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Latin
Arabic

about aisha

Aisha originated from research about the Maghribi script – its regular Arabic weight is based on the foundry type Titus discovered in a 19th century book. In the process of design Titus reinterpreted the sources within the framework provided by current usage and technology. He developed a Latin face to accompany the Arabic, drawing both as independently usable, yet closely related typefaces.

The Latin version of Aisha is one of the designs where the style of the Arabic version shaped the direction for the Roman letters, rather than the other way around. Drawing on research around Maghribi calligraphy, and inspired by expressive Moroccan lettering, the resulting designs feature generous curves and joyful variations, rendering Aisha a historically informed typeface for contemporary requirements, with a wide range of weights in both Arabic and Latin.

awards

2010
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Certificate of Excellence
in Type Design
2011
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Nominated for the Design Award of the Federal Republic of Germany
2011
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Creative Review Type Annual
1
“Y no hace falta ser un entendido en tipografía árabe, creo, para concluir que Aisha es de lo mejorcito en un género, el de las fundiciones árabes de estilo magrebí, …”
2
“Congrats on the reworked Aisha. Ranging figures seems – in hindsight – like a no-brainer for Arabic; great touch!”
, Adobe Type
3
“Titus Nemeth describes the model for Aisha as ‘curious and very playful’ — which is exactly what makes Aisha so attractive. The loopy, brush-like quality of the Arabic makes a smooth transition into the Latin version; both scripts exude a lively playfulness.”
for 8 Faces magazine

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Styles

latin
95 languages
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Latin (95 languages)
Afar, Afrikaans, Albanian, Asturian-Leonese, Basque, Belarusian, Bosnian (Latin), Breton, Catalan, Chamorro, Chichewa, Cornish, Corsican, Crimean Tatar, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Frisian, Friulian, Gaelic (Irish), Gaelic (Manx), Gaelic (Scottish), Galician, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Ido, Indonesian, Interlingua, Italian, Karelian, Kashubian, Kiribati, Kurdish, Ladin, Latin, Latvian, Lithuanian, Luxembourgian, Malay, Maltese, Maori, Moldavian (Latin), Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Palauan, Polish, Portuguese, Rarotongan, Rhaeto-Romanic, Romani, Romanian, Saami (Inari), Saami (Lule), Saami (Northern), Saami (Pite), Saami (Southern), Saami (Ume), Samoan, Sango, Serbian (Latin), Shona, Slovak, Slovenian, Sorbian (Lower), Sorbian (Upper), Spanish (Castillian), Swahili, Swati, Swedish, Tagalog (Filipino), Tahitian, Tetum, Tokelauan, Tsonga, Tswana, Turkish, Turkmen (Latin), Veps, Wallisian, Walloon, Welsh, Wolof, Yapese
arabic
5 languages
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Arabic (5 languages)
Arabic, Berber, Morrocan Arabic, Persian, Tunisian Arabic
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highlights

The handwritten style creates an inviting and informal appearance
Rich arsenal of forms inspired by Maghribi manuscript practice
Many alternates and swashes allow for more tasty servings of your texts
Aisha is the first typeface to support ranging figures for Arabic and Persian

opentype features

See how to use OpenType features in your favourite application.
Stylistic alternates (stylistic set 1–6)
Catalan ldot (lang. feature)
Dutch long I (lang. feature)
Lining figures
Tabular lining figures
Ligatures
Ligatures
Turkish/Azeri/Crimean Tatar
Fractions
Superiors & inferiors
Tabular old-style figures
Ordinals
Discretionary ligatures

web performance

The fonts have been screen-optimized (hinted) and perform well in large text and display sizes across all browsers which support @font-face CSS rule.
Mac OS X (Mavericks) Chrome 28
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character sets

pdf specimen

For you to print out
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Design: Titus Nemeth

Titus Nemeth is a type designer and typographer with specialist expertise in the Arabic script. He works as an independent designer and typographic consultant, building on his substantial experience and research in the field.

His original type designs have won multiple internationally renowned awards and are widely used for complex, cross-cultural, visual communication. Titus’ practice combines the making and the use of type, as he is convinced that both aspects inform each other: ‘the better I understand how type is used, the better I can design for it’.

Titus holds a PhD, and an MA in Typeface Design, from the University of Reading, UK, and a diploma in Graphic Design from Die Graphische in Vienna, Austria. He has taught type design and typography at a number of schools in France, Morocco, Qatar, and the United Kingdom.