Logo Designin Egypt

Arabic and Latin wordmarks, symbols and responsive logo sets, drawn together and tested at every size before a single file leaves the studio.

See the work
Scripts
Arabic and Latin, drawn together
Formats
SVG, PDF and PNG files
Logo set
Primary, compact, symbol and favicon
Made for
New brands and logos needing a redraw
A designer kneeling on a stool over a table full of logo sketches, circling one in red pencil

Many sketches first, then only a few directions.

In short

Logo design in Egypt at Cairo Studio covers the mark itself: Arabic and Latin wordmarks drawn together, a symbol or monogram, and a responsive set for every size. Each mark is tested on favicons, signage, print and single colour use, then delivered as vector masters, screen exports, colour values and a usage sheet.

  • Arabic and Latin versions drawn side by side to match

  • Responsive set: primary, compact, symbol, horizontal and stacked

  • Tested at favicon size, in single colour and in print

  • Vector masters, PNG exports, colour values and a usage sheet

One round symbol applied to a business card, a stamp, an embroidered cap, a pin and a paper bag

We test the mark where it will really live.

Overview

01

A clean new round symbol on a card next to an old chipped plate with a rough version of it

Logo design in Egypt usually starts from one of two places. A new company needs a mark before it can print a sign, open a social account or launch a website. Or an existing business has a logo that was made in a hurry, only works in one language, and falls apart on a phone screen or an embroidered cap.

Both cases need the same thing: a mark drawn on purpose, readable in Arabic and English, and stable at every size. This is a narrower job than a full identity system, and that is the point. Get the mark right first and everything built on top of it gets easier.

02

Two ink marks of matching weight drawn side by side and aligned with a ruler

Most brands in Egypt and the Gulf need their name to work in two scripts. Arabic and Latin letters have different proportions, different baselines and a different rhythm. Setting the Arabic name in a default font next to a carefully drawn English wordmark is the most common mistake we see, and customers notice it even when they cannot name it.

A good bilingual logo treats both versions as equals. We draw the Arabic lettering and the Latin wordmark side by side, matching stroke weight, visual height and spacing so they read as one family. Sometimes that means custom Arabic letterforms. Sometimes it means a well chosen typeface with careful adjustments. The name, and where it will be used, decides which.

03

One symbol printed at five sizes from large to tiny, a loupe over the smallest

A logo is finished when it survives real use, not when it looks good on a presentation slide. We test every mark against the places it will actually live:

  • A tiny browser favicon and a round social media avatar

  • Shop signage, vehicle branding and printed packaging

  • Single colour use on embossing, embroidery and stamps

  • Light backgrounds, dark backgrounds and photography

  • Arabic only, English only and combined lockups

That testing produces a responsive logo set: a primary lockup, a compact version, a symbol or monogram, and horizontal and stacked arrangements in each language. Each piece has a job, so nobody has to squeeze the full logo into a space it was never meant for.

04

A designer pinning a grid of simple circle and ring shapes on a cork wall to compare them

We start with the business, the audience and the competitors the mark will sit next to. Then we explore through sketches and type studies before anything gets polished, so we compare ideas rather than decoration. You see a small number of directions with the reasoning behind each, we refine one together, and we test it in context before calling it done.

As a logo designer in Cairo working with clients in Egypt, Saudi Arabia, the Gulf and abroad, we hand over files your team and your printers can use straight away: vector masters, SVG and PNG exports, colour values for screen and print, and a short usage sheet covering clear space, minimum sizes and the misuses to avoid. If you later need the full identity system, the mark is ready to carry it.

What we draw, what you receive, and the five steps between the first conversation and the final files.

We start with the name itself: how it sounds, how it is spelled in Arabic and English, and where it will appear most often. We look at the competitors you sit next to and agree on what the mark has to communicate and what it must avoid. This short brief shapes every sketch that follows.

  • Wordmarks and logotypes

  • Custom Arabic lettering

  • Latin wordmark design

  • Symbols and monograms

  • Arabic and English pairing

  • Horizontal and stacked lockups

  • Right-to-left and left-to-right arrangements

  • Single language versions

  • Primary logo

  • Compact and symbol versions

  • Favicon and app icon

  • Social media avatars

  • Single colour and reversed versions

  • Vector masters in SVG and PDF

  • PNG exports for screen

  • Colour values for print and screen

  • Logo usage sheet

Most logos are built one of three ways. Each fits a different name, budget and use, so the choice should follow where the mark will live.

A hand inking a custom brush shape over pencil guide lines
Distinctiveness

Highest, drawn only for you

Arabic and Latin match

Drawn to match exactly

Small sizes

Needs a compact version

Effort to produce

Most drawing and refinement

Font licensing

Not needed for the mark

Best for

Names that need a distinct voice

A hand lifting one metal type block from a tray with tweezers
Distinctiveness

Moderate, shaped by the typeface

Arabic and Latin match

Depends on available typeface pairs

Small sizes

Reads well when the typeface is clear

Effort to produce

Least drawing, careful adjustments

Font licensing

Licence must cover logo use

Best for

Clear names and practical schedules

A brass stamp leaving a simple round symbol in blush sealing wax
Distinctiveness

High, the symbol carries recognition

Arabic and Latin match

Symbol bridges both languages

Small sizes

Symbol works alone at small sizes

Effort to produce

Symbol design adds exploration

Font licensing

Depends on the wordmark approach

Best for

Brands often seen without text

Custom lettering suits brands where the name is the asset. An adjusted typeface fits clear names and tighter schedules. A symbol helps when the mark must work alone on apps, avatars and products.

A young woman on a Cairo street at dusk holding up a large round symbol to judge it

A logo has to hold up on the street.

It depends on what the mark needs. A wordmark set in an adjusted typeface takes less work than custom Arabic and Latin lettering drawn from scratch. The number of directions, the size of the logo set and whether you need print production files all affect the price. We quote after a short conversation about the name and how it will be used.

Timing is driven by the depth of exploration, how fast feedback comes back, and whether custom lettering is involved. Custom Arabic letterforms take longer to draw and balance than a typeface based mark. We agree on a schedule at the start and share work at each step, so you always know where the project stands.

Yes, and we recommend it for most brands in Egypt and the Gulf. We draw the Arabic and Latin versions together so they share weight, height and spacing. You get combined lockups for places where both languages appear, and single language versions for places where only one does.

A logo is the mark: the wordmark, symbol and their variations. A brand identity is the full system around it, including typography, colour, layouts, templates and guidelines. If you only need the mark now, we design it so a full identity can be built on it later without starting over.

Vector masters in SVG and PDF, PNG exports for screens and social media, a favicon and app icon, single colour and reversed versions, colour values for print and screen, and a usage sheet. Everything is organised by language and layout so your team and suppliers can find the right file quickly.

Yes. Many logos have a good idea underneath poor drawing, a missing Arabic version or files that no longer exist. We can keep what people already recognise, redraw it properly, add the missing language and build a responsive set around it. We will tell you honestly if the idea itself is the problem.

Tell us the name, how it is spelled in both languages and where it will appear. We will suggest the right approach for your mark.

Keep exploring
  1. Branding & Identity

    (Service)

    Strategy & Naming

    Identity Design

    Brand Systems

    Print & Packaging

    Positioning

    Audience & competitor research

    Naming & verbal identity

    Brand architecture

    Messaging & tone of voice

    Hands peeling blue foil off a stack of cream cards in a print workshop
  2. Bilingual Brand Identity

    (Branding & Identity)

    Bilingual typography

    Visual system

    Templates

    Guidelines and handover

    Arabic and Latin typeface pairing

    Type scales for both scripts

    Mixed language line rules

    Font licensing checks

    A young designer leaning over a studio table, sliding a large periwinkle sheet of black brush strokes
  3. Mobile App Design

    (UI/UX & Product Design)

    Research and scope

    Flows and prototypes

    Interface design

    Systems and handoff

    User interviews

    Reviews of competing apps

    First version feature priorities

    Success criteria for each flow

    A young man in glasses crossing a Downtown Cairo street with a coffee, using his phone one handed
  4. Next.js & SvelteKit Development

    (Web Development)

    Frameworks

    Headless CMS

    Bilingual and SEO

    Hosting and handover

    Next.js with React and TypeScript

    SvelteKit with TypeScript

    Server rendering and static generation

    API routes and form handling

    Tailwind CSS component systems

    A young man in glasses on a rooftop at night, pen at his lips, holding a black notebook
  5. Mobile App Development

    (Apps & Platforms)

    App build

    Backend and APIs

    Payments and engagement

    Launch and care

    React Native for iOS and Android

    TypeScript codebase

    Offline states and caching

    Camera, location and media

    Deep links

    A young woman with a black bob walking down a Zamalek street at dusk, phone in one hand, coffee in the other
  6. E-commerce Website Development

    (E-Commerce)

    Platforms and architecture

    Catalog and checkout UX

    Payments and delivery

    Admin and inventory

    WooCommerce development

    Salla and Zid stores

    Headless commerce with Next.js or SvelteKit

    Custom commerce APIs

    Platform migration

    A young woman with dark curls sitting on kraft boxes, counting wrapped parcels on stockroom shelves
  7. Workflow Automation

    (AI & Automation)

    Lead and CRM automation

    Document data extraction

    Syncing and reporting

    Platforms

    Lead capture from forms, ads and WhatsApp

    Routing and assignment rules

    CRM updates and deduplication

    Follow up reminders and tasks

    A bearded man crouching on a studio floor laying blank cards in a row along kraft paper with a colleague
  8. Product Photography

    (Content & Production)

    Shot types

    Retouching

    Web delivery

    Campaign assets

    Packshots on white or a solid colour

    Flat lays

    Lifestyle product photos

    Detail and texture close-ups

    Scale and in-hand shots

    A young man in glasses holds a white diffuser over a plain white mug on kraft paper
  9. SEO Services

    (Digital Marketing)

    Technical SEO

    Keyword research

    Content and local

    Reporting

    Core Web Vitals and speed fixes

    Crawl and indexing audits

    Structured data (schema.org)

    Canonicals, redirects and sitemaps

    hreflang and RTL markup

    A young woman with a black bob sits cross legged on a green velvet cafe banquette, looking at her phone