29LT KAFF : An Adequate Multilingual Typeface

29LT Kaff is a contemporary typeface family designed by Pascal Zoghbi of 29Letters (29LT) and Ian Party of Swiss Typefaces, in which the Arabic and Latin letterforms were created simultaneously. Its name is taken from an Arabic word meaning ‘adequate, sufficient, necessary and essential’. Kaff’s family of eight weights (Thin, Ultra Light, Light, Regular, Medium, Bold, Semi Bold and Black) is designed to be the suitable typeface that answers the need of designers and publishers in most of their typographic projects.

29LT Kaff multilingual fonts each includes 1150-plus glyphs that accommodate Arabic, Persian, Urdu and Western and Eastern European languages.
29LT Kaff multilingual fonts each includes 1150-plus glyphs that accommodate Arabic, Persian, Urdu and Western and Eastern European languages.

It is the corporate typeface as well as a sleek fashionable typeface. A font set suitable for the everyday use for any kind of project. A realist design approach in a sense of creating a neutral Arabic and Latin typeface. Each weight includes 1150-plus glyphs that accommodate Arabic, Persian, Urdu and Western and Eastern European languages.

29LT Kaff multilingual typeface in 8 weights (Thin, Ultra Light, Light, Regular, Medium, Bold and Black)
29LT Kaff multilingual typeface in 8 weights (Thin, Ultra Light, Light, Regular, Medium, Bold and Black)

The Arabic character set, designed by Zoghbi, is inspired from the Naskh calligraphic styles, while the Latin, designed by Party, is based on a neo-grotesque sans serif roman style. It is type family created for maximum legibility and easy usability. The letterforms are drawn with extreme refinement and low contrast between the thick and thin pen strokes.

29LT Kaff multilingual typeface is suitable for the everyday use for any kind of project. A realist design approach in a sense of creating a neutral Arabic and Latin typeface.
29LT Kaff multilingual typeface is suitable for the everyday use for any kind of project. A realist design approach in a sense of creating a neutral Arabic and Latin typeface.

A number of elements bring both scripts together: the design approach, proportions, weight and contrast. Zoghbi and Party didn’t want to sacrifice the value or esthetics of one scripts to the other, hence they approached the same design brief of an adequate typeface from the different aspects of Arabic and Latin scripts. They acknowledged the differences between the two scripts and respect them instead of compromising one for the other.

The Arabic set contains an extensive set of ligatures in addition to stylistic sets and alternates to give the font a more calligraphic character.
The Arabic set contains an extensive set of ligatures in addition to stylistic sets and alternates to give the font a more calligraphic character.

The Arabic set contains an extensive set of ligatures in addition to stylistic sets and alternates to give the font a more calligraphic character. These are derived from the Naskh features that calligraphers used for filling the space between words when the text is justified, or simply because it is more aesthetically satisfying. These were added to enhance the script’s ‘essentiality’, and essential is, after all, what Kaff means.

The Arabic set contains an extensive set of ligatures in addition to stylistic sets and alternates to give the font a more calligraphic character.
The Arabic set contains an extensive set of ligatures in addition to stylistic sets and alternates to give the font a more calligraphic character.

29LT-Kaff-629LT-Kaff-7  29LT-Kaff-4

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