Remix is a Fixed Width, Multi Axes, Variable Arabic Naskh Typeface that goes beyond weight and width variables. It challenges variable type limitations when it comes to Arabic script as it generates 12 variables that visualize sound. The sound visualization and forms are based on frequency and amplitude following the Science of Sound and the Cymatics concept.

Remix has been featured in it’s nice that Global Type Report 2023. Besides, exhibited in Dubai at Tasmeem 2022 exhibition.

This artwork captures the essence of Cairo’s heritage, blending iconic architectural elements with a traditional Nile sailboat. It evokes the city’s timeless beauty and vibrant history. The composition uses Arabic text fragments and aged textures to symbolize the stories carried by the river, connecting the past with the present.

In “Pain through Belonging,” I continue my exploration of choice-making as a means of
belonging, focusing specifically on my mother’s experiences within a religious group that
brought her both pain and a sense of identity. This conceptual portrait series examines
three key aspects.

“The etymology of the Cairene dialect” is an illustrated A1 publication that traces back and analyzes the etymology, origin of words, of the Egyptian vernacular used in Cairo. It explores the connections to historical, political and social contexts of Cairo through the lens of language, by looking at how those factors influenced our day-to-day conversations. It highlights the underlining tight links with the past that have remained constant in the Egyptian dialect over thousands of years.

An artwork shows the influence of societal beauty standards and how it effects insecurity.

Ahmad captures every aspect of Marwan Pablo’s successful artistic career, celebrating and embracing him as an Egyptian artist with a distinct style and exceptional rap storytelling abilities. His lyrics are marked by clever wordplay and raw emotion, often reflecting on life experiences such as love and loss.

The illustration presents an engaging sonic journey that highlights a diverse array of sounds. It balances simplicity with detailed features, creating a visually interesting composition that attracts viewers. It combines traditional architecture, like the Cairo Tower, with film rolls and a power source. It creatively shows how music, data transmission, and modernity connect. The use of wires adds a futuristic and interactive feel, encouraging viewers to think more deeply about the piece.

At 22, Ahmad Aladawi’s birthday marked a significant turning point as he balanced two contrasting worlds: the strict discipline of military service and the boundless creativity of civilian life. From 5 a.m. to 4 p.m., he served in uniform, then transitioned into his artistic self, blending routine with self-expression. Inspired by the symmetry of the number 22, Ahmad shaped two characters upside down to symbolize the duality of these opposing personas.

Ahmad’s illustration masterfully captures the bustling energy and auditory symphony of Cairo’s urban streets while showcasing Nubi, an Egyptian rapper, as he journeys from the heart of Cairo’s rap circles to a deeper connection with his roots.

It blends his distinctively vibrant hippy aesthetic across dynamic outdoor scenes and the creative confines of his studio space, reflecting his artistry and cultural exploration.

WW3 typefaces are designed exclusive for the video game World War 3 “WW3”, In collaboration with The 4 Winds entertainment. We have designed the Arabic typefaces are matched with the original languages.

WW3 typefaces are modern military geometry typefaces supported Arabic and Extended Latin character and Cyrillics. with 2 styles Inktrap and Sans-Serif, each style have 2 weights “Regular and Bold” WW3 Inktrap typeface for a headlines and short text usage, and WW3 Sans typeface for text.

I created “History of Egypt” artwork at 2016, Inspired from modern Flat Line Art style. I love modern Flat Line Art and I saw that I can create a new pattern style out of ancient Egypt, It fixable pattern that you can play around with like a puzzle. This project is my favorite personal project ever in my career so I hope you are enjoy.

The I AM SAUDI typeface is designed to be inspired by Saudi heritage and reflect the culture, heritage, traditions, and features of the Saudi identity. It embodies the diversity and harmony of the people with their differences.

I am Saudi is a geometric typeface designed in different letters, each letter embodies one of the forms inspired by traditional arts from multiple regions in the Kingdom. The typeface is inspired by the simplified Kufic calligraphy.

Introducing Zael, a new Arabic typeface. Zael is an eye-catching Arabic display typeface designed with a thick base inspired by the Naskh script, making it visually appealing for screens and headlines. This typeface takes inspiration from classic Naskh calligraphy but incorporates modern touches, making it well-suited for contemporary designs. It is an excellent choice for creating captivating posters and visuals that seamlessly align with modern brands.

No Carrots for this Disease is a photobook and academic research project analysing Cairo’s gentrification amidst the military regime’s construction of a new capital. Major demolitions and expropriations have rendered the city unrecognisable, erasing public space and political freedom post-Arab Spring. Through a photography series commissioned by Beyn Collective, Garden of Cairo, residents mapped sexual fantasies, reclaiming agency and reappropriating the city with desire as resistance.

Tita om magdy , al helmia el adima , Egypt 3 jun 2025

The man-machine philosophy explores the intricate relationship between humans and technology, emphasizing how these entities can complement each other in various aspects of life. It posits that machines serve as essential tools and mechanisms that extend human capabilities beyond mere technological advancements. These mechanisms enable individuals to achieve goals that might be physically or mentally challenging, enhancing productivity and creativity in everyday life.

poster by Ahmed El-Tilbany, Delves into the mental struggles faced by youth aged 22-30, portraying the layers of negative thoughts that create isolation and hinder progress. Handwritten words and entangled figures symbolize internal battles, while the gradual transition from darkness to light reflects liberation. The central phrase ‘After Hardship Comes Ease’ instills hope, showing the transformative journey toward freedom and resilience, reminding youth they are not alone in their challenges.

A photograph of a cat giving an expressive look in front of Bab Zuweila.

Rola’s collage weaves her family’s journey through the 90s, reflecting on their movement and her eventual grounding in Cairo.
It’s a personal take on her relationship with the city-always awake always watching- a place her grandparents chose to give her mother a better life.

Letters from a void Letters to avoid is a hand-illustrated, coming-of-age project by Zahini Fez that visually portrays his lived experience of growing up in a society that worships uniformity and silence. It acknowledges the experience of being silenced not as a fraction of a larger experience, but as a whole in and of itself.

6 Chapters: What begins as a two-sided conversation, ends up being just one. It Starts with a question to the world and concludes with a resolution of self.

Mariem believes in the power of writing and how it can communicate different feelings. The artwork documents personal diaries and visualizes her thoughts and emotions using Arabic script. It combines expressive handwritings on fabric using black ink.

“The Bad Book” was created as my bachelor project to challenge the concept of what is perceived as “bad.” Designed to break conventional design rules, it questions what is considered unacceptable in the creative world. It also highlights iconic songs with “bad” in their titles, which paradoxically rank among the greatest ever. The book reveals that perceptions of “bad” are subjective, shaped by individual experiences rather than universal truths.