It appears from the thirteenth century on coins, tile work and elsewhere in Iraq, Turkey Iran.

In todays world, it is used for logotypes by some designers and typographers of both, the Arab world as well as globally.

Since 2006 until the beginning of 2015, Qassim Haider studied this kind of calligraphytypography and developed a wide variety of logotypes and art design.

He even developed a unique web application called TypoGrid to create this kind of typography.

Qassim has designed and developed this style as font family with 8 different thickness styles in a very detailed and elaborate experience.

Designed to support Arabic, Urdu Persian, and the.OTF font files are the original format, and the.TTF are converted from the.OTF.

Font management allows you to install, activate, and deactivate the fonts you need, while keeping your collection organized.

Each font is Unicode encoded, and available in different for.

The original is in the Islamic Museum in Cairo (Inventar-Nr. 7853).

It developed from the Nabataeans of Iraq alphabet in the city of Kufa, from which its name is derived.

Kufic script is characterized by angular, rectilinear letterforms and its horizontal orientation.

There are many different versions of Kufic script, such as square Kufic, floriated Kufic, knotted Kufic, and others.

Arabic calligraphy became one of the most important branches of Islamic Art.

Calligraphers came out with the new style of writing called Kufic.

Kufic is the oldest calligraphic form of the various Arabic scripts.

The name of the script derives from Kufa, a city in southern Iraq which was considered as an intellectual center within the early Islamic period.

Kufic is defined as a highly angular form of the Arabic alphabet originally used in early copies of the Quran.

Sheila S. Blair suggests that the name Kufic was introduced to Western scholarship by Jacob George Christian Adler (1756-1834).

Furthermore, the Kufic script plays an important role in the development of Islamic calligraphy.

In fact, it is the first style of Islamic period writings in which the manifestation of art, delicacy and beauty are explicitly evident says Salwa Ibraheem Tawfeeq Al-Amin.

The rule set for this writing was about the angular, linear shapes of the characters.

In fact, the rules that were defined at the outset of the Kufic tradition essentially remained the same throughout its lifespan says Alain George.

In later Kufic Qurans of the ninth and early tenth century, the sura headings were more often designed with the sura title as the main feature, often written in gold, with a palmette extending into the margin comments Marcus Fraser.

Its use in transcribing manuscripts has been important in the development of Kufic Script.

Earlier kufic was written on manuscripts with precision which contributed to its development.

For instance, the precision achieved in practice is all more remarkable because Kufic manuscripts were not ruled says Alain George.

One impressive example of an early Quran manuscript, known as the Blue Quran, features gold Kufic script on parchment dyed with indigo.

It is commonly attributed to the early Fatimid or Abbasid court.

The main text of this Quran is written in gold ink, thus the effect on looking at the manuscript is of gold on blue.

According to Marcus Fraser, the political and artistic sophistication and financial expense of the production of the blue Quran could only have been contemplated and achieved by a ruler of considerable power and wealth.

Around the 8th century, it was the most important of several variants of Arabic scripts with its austere and fairly low vertical profile and a horizontal emphasis.

Until about the 11th century it was the main script used to copy the Quran.

Professional copyists employed a particular form of Kufic for reproducing the earliest surviving copies of the Quran, which were written on parchment and date from the 8th to 10th centuries.

It is distinguished from Thuluth script in its use of decorative elements whereas the latter was designed to avoid decorative motifs.

In fact, the letter strokes on coins, had become perfectly straight, with curves tending toward geometrical circularity by 86 observes Alain George.

As an example, Kufic is commonly seen on Seljuk coins and monuments and on early Ottoman coins.

Its decorative character led to its use as a decorative element in several public and domestic buildings constructed prior to the Republican period in Turkey.

Also, the current flag of Iraq (2008) also includes a kufic rendition of the takbir.

Kufic inscriptions were important in the emergence of textiles too, often functioning as decoration in the form of tiraz bands.

According to Maryam Ekhtiar, tiraz inscriptions were written in Kufic or floriated Kufic script, and later, in naskhi or throughout the islamic world.

Those inscriptions include the name of God or the ruler.

As an example, the inscription inside the Dome of the Rock is written in Kufic.

Throughout the text, we can notice the calligraphic line created by the reed pen which is usually a steady stroke with various thicknesses based on the changes in direction of the movement that has created it.

There is square or geometric Kufic is a very simplified rectangular style of Kufic widely used for tiling.

In Iran sometimes entire buildings are covered with tiles spelling sacred names like those of God, Muhammad and Ali in square Kufic, a technique known as bannai.

Moreover, there is Pseudo-Kufic, also Kufesque which refers to imitations of the Kufic script, made in a non-Arabic context, during the Middle Ages or the Renaissance: Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration.

Square Kufic ( Arabic: ), also sometimes known as bannai (, masonry script), is a bare Arabic writing form that developed in the 12th century.

The calligrapher Mamoun Sakkal described its development as an exceptional step towards simplification in Kufic styles that evolved towards more complexity in the preceding centuries.

Square Kufic was originally created in architecture with bricks and tiles functioning as pixels.

Legibility is not a priority of this script.

The original is in the Islamic Museum in Cairo (Inventar-Nr.

Square Kufi Font