Zarid Sans is a fresh, clean, contemporary design. Its robust outlines stem from calligraphic structures. Its letterforms are open, and friendly yet precise. This understanding of the visual grammar of the family was a pre-requisite for the design of the Devanagari. When designing for scripts that are structurally very different from each other, it is important that the respective characteristics of the scripts are retained and celebrated while co-existing in the design space.
29LT publications are modern-day typographic prints that aim to showcase 29LT fonts within content that has been found, written, and based upon texts that explore distinctive themes. The subject matter present in each publication stems from specific research that reflects the concepts behind the design and development of the typefaces.
29LT Oskura is the second interpretation of the diverse handwritings found in the Aljamiado manuscripts and works as a fluid alternate to 29LT Okaso. Its humanistic design approach is built on the concept of the progressing pen. It is not rough and grungy as the writings in the manuscript are, but retains the flow of handwriting and presents the letterforms in clean outlines.
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 stands out from standard Arabic fonts, both in aesthetics and functionality. It embodies a fascinating typographical experiment that actually works particularly well when seeking harmonious contrast between enigmatic and mystical overtones and contemporary designs.
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 Zawi is a multipurpose typeface that was designed with a maximum legibility focus and an ease of usability mindset. Its simplified and vibrant design works perfectly well for a variety of projects, from fun and urban to serious and corporate ones.
29LT Zarid Display features a large range of weights offering typographic hierarchical solutions in bi-script Arabic and Latin layouts. Its contrasted pen strokes make it ideal for brave headlines and titles whilst being stylish and valiant.
Modern, clean, and sturdy, 29LT Zarid Slab lends itself well for assertive displays and comfortable text readings.
29LT Zarid Text displays advanced but softer features. Improved legibility in small point size and habitual appearance are its key characteristics. More calligraphy-influenced with a greater variation in line width, it does offer improved legibility and clearer interlinear space. The range of weights also provides suitable typographic hierarchical solutions in bi-script Arabic and Latin layouts. This reader-friendly typeface is quite useful for diverse long running texts, such as magazines and books, and it works well with both digital and print applications. Its fashionable feel makes it aesthetically functional in display typographic setting too.
Versatile, elegant and easy to ready, 29LT Zarid Sans gives diverse typesetting options. It is a clean, crisp and legible typeface that is proper, though not exclusive, to setting body copy texts both in print and digital mediums. It also works perfectly well when used in large display type.
29LT Zarid Serif embodies a sense of elegance, vitality and robustness. The typeface is suitable for a vast array of literature and educational publications besides branding and design projects.
29LT Azer is approachable without being sloppy, serious but not conformist. The typeface fuses charm, simplicity, and consideration. The Arabic and the Latin mirror each other’s appearances much like fraternal twins with compatible attitudes. Azer Latin is earnest and sincere whereas Azer Arabic is direct and austere. The various weights make this typeface suitable for refined copy-text as well as chunky titles and in-text emphasis.
29LT Riwaya is a practical and intelligible multiscript typeface family with character and voice. Each script has its own signature harmoniously articulated with the overall typeface family specifics. 29LT Riwaya brings clarity and accessibility to lengthy and encumbered texts while allowing for typographic hierarchy that creates contrast between elements. The differentiation of narrative levels and the natural, pleasant and readable textures make this typeface ideal for literature and story-telling.
With its modern simplistic arrangement in all of its weight variations, 29LT Bukra is go-to typeface for corporate strong headlines and slogans as well as branding applications. The font’s clean and polished outlines allow for powerful corporate identities, while the typeface’s crisp structure portrays bold and memorable messages. It is a type family with endless visuals representations allowing it to be used in an infinite number of graphical applications. Bukra is mainly a display typeface but the lighter styles can be also used for short body texts.
29LT Baseet is driven by the idea that less is more. The design elements are pared down to the essential. The fonts were designed within a simplified Arabic character set and a monospaced Latin design, along with rounded terminals, enhancing the script’s simplicity and friendly appeal. All of these qualities make Baseet suitable for a diverse range of projects, from fun and urban to serious and corporate ones.
The RTA Dubai bespoke multilingual typeface is composed of a distinct contemporary Naskh style Arabic accompanied by a humanistic and … More
29LT Zeyn has a traditional calligraphic look, but with a modern and unique twist to it. It exudes a sense of richness, elegance and subtlety. All these qualities make it an excellent choice for high-end projects and stylish brands seeking to bring sophistication and refinement into focus.
Swatch Corporate Typeface (Swatch CT) is a contemporary multilingual typeface covering all Western and Middle Eastern languages used in … More
Noor Type is a simplified, hybrid Kufi/Naskh type family in three weights, light, regular, and bold. Its contemporary outlines reflect … More
MIA type is a contemporary, bilingual Arabic and Latin type-family based on the Eastern Kufic calligraphic style drawn in four … More
29LT Makina is an evocative typewriter font arising from a series of experiments. It makes a retro statement that offers a standout vintage vibe with a cutting-edge hint.
29LT Arapix’s unique and contemporary pixel approach makes it a perfect titling and display font. It is a funky and expressive typeface inspired from the primitive pixel technology but with vibrant modern characteristics. It can be used for both very low-resolution and high-resolution screens as well as for prints.
Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar. … More