The purist, geometric, aesthetics of LL Brown are as far removed from Arabic running writing as possible. Yet when Aurèle Sack and I discussed the design principles for the Arabic complement of Brown, he emphasised that although of rigid appearance, it should be usable for text composition as well. Brown Arabic therefore seeks its visual references in Naskh roots, whilst reflecting the austere rigidity of Sack’s design. This apparent contradiction imbued Brown Arabic with a highly distinct character, and some idiosyncratic details.
Available in a broad range of weights, Brown Arabic sports abrupt cuts, geometric curves, and unmediated stroke joins, lending it a monumental impression. Akin to architectural lettering, it excels at large sizes, but owing to its roots in the Naskh style, Brown Arabic can also be used for short texts that call for an unmistakable voice.