Rakkas
Regular
400
Characters
Rakkas was drawn by Turkish type designer Zeynep Akay as an expressive display face bridging the Arabic and Latin alphabets. Released through Google Fonts under the SIL Open Font License, the design takes its name from the Turkish word for "dancer"—an allusion reflected directly in the undulating, rhythmic posture of its strokes. Rather than forcing one script to mimic the structural habits of the other, Akay drafted both writing systems in tandem, seeking a common ground rooted in the physical momentum of the brush and the calligraphic reed.
The anatomy of the letterform is governed by high stroke contrast and fluid, asymmetrical energy. Broad vertical stems taper abruptly into delicate, curved joins, while terminals swell into fleshy teardrops and sharp, beak-like wedges. In the Latin, characters such as the lowercase a, f, and r carry pronounced, sweeping flourishes that mirror the fluid ligatures and descending strokes of the Arabic script. The baseline is not treated as a rigid track, but rather as an active plane where characters step and sway with a lively, syncopated cadence. Light enters the forms through deep, curved incisions, giving headlines a textured, chiseled interplay of black and white.
Because of its dramatic contrast and eccentric detailing, Rakkas is strictly a display instrument. Set at text sizes, its tight internal counters and sweeping terminals quickly choke together, disrupting the reading measure. It belongs on posters, book covers, mastheads, and packaging—environments where short passages or isolated titles can afford to announce themselves with theatrical force. Available in a single, robust display weight supporting both the Arabic and extended Latin repertoires, Rakkas serves as an engaging bilingual study: an alphabet demonstrating that cross-cultural type design can honor the calligraphic vitality of two distinct traditions without flattening either into bland geometric uniformity.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Contextual Alternates
font-feature-settings: 'calt';
Figures
1234567890
Proportional Lining (default)
1234567890
Proportional Oldstyle: 'onum'
1/2 3/4
Fractions: 'frac'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss02'
'ss03'
'ss04'
'ss06'
'ss08'
'ss09'
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