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 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 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.
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.
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.
29LT UA Neo B and N are a tribute to Nasri Khattar’s pioneering work and a statement on the growing importance and power of contemporary Arabic typography. They are an invitation to explore the fascinating potential of UA fonts, especially when it comes to modernizing Arabic, Urdu, Farsi, or any other language using the Arabic alphabet.