Lobab

Every decision in the Lobab type system begins with the same question: does this serve the reader? Not the designer. Not the brief. The reader. That discipline is what makes Lobab a coherent system rather than fonts that happen to share a name.

Lobab Latin Display was engineered for the way English is read in books and on screens — not as a companion to the Arabic, but as a complete typographic statement in its own right. Its construction is geometric: circular bowls, consistent counter sizes, and a cap height calibrated to sit at the same optical level as the Arabic alef. But the geometry is humanised at every turn.

The lowercase a is double-storey — a closed arch sitting above a circular bowl, the same form found in the finest text typefaces of the print tradition. It gives the face authority at display sizes while remaining unmistakably warm at body sizes. The crossbars of f and t are locked to the same altitude — a detail invisible to most readers but felt by every one of them as a sense of precision and care.

Spacing was set wide and even, with tracking that breathes at display sizes and tightens gracefully as size decreases. The result is a Latin face with the confidence of a geometric sans and the readability of a humanist — built to carry the name of a knowledge library with authority.