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.
Continue reading “29LT Riwaya : A story, within a story, within a story.”
29LT Azal is a sturdy geometric font with contemporary Arabic features that are inspired from the old Eastern Kufic manuscripts and drawn in a modern-day approach, and old is, after all, what Azal means in Arabic. It is a display font with prominent and sturdy design characteristics. Each letter structure is designed to create a balance between solid base forms and elegant terminals. The font structure is a mixture of: high contrast between thick and thin pen strokes, diagonal skeleton, small counters, thick baseline and sharp edges contrasted by circular dots.
Continue reading “29LT Azal : A Free Geometric Display Font”
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.
Continue reading “29LT Bukra Type Family : The Biggest Multilingual Arabic/Latin Type System”
29LT Baseet Type System:
29LT Baseet type system consists of 16 styles; 8 Standard styles and 8 Slanted styles. The styles are: Thin, Thin Slanted, Extra Light, Extra Light Slanted, Light, Light Slanted, Regular, Slanted, Medium, Medium Slanted, Bold, Bold Slanted, Extra Bold, Extra Bold Slanted, Black, and Black Slanted. Continue reading “29LT Baseet : A Dynamic & Energetic Type System”
The story of 29LT Zarid starts back in 2007 when the daily Dubai newspaper “Emirates Today” approached 29Letters to create and develop a new Arabic typeface for headlining and titling for their updated tabloid. The newspaper requested a modern and crisp font that would appeal to their newly targeted younger readers as well as to be agreeable to their existing readers who were used to Naskh Mastari traditional fonts. A black display font was created covering the Arabic language for the newspaper. The font created back then, named “Imarat Headlines,” was an Arabic display font exclusively used by the newspaper from 2007 to 2014 when it was replaced by another typeface. For more than seven years, “Imarat Headlines” gave a unique image to “Emirates Today” before competing newspapers started adopting the same look and feel by producing similar alternates of it.
Continue reading “29LT Zarid : A Bold & Thoughtful Typeface”
The award-winning design studio, 29Letters (29LT), is pleased to announce that we have completely redesigned our website to give font lovers a vastly improved user experience. Continue reading “29Letters Upgraded Site”
Since most documentation and references about the Arabic script stem from the calligraphic methodology, this article will tackle the problem of allocating typographic terms to Arabic type and typography.
بينما نجد معظم الوثائق والمراجع التي تتناول جذور الخط الطباعي العربي من ناحية المنهجية الطباعية، تعالج هذه المقالة مشاكل تحديد صفات الحرف والخط الطباعي العربي.
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. Continue reading “29LT KAFF : An Adequate Multilingual Typeface”
Reza Abedini designs vibrant posters with 29LT fonts
A Collaborative approach between a graphic designer and a type designer
29LT multilingual typefaces were offered to the renowned Iranian graphic designer, Reza Abedini, for him to explore their potential and create compelling typographic posters.
29LT Zeyn is an elegant, contemporary Arabic and Latin typeface. Each weight contains 900-plus glyphs covering the Arabic, Persian, Urdu, and Western European languages. The Arabic set contains an extensive set of ligatures in addition to short and long stylistic sets to give the font an added elegant appeal and feel.
Zeyn «زين» is an Arabic word meaning beautiful, graceful, and elegant.
Arabic character set designed by Pascal Zoghbi from 29LT. Latin Character set designer by Ian Party from SwissTypefaces.
Continue reading “29LT Zeyn : A Graceful Multilingual Typeface”
Graffiti: Changing Language, Changing Worlds اللغة تتحول، العالم يتغير
Designers: Pascal Zoghbi and DUAL
Mural Painting: DUAL
Wall Size: 10 feet x 156 feet
Continue reading “GRAFFITI : Changing Worlds, Changing Language اللغة تتحول، العالم يتغير”
Swatch Corporate Typeface (Swatch CT) is a contemporary multilingual typeface covering all Western and Middle Eastern languages used in countries where Swatch™ is present. Swatch CT will be used from all Swatch branches, dealers, resellers and manufactures.
Noor Type is a simplified, hybrid Kufi/Naskh type family in three weights, light, regular, and bold. Its contemporary outlines reflect the new branding strategy for the Noor Bank in the United Arab Emirates (UAE) developed by Wolff Olins, the brand consultancy, in Dubai.
MIA type is a contemporary, bilingual Arabic and Latin type-family based on the Eastern Kufic calligraphic style drawn in four weights: Light, Regular, Bold, and Black.
Continue reading “MIA corporate type for The Museum of Islamic Art”
29LT Makina is a revival of an Arabic, Persian and Latin typewriter. “Makina” in Arabic means ‘machine’, which is inspired from the translation of a typewriter from English to Arabic. The type-family contains 3 weights (Light, Regular & Bold) with each containing ligatures, stylistic sets and contextual alternates. Continue reading “29LT Makina : Multilingual Typewriter Typeface”
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 the first set of type revivals of Unified Arabic first introduced by Nasri Khattar in the 1950s. They belong to the Unified Arabic™ type system that contains a library of eight typefaces, including both print (detached) and cursive (connected) styles. After over 60 years, Mr. Khattar’s daughter, Camille, has entrusted 29Letters with the revival of her father’s fonts to keep them in line with his vision and design approach. Continue reading “UA Neo Fonts”
Last August in Beirut, I had the opportunity to meet with Camille Khattar Hedrick, the daughter of Nasri Khattar, the creator of a library of fonts based on Unified Arabic.
29LT Massira is a simplified spontaneous handwriting set of fonts based on the casual writings of the Lebanese people and the Ruqaa Arabic calligraphic style. The type-family does not have weights but different styles based on different writing tools. The four styles are: PEN, TIPPEX, LIPSTICK and SPRAY.
Alongside Ben Wittner and Sascha Thoma from eps51, I have giving a bilingual poster design workshop for design students at Weißensee Kunsthochschule Berlin KHB, in Berlin, Germany. The workshop was part of the Right to Left event that took place in Berlin all through November until December.
Continue reading “Right To Left workshop with eps51”
The talk and workshop I gave at NUQAT Design Conference, Kuwait 2012, revolved around the topic of reviving traditional Arabic script into contemporary Arabic typefaces, patterns/arabesques and design applications for our everyday life. The traditional is not lost but being redefined.
Continue reading “Talk & Workshop at NUQAT Kuwait 2012 / Reinventing the Archaic”
The Arabic version of Hard Rock Cafe and Hotel word-mark is created in collaboration with Duncan/Channon and Hard Rock’s internal design team.
The Arabic Graffiti workshop was part of the White Wall graffiti and street art event that was held at Beirut Art Center and all over the walls of Beirut. French graffiti artist Zepha-Vincent Abadie Hafez and I gave the workshop together to 15 young Lebanese designers and artists.
Continue reading “Arabic Graffiti Workshop / White Wall / BAC”
Thaber is a technology startup that is creating a recommendation engine based on behavioral economics. The team is mostly based in Palestine. Thaber means “to perseveres” in Arabic.
