The Arabic logotype is not a Latin logo with the letters swapped

Arabic reads along a baseline as one connected body; a mark that only works on a presentation slide has never actually been designed.

The most common Arabic logo mistake is mechanical: take a Latin wordmark, swap in an Arabic alphabet, and call the result bilingual. It does not work, because the two scripts are not built the same way. Arabic is a connected script that reads along a baseline, its letters change shape by position, and a version of your name rendered without that understanding is a drawing of letters, not a mark.

Reading is the first test: a logo is read at a glance, not studied, and Arabic glances differently. The word rides one baseline as a connected body, letters join hands along the line, and the heights and loops set the rhythm. When that body is broken, spaced out, or force-fitted into a Latin grid, the eye stumbles where it should glide, and the name reads as effort.

Legibility under simplification is the decision that matters most: a mark meets signage distance, one-color printing, embroidery, a favicon. Detail that flatters on a slide disappears at ten meters, and a wordmark that only works with its full ornamentation does not actually work. Ask for the stripped version early: the shape that survives losing its detailing is the shape worth keeping.

Then the relationship between the Arabic and Latin forms: they are one name in two scripts, not two logos that happen to share a page. Weight, height, and proportion should be set so the pair sits as one signature, whichever script a reader meets first. That is a design decision made once, deliberately, not a matching exercise delegated to whoever formats the business card.

Testing happens on real surfaces, never only on the presentation slide: the sign at signage distance, the card in the hand, the stamp, the favicon at its true size, the reversed version in one color. The slide flatters; the stamp humbles. A mark approved from a mockup and tested after production is a mark being discovered by accident in front of customers.

There is also craft to ask about: how the letterforms were drawn or adapted, whether spacing was set for the joining behavior of this script, and who holds the master files when the project ends. A wordmark is infrastructure for everything the company prints and publishes, and work whose sources and reasoning cannot be handed over is work the company will buy twice.

The honest limit: the rules of the script and the licensing of any typeface involved belong to the type designer and the foundry's documentation, and a studio should be able to say which it used. Where we sit: our studio sets Arabic and Latin marks on real surfaces before handover, the pair tested together. Guidance, not guarantees: a logo is finished when it survives the sign, not the slide.