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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.

Certificate of Excellence in Type Design, TDC2 2010
Nominated for the German Design Award 2011
Creative Review Type Annual 2011
“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, …”
“Congrats on the reworked Aisha. Ranging figures seems – in hindsight – like a no-brainer for Arabic; great touch!”
, Adobe Type
“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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97 languages
Latin (97 languages)
Afar, Afrikaans, Albanian, Asturian/Leonese, Basque, Belarusian (Latin), Bosnian (Latin), Breton, Catalan, Chamorro, Cornish, Corsican, Crimean Tatar, Croatian, Czech, Danish, Dutch/Flemish, Eastern Frisian, English, Esperanto, Estonian, Faroese, Finnish, French, Friulian, Galician, German, Gilbertese, Greenlandic, Hawaiian, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Karelian, Kashubian, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lower Sorbian, Lule Sami, Luxembourgish, Malay, Maltese, Manx, Maori, Maori/Rarotongan, Northern Frisian, Northern Sami, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Nyanja/Chichewa, Occitan, Palauan, Pite Sami, Polish, Portuguese, Romanian/Moldovan, Romansh, Romany, Samoan, Sango, Saterland Frisian, Scottish Gaelic, Serbian/Montenegrin (Latin), Shona, Slovak, Slovenian, Southern Sami, Spanish (Castillian), Swahili, Swati, Swedish, Tagalog (Filipino), Tahitian, Tetum, Tokelau, Tsonga, Tswana, Turkish, Turkmen (Latin), Ume Sami, Upper Sorbian, Veps, Wallisian, Walloon, Welsh, Western Frisian, Wolof, Yapese
5 languages
Arabic (5 languages)
Arabic, Berber, Moroccan Arabic, Persian, Tunisian Arabic


The handwritten style, an inviting and informal appearance
Rich arsenal of forms inspired by Maghribi manuscripts
Many alternates and swashes to spice up your texts
Pioneering ranging figures for Arabic and Persian

opentype features

Stylistic alternates (stylistic set 1–6)
Lining figures
Tabular lining figures
Turkish/Crimean Tatar
Superiors & inferiors
Tabular ranging figures
Discretionary ligatures

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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.