In CSS, be careful with text-align: justify in Arabic. Use text-justify: kashida sparingly, as Omnes Arabic was not designed for aggressive elongation.
Standard Arabic script support with extended OpenType features Usage and Applications
Since its release, Omnes Arabic has received praise from Middle Eastern design communities. On platforms like and Behance , designers highlight: omnes arabic font
in January 2019. It serves as a stylistic "tightrope walk," balancing the playful, rounded aesthetic of the Latin original with a deep respect for traditional Arabic script proportions. Adobe Fonts Design Concept and Philosophy
The font's design process involved extensive research into traditional Arabic typography, as well as the study of modern Arabic fonts. The team aimed to create a font that would not only be aesthetically pleasing but also functional, readable, and compatible with various digital platforms. In CSS, be careful with text-align: justify in Arabic
is a rounded sans-serif typeface designed to bring the approachable, soft-spoken aesthetic of the popular Omnes Latin family to the Arabic script. Released in January 2019, it was developed by Titus Nemeth in collaboration with Joshua Darden of Darden Studio . Design Philosophy and Features
One Beirut-based UI designer noted: “Omnes Arabic finally gives us a sans-serif that doesn’t look like a robot wrote it. It has soul, but remains professional.” On platforms like and Behance , designers highlight:
The Omnes type foundry was founded in 2004 by French designer, Gilles de Béche, with the goal of creating high-quality, multilingual fonts. The foundry's early work focused on developing Latin fonts, but soon expanded to include non-Latin scripts, including Arabic. The development of Omnes Arabic font was a collaborative effort between de Béche and a team of Arabic typographers and designers.
Where traditional Arabic Naskh is calligraphic and curved, Omnes Arabic introduces geometric circles and softened angles reminiscent of the Latin version. The jeem , ha , and kha (ج، ح، خ) feature rounded bowls that echo the friendly roundness of Latin 'o', 'c', and 'e'.
In the world of typography, few challenges are as complex—or as rewarding—as creating a typeface that works harmoniously across two vastly different scripts. The Latin alphabet and the Arabic abjad have distinct histories, visual rhythms, and rules. Yet, as global design demands bilingual and multilingual identities, the need for cohesive font families has never been greater.
In conclusion, Omnes Arabic stands as a model for how to design a multiscript family with integrity. It does not force the Arabic script into a Latin mold, nor does it abandon the parent typeface’s character. Instead, it finds deep structural and formal parallels—balancing geometry with organic curves, low contrast with open counters, and modern simplicity with the subtle warmth of humanist terminals. For designers seeking a bilingual voice that is simultaneously dependable, legible, and friendly, Omnes Arabic demonstrates that thoughtful adaptation can create not a compromise, but a harmony all its own.