Calligraphy generator
مولد الخط العربي
مولد الخط العربي
Guide
The studio gives you thirteen authentic hands and full control over colour, spacing and export. Knowing which hand suits which job — and where Arabic type behaves unlike Latin type — is what separates a clean export from a cramped one.
Arabic calligraphy is not one style with thirteen skins. Each family evolved for a different job, and using the wrong one is the most common reason a design feels off even when the colours are right. Compare them on the same phrase:
Amiri أميري
The safest default. Generous counters, well-drawn diacritics, and it stays legible from small sizes up to poster scale. Start here for Qur’anic text.
Scheherazade شهرزاد
Slightly heavier than Amiri with a wider aperture. Its harakat sit high and clear, so it handles densely vocalised passages better than almost anything else here.
Lateef لطيف
Lighter and more compact. Good when you have several lines to fit and Amiri starts to feel bulky, but it thins out at small sizes.
Markazi مركزي
A modern take on Naskh with a slight editorial contrast. Reads well as a subheading or a pull quote sitting under a heavier display line.
Naskh is the script of books and of the printed Qur’an. If your text is a full sentence, a verse, or anything a reader will actually parse word by word, this family is the right answer. It is also the only family here where you can push the line count past three without the design collapsing.
Reem Kufi ريم كوفي
Angular, geometric, and squared off to a strong horizontal baseline. Set it large, tight and short — two or three words at most.
Kufic is the oldest form of Arabic calligraphy, and its logic is architectural rather than cursive. It rewards short text and punishes long text: a five-word phrase in Reem Kufi reads as a wall, not as a sentence. Because the strokes are near-uniform in weight, Kufic also survives being reproduced very small — which is exactly why it dominates in Arabic brand marks, and why our Kufic guide treats it as a logo script first.
Aref Ruqaa عارف رقعة
Ottoman chancery character with strong stroke contrast and a lively baseline. Elegant at large sizes, muddy at small ones.
Rakkas ركّاس
A heavy display Diwani. Almost no room above the letters, so avoid it for vocalised text — set it clean, without harakat.
Gulzar گلزار
The hanging script: each word cascades down and to the left. Needs far more line height than any other hand — 1.8 or above, or lines will overlap.
Nastaliq is the one hand in the studio with a genuinely different geometry. Words descend diagonally instead of sitting on a flat baseline, so the vertical space a line occupies is roughly double what a Naskh line needs. If you set Nastaliq at the default line height and the second line clips into the first, that is the cause.
Cairo القاهرة
A clean contemporary sans. Neutral, highly legible, and the most Latin-compatible hand here if your design mixes scripts.
Tajawal تجوّل
Slightly warmer and rounder than Cairo. Good for friendly consumer brands and app screenshots.
El Messiri المسيري
Carries a trace of calligraphic contrast while staying modern. A useful middle ground when Naskh feels too traditional and Cairo too plain.
Lalezar لالهزار
Heavy, poster-weight display. Made for headlines and price tags, not for paragraphs or diacritics.
Marhey مرحى
Playful and rounded, with an informal bounce. Suits youth brands, stickers and casual social posts.
Harakat — the fatha, kasra, damma, shadda and sukun marks that vocalise Arabic — are where most generators fall apart, because they are rendered as separate marks positioned relative to each letter. Three practical rules:
If you are unsure whether your source text is fully vocalised, our guide to harakat and tashkeel covers what each mark does and when leaving them off is the better typographic choice.
The six presets are not arbitrary crops — each matches a real placement, and picking the right one before you set the type saves re-fitting later:
The ink can be a solid colour or a gradient, and the ground can be solid, gradient or fully transparent. A few things worth knowing:
The same rendering engine drives the other two studios. If your goal is a brand mark rather than a poster, the logo maker adds symbols, slogans and balanced lockups at export sizes up to 2048px. If you want the phrase to animate — writing on right-to-left, fading or rising into place — the video studio exports WebM and GIF from the same canvas. For phrase ideas, the collection of Islamic phrases gives you correctly vocalised Arabic with transliterations and meanings.
Either the size is too small or the hand is too tight. Diacritics sit in the space above and below the baseline, and that space does not scale as fast as the letters do. Raise the font size, push line height to 1.6 or higher, and prefer a Naskh hand such as Amiri or Scheherazade — they were designed around fully vocalised text. Display faces like Rakkas and Lalezar were not.
Yes. Paste the text from anywhere — a Qur'an site, a document, a message — and it renders exactly the same, diacritics included. The ready-made phrase buttons also drop correctly vocalised Arabic straight onto the canvas with one tap, which is the fastest route for Bismillah, MashaAllah, Eid Mubarak and similar phrases.
PNG if the background is transparent, or if the design has flat colour and hard edges — it is lossless and it keeps the alpha channel, so the calligraphy drops onto any surface. JPG only when the background is a photo-like gradient and you need a smaller file. JPG has no transparency at all: exporting a transparent design as JPG fills the ground with a solid colour.
For most uses, yes. The canvas exports at its full pixel dimensions — the Portrait preset is 1000×1500 and Landscape is 1920×1080, which print cleanly at postcard and A5 sizes. For a large wall print, choose the largest preset and keep the font size high rather than scaling the file up afterwards, since raster output cannot be enlarged without softening.
No. Every glyph is rendered by your own browser on an HTML5 canvas, and the download is produced locally from that canvas. Nothing you type is sent to a server, which is why the studio works with personal names, private messages and unreleased brand names without any account.
Arabic hands differ enormously in how far they extend a connected stroke. Nastaliq slopes down and to the left, so it needs vertical room; Diwani stretches horizontally and adds flourishes; Kufic sets nearly square. If a phrase overflows after a font change, reduce the size or switch to a wider preset rather than squeezing the letter spacing, which breaks the connections between letters.