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.
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 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.
Azal – which means old in Arabic – is a blast from the past that looks impactful in the present. It has both the flair of old eastern Kufic manuscripts and the modern-day touch, making it a clear and boisterous display font.
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.
Reza Abedini designs vibrant posters with 29LT fonts A Collaborative approach between a graphic designer and a type designer 29LT … More
29LT publishes it 1st type specimen showcasing an overview of its multilingual Arabic & Latin typefaces.
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.
Graffiti: Changing Language, Changing Worlds اللغة تتحول، العالم يتغير Designers: Pascal Zoghbi and DUAL Mural Painting: DUAL Wall Size: 10 … More
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
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.
Last August in Beirut, I had the opportunity to meet with Camille Khattar Hedrick, the daughter of Nasri Khattar, the … More
The fluent and smooth curves of Massira Pen make it suitable to give a vibrant punch to publications like comics, whereas the rough and grungy feel of Spray, Lipstick and TippEx styles makes them appropriate to add an urban or revolutionary edge to unconventional projects.