Oct 24, Download Simplified Arabic font free for Windows and Mac. We have a huge collection of around TrueType and OpenType free fonts.
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Reserved Font Name refers to any names specified as such after thecopyright statement s. Original Version refers to the collection of Font Software components asdistributed by the Copyright Holder s. Modified Version refers to any derivative made by adding to, deleting,or substituting -- in part or in whole -- any of the components of theOriginal Version, by changing formats or by porting the Font Software to anew environment. Author refers to any designer, engineer, programmer, technicalwriter or other person who contributed to the Font Software.
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It also bridges the design gap between Arabic and Latin texts by providing harmonious typefaces that combine the two scripts seamlessly. In addition, it makes high quality typography available to everyone, especially for app developers and web designers and thereby supporting the tech industry by making quality fonts available with no licensing costs attached. Both the Arabic and Latin letters are included in the same font files.
To access the language that you want to type in, simply switch your keyboard to the design language and start typing. The fonts support 23 languages: You may not change the design of the fonts or rename them.
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You may download the fonts for your personal or company-wide usage but you are not allowed to distribute the fonts. You may use the fonts freely in your own work whether for private or commercial use. You may also embed the fonts into apps and software. X How to install the font under Windows To install the Dubai Font for Windows, please read the instructions corresponding to your operating system.
Windows 10 Unzip the folder containing the Dubai Font first. It cannot be installed if it is zipped. Right click on the font file and select Install. Or Search for Fonts in the search box by the start menu. Windows 8 Unzip the folder containing the Dubai Font first. Go to search in the start menu. This may have been the origin of the phrase "Simplified Arabic". In any case we should salute these unknown pioneers and be thankful things have been made relatively easy for us nowadays! Thanks Vladimir for great information. Maybe, but how much I would like to know its designer or the source of it.
Only a small number of Linotype's Arabic types followed this model Yakout being the best known example , and it was specific to the mechanical issues involved with these machines. It is sort of funny, in a bleak way, that this technical improvisation resulted in the propagation of a new 'style' of Arabic, subsequently implemented in technologies which did not have the same limitations.
It follows the same simplified model as Yakout, using different shapes. I believe it is older than the work on Arial, and was adapted for inclusion with that font from existing Monotype sources, so neither Robin Nicholas nor Patricia Saunders are likely responsible. It is the nature of a lot of things produced by the older type companies that no designer is credited. I mentioned this discussion to Fiona Ross , who directs us to her St Bride conference presentation on Linotype non-Latin font development:.
In the s, the Arabic typeface design Yakout was developed. With the dual intention of fitting the Arabic script onto a Linotype linecasting machine for setting type for rotary printing, and of maximizing keying speeds in creating copy for daily newspapers, much effort was concentrated on reducing the normal Arabic character set of over characters. Yakout was designed in a similar manner to Arabic typewriter fonts created during this period: The resultant style of type design became known as 'Simplified Arabic'.
The number of characters was reduced to 56, which enabled the typeface to fit into one channel magazine. A brochure at the time claimed that 'the output of work may be increased by as much as 30 per cent'. Yakout was manufactured in six different point sizes and became, indeed remains, one of the most popular Arabic typefaces. I agree. Also, Hassan is right about the similarity.
The Arabic glyphs added to Arial following the emergence of the web are probably the same as the glyphs of Simplified Arabic. This may be true with Arabic glyphs in New Times Roman and others. I remember dealing several times in the late s with the person in Glyph Systems in Boston who I thought was the creator of the "Simplified Arabic", "Transparent Arabic" and "Traditional Arabic" typefaces for Windows 3. His name was Steve, but I forgot his last name. Thank you Hasan- this innocent question of yours has blossomed into a discussion of the roots of modern Arabic type design!
Thanks Saad and John for the details you provided. Fiona Ross's pdf has a lot of interesting detail- I wonder if the Linotype sample sheet therin is available in greater resoltion? Around that time I presented Monotype and Letraset with a proposal to abridge the number of glyphs needed to print Arabic using common swash-like endings for final letters like beh teh theh, and for hah kha jeeem, etc.
I also obtained a patent for my idea UK Pat. I would not say that the trend towards what one might also call 'sans-serif' Arabic fonts was exclusively influenced by the technicalities of automated typesetting. I know well the clutter of those magnificent Linotype machines and their smell of molten lead, but the resulting text on newsprint did not appear too different from the older letter-press. Around the 's and 's there was a surge of interest in modernizing the Arab world, and the reform and simplification of printed Arabic was one important aspect.
For me as an art student at the time the concern was for a modern look to the printed word think Bauhaus and Gill Sans Serif , and that meant simplifying the outlines. The resulting abridgement of the number of glyphs needed came as an additional bonus. Exactly, John - these days computers can 'do anything' and almost anything has being done!
With all these fonts around the need for a systematic and critical appraisal of Arabic fonts is more important than ever. To clarify, I wasn't talking about a style of 'sans-serif', which I take to mean a kind of low contrast stroke model that is itself applicable to different kinds of letter shapes in Arabic type as in Latin , but of simplified Arabic in the sense of using a reduced number of forms -- prompted by technical limitations -- coming to constitute a new style with its own grammar.
The actual shape or contrast pattern of the letters used is in most respects accidental to the style understood as a system, i. So long as the same shape can function as both isolated and final or as both initial and medial, then the system is satisfied. Historically, as you say, there was a coincidence between a cultural interest in modernisation and this technically motivated innovation, but the two are independent: One extreme example of simplified Arabic is the campaign by Nasri Khattar whereby there is only a single unconnected glyph for each letter.
Individual letters were elegantly designed but were not really what can be call sans-serif, and had ornate features.
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I am sure Yakout must have had a significant impact on those involved in the practicalities of type design and printing in mid-century. I still wonder if the need to develop an Arabic typewriter had provided a similar solution even earlier? A history of type in that period is given here http: Vladimir, could you tell me if somewhere an attempt to design an Arabic Typeface with the "flavor" Gill Sans gave to the Latin forms i.
So, since I see there's such a wonderful ferment and vitality in Arabic type design of recent years, I was wondering if someone ever did something like that…. Pascal Zoghbi did a Gill Sans Arabic — http: Hello piccic It is amazing how influencial Eric Gill's work has continued to be through the years. On the other hand Gill himself designed - or advised on the production thereof? I don't know how to judge properly the design choices operated in Erica and in the Greek Gills, since my familiarity with Greek is extremely limited, and I have no familiarity at all with Hebrew and Arabic.
Coming closer to other scripts through heartfelt interpretation of Latin types by native designers seems to me one of many ways to get more in touch with the wonderful letters of other alphabets… I recall I quite liked the Gill Monotype version, but when my friend Panos sent me the new version they did at Cannibal, it seemed more "cold" to me.
It's also important to actually use them, and as of now I have not had the opportunity to do so… The work by Zoghbi looks good. I hope he will release Gill Arabic soon…: I had a look at your Al-Quds family and I really enjoy it. It's difficult to get good bezier curves out of pencil drawings. On Gill: In which sense you mean "closest to the original inspiration"? Are there any work documenting Gill's work in Jerusalem?
Here is something about Gill working in Jerusalem at the Rockefeller Museum. I have fond memories of that very beautiful place with Gill's bas-reliefs surrounding the pool. I meant closest to Gill Sans in the way the verticals, curves and are constructed, connected together and proportioned. AlQuds Arabic is monoline and lacks Gill Sans' variable thickness. Your website does not show your typographical work. Viva Italia! Vladimir, wow, thank you! Same link of Gill in Arabic: Some of my old types here: What I said about your Al-Quds is from a non-Arabic viewer, but I think some modulations esepcially in "junctions" is really needed even if you are designing a monoline.
In your shoes, I'd just add some in the Latin and see how it could work for Arabic, if needed. I just found this: Thank you Claudio piccic I think one can speak of a type International Style - simple outlines, no decorations or extras, that corresponds to the International Style of architecture of the the last century. You mentioned the Gill-like Hebrew, and the phenomena is also seen in many fonts, Japanese, Thai, etc.
I'm pretty ignorant about it, but I think the modernism movement in design and communication quite missed the point of what the features of "universality" should be. A delicate exploration, by trial and error, each sensibility must be taken into account, said this, no experiment is too extreme. As type was exported from the pages of books to newspapers and TV screens and now to computers, certain constraints are imposed on the design. Marshall McLuhan's dictum "the medium is the message' applied to modern typography and one example in the 's was when Arabic type was simplified to adapt it to the limitations of the Linotype typesetting machines.
Now of course the 'medium' is so sophisticated that almost any kind of graphic communication is possible to display and print, so we are in a new era of possibilities where 'anything goes' and statement about experimentation rings true. In the end however it is human beings, not machines, that read type, and the choice of what is right must come from what people feel most comfortable with.
There is an idea of universality which went quite wrong, there, and it may be that it was because it was a preconceived route with not so much openness, despite the complexity of thought in Germany and other European countries. What you say about being comfortable is related to this, since a propositive idea cannot establish what is universal by preconceived simplification.
This relates also to the recognizance of universality in specificity, precisely what we lack, seeing what's happening in Gaza and situations like that, which in my ignorance I do not know appropriately, but that they show how the other is not seen as an enrichment but as an enemy. Claudio piccic This thread was started by Hasan from Gaza, so it is approriate that you mention it here.
See http: It depends: Sometimes by willfully paring down extraneous material or ideas in one step, and sometimes it happens quite naturally by invisibly small steps over a long period of time. We cannot generalize about this without giving examples. By 'constraints' I meant practical issues such as legibility, that a font for a computer should consider the pixels at small sizes, that the shapes of an alphabet meant to teach children should be easy to learn, etc. In addition such concepts as clean design by simplification may be a sort of fashion, but they have their place.
I have said "a propositive idea", in the sense that it's not just the theoretical idea which makes the change, and I said "cannot extablish", because despite of its good solution, it must be "lived" entirely. Modern experimentation, even if it produced results like Futura, to me, looks like it has been too much conceptual and abstract as you say, you cannot generalize in abstraction, but I wasn't generalizing, but doubting about a specific approach which do not take into account the worldwide richness of uniquities.
Maybe the incorporation of "post-modern" philosophy in this worsened the problem I have this strong feeling, as I became disaffectioned in Emigre magazine when this happened. Abstraction is part of analysis, but I think it should be dropped as you work, by somehow getting in communion with others. Like… hmm, say, what's happening with AlQuds? That's not actually what William of Occam said.