Writing is not only read but also seen; in other words, beyond conveying linguistic meaning, writing is capable of communicating visual meanings through its form. While the visual meaning of typography in Persian has been examined in previous studies, what now calls for further investigation is the hypothesis that the typeface itself—through the formal qualities of its letterforms—can influence the transmission of visual meaning. Typefaces, as the most prevalent form of writing in the contemporary world, are widely used. However, despite their extensive use, semiotic studies—particularly those focusing on Persian typefaces—remain limited. Considering that the contemporary movement of Persian typeface design in Iran has emerged only since the 2010s and it represents a relatively new and emerging segment of graphic design in Iran, further research in this area appears essential. In order to analyze how the visual form of a typeface can affect its non-linguistic meaning, the following research question is: How can Persian typefaces, through their formal transformations, influence discursive systems and reshape the conditions under which meaning is received by readers? The present study is qualitative in nature and employs a descriptive-analytical method. To address the research question, a semiotic approach is adopted. In this study, van Leeuwen’s approach is employed to analyze the visual meaning of typefaces. Van Leeuwen is recognized as one of the most influential social semioticians and has conducted extensive research in the semiotics of typography, particularly in relation to Latin typefaces. In his framework, he proposes an analysis based on distinctive features, identifying eight key characteristics of typefaces: curvature, connectivity, weight, expansion, slope, orientation, regularity, and non-distinctive features. He further interprets the visual meaning of each of these features through semiotic mechanisms such as connotation and metaphor. In this study, this framework is applied to the analysis of the discourse of Persian typefaces, with the aim of examining their visual features and associated meanings. To analyze the meaning of letterforms, it was necessary to select a sample of typefaces as the statistical population of the study. The selection was limited to 14 contemporary Persian typefaces, defined as those designed within the past fifteen years. This selection was conducted purposively by the researcher, with the intention that each sample would effectively demonstrate the feature under investigation.The findings of this study have practical implications for type designers as well as for all users of typefaces, including graphic designers, publishers, and writers. By fostering a deeper awareness of the visual discourse of typefaces, it supports more informed and intentional selection. Choosing a typeface that corresponds appropriately to the subject matter can reinforce the discourse of a text, whereas selecting a typeface without attention to the meanings conveyed through its visual form may result in miscommunication or unintended effects. Therefore, both in the design of letterforms and in the selection of typefaces for written communication, it is essential to remain aware of the meanings carried by typographic form. Ultimately, it can be said that the form of the letter, too, has something to say.