportunity to meet with Camille Khattar Hedrick, the daughter of Nasri Khattar, the…
29LT Massira is a simplified spontaneous handwriting set of fonts based on the casual writings of the Lebanese people and…
I took part in the Arabic Calligraphy and Lettering workshop that was offered by the renowned Syrian Calligrapher Mouneer Al…
This spring, the elective course “Introduction to Arabic Type Design” at AUB [American University of Beirut] was introduced. It is…
Since the publication of the Arabic Graffiti Book in 2011, which I co-edited with Don Karl, the scene and stance…
Interview with Pascal Zoghbi by Huda AbiFares from the Khatt Foundation. Part of the Multiple Baselines series. Pascal Zoghbi is…
Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.…
This piece was created specially for “the future of tradition – the tradition of future” exhibition at hausderkunst in Munich.…
The Printing press of Saint Antonius in “Quzhayya” is the first printing press in the Middle East. It is located…
10 Questionnaires from Beijing Typography 2009 conference. Answered by Pascal Zoghbi. The Interview was published in the BT09 Book Catalogue.
“Al-Shamas Abdullah Zakher” founded the first Arabic printing press in Lebanon in 1734. The press is located in “Deir Mar…
You have been working side by side for that book. How did you get to know each other? Pascal: In…
Which different styles exist (Kufi, Nashk etc.) and which are the differences between them? & Are the Arabic types divided…
1. You recently taught a workshop on Kufic design. What does Kufi script mean to you? What place do you…
1. short paragraph about yourself … (3-6 sentences) – where and when born, grown up … – education – profession…
1. When was the last time you wrote a letter by hand? When was the last time you received a…
ON A PERSONAL LEVEL – When did you first decide to become a designer? Was there a pivotal moment? Being…
Like many others of his generation, Pascal Zoghbi began his studies in his native country but had to go abroad…
