The Hybrid Techniques by Arabic Typeface Design

2019 ‫المجلد السادس العدد األول يناير‬
‫تقنيات التهجين في تصميم الخطوط الطباعية العربية‬

The Hybrid techniques by Arabic Typeface design
Mohamed Hazem M. T. H. Abdalla
Helwan University, Egypt
Abstract
“More than ever before, emerged Arabic type designers have the chance to share ideas and
knowledge with European, and American colleagues. With the claim traditional letterforms
can’t fulfill the modern global demands, the legibility and readability shaped the core
discussions about the future of Arabic typography. The discussion is closely linked with
different interpretations for the meaning of hybridization of Arabic type. The first point of
view explained hybridization as adjusting tool, where Latin typographic rules applied to
Arabic typeface and known as matchmaking. (Smitshuijzen-AbiFares, H. 2007, 18) The second based
on creating two scripts like the Latin and the Arabic simultaneously and upon unified
structure and known as bilingual. Others understood hybridization as an invitation to
rediscover own heritage by using old grids or traditional letter-components of archaic styles
like Naskh or Kufi, as bases for new typefaces. However the three interpretations seem to
be contradicted in their aesthetical and economical functions, but from micro perspective,
they complement each other, and enriched the contemporary Arabic typographic language.
The relativity-limited number of research that focused on clarifying the variations of
hybridization concepts and techniques in Arabic typeface design, create difficulties and
inconsistency by graphic design courses and practice. The main objective of the paper is to
clarify to graphic design students and emerged Arabic typeface designers how to choose
freely the adequate method for creating new fonts, which can fulfill contemporary
demands, such as website, mobile applications, street signage, TV captions, and printed
body text.
The research will describe hybridization: Its meaning and diversity in Arabic typeface
design (chapter 2). Chapter (3) will briefly explore the meaning of a letterform and
anatomy, and suggested new Arabic type anatomy. In chapter (4) the conclusion will be
defined on the light of suggested practical technique for Arabic typefaces design, where the
major steps will be described and illustrated.”
Arabic Typeface, Arabic Type Classification, Arabic Typography
Hybridization: History, letterform, and combining different varieties of organisms

anatomy to create a hybrid. (Longman dictionary 2012, 504)
“Tahjien” is the Arabic word for
he term hybrid stands out of the noun hybridization. According to Al-Mawrid
hybridization that signifies the process of dictionary it means as much as
T
Journal of Applied Art and Science - International Periodical Scientific Peer Reviewed - Issued By Faculty of Applied Arts - Damietta Univ. Egypt
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crossbreeding; hybridizing genetics the act spreading of western ideas and systems that
of mixing different species or varieties of strongly appear in architect, fashion,
animal or plants and thus to produce painting, sculpture and print graphics, and
hybrids. (Baalbaki 1995, 383) In design, the not primarily in typeface design or
meaning of hybridization doesn’t stop by typography. Same while, great European
the physical act of mixing or remixing or artists like Picasso learned how to get
overlapping of two or more different inspired from African masks, and Monte
“traits” or “alleles” together. In its core, from oriental bright colors and light.
hybridization has more to do with mixed Egyptian artists like Mahmud Mokhtar
ideas and concepts, and the action of re- (1891-1934), Mahmud Said (1897-1964),
mixing, reviving, and extracting. Through transferred their European experiences with
out the history of writing and printing modernism to their countries, and created
stands hybridization behind the existence of hybrid visual language that reflected
many archaic styles. (Compare Friedrich 1966, Jensen expressionism, surrealism, etc. The fact that
1925, Gelb 1959)
By the beginning of the 20th such pioneers opened the path to modernize
century the modernization of Egypt, Syria, Arabic typeface design confused
Lebanon, Iraq, and Morocco, was closely researchers like Smitshuijzen, where the
connected with hybrid activities, which modernization of Arabic typefaces
found place on a later stage in the rest of the described as a mere European project
(Smitshuijzen, E. 2015, 19)
Arabic countries. It had started with the
However, we have to admit that variations as a result of different functional
Smitshuijzen’s Arabic font specimen book aspects, build the main reasons behind this
(2015) is one of the greatest efforts we ever dilemma. It is quite obvious that most of
seen in our field. Important was the raised today’s Arabic designers are using hybrid
issue about the lack of unified terminologies ideas, borrowing design techniques and
and categories by the Arabic typeface features from successful Latin typefaces such
anatomy and classification. (Smitshuijzen 2015) as Frutiger, Helvetica, and Universe, without
Reasons behind that are not clearly knowing how to classify or categorize their
explained! Hypothetically, the intensive new creation! Some of them used the term
usage of hybridization’s techniques (Latin “Grotesk” because their fonts maybe based
and/or to Arabic) by Arabic type designers, on one the above-mentioned Grotesk fonts
along with the lack of Arabic researchers, others used terms like “Hybrid”, “Post-
and type designers, who are interested on modern” or “Black Headlines
examining and analyzing the typeface
.”
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Figure 1: The form construction in Arabic and Latin alphabets

Abdalla 2016.
Arabic hybrid attempts between 1940s time, but the idea of detaching letters have
and 2000s been rejected by most of the Arabic readers.
However, the UA project remains important
On the light of serious hybrid attempts in
as an invitation for creating hybrid forms
Arabic typeface design, hybridization will
and finding new solution for contemporary
briefly explained as concept with various
Arabic typefaces. In contra, the Naskh-
techniques. Since the 1940s, the concept of
based font from H. Zapf’s for the Egyptian
hybridization was known among the Arabic
newspaper Al-Ahram (by the 1960s) has
pioneer typeface designers. In 1947 the
been used successfully and later found
Lebanese Nasri Khattar (1991-1998)
followers from all over the world, such as
finalized his simplified set of thirty Arabic
the Thomas Milo, who had done great
letters. (Khoury 2014, 102) The unified Arabic
efforts to design a platform called
typeface (UA) appeared in two versions:
“Tasmeem” and is the founder of Deco
Unified-Detached and Unified Attached. By
Type, the first in the industry to introduce
the detached version, Khattar, broke the
the concept of intelligent fonts (Ruqah in
traditional Arabic writing system, and
1986) and to develop Arabic script solutions
separate the letters like in the Latin script.
based on systematic research into the
Khattar’s went through other project, where
Islamic calligraphy. (Milo 2002)
he simplified the letterforms and established
Between the 1960s and the 1970s, appeared
other typefaces “Simplified Naskh” in two
different hybridizations’ attempts stands out
variations with set of 60-65 letters. A
of the cooperation between European
similar idea of “simplifying” has been
designers and Arabic calligraphers such as
acquired and patented in 1949 by Said
the typefaces from Lyubov Alexeyevna
Bustany but with unified set consists of 35
Kuznetsova: Cairo, Naskhi Aswan, Naskhi
Arabic letters. (Ibid. 125) By the 1990s
Book, and Kuznetsova’s Ruqaa in the
produced the German company Transotype
1960s; Azardbud Display, Zarrin Hatt,
“Unified Arabic” as decals along with other
Vostok, Kuznetsova’s Abridge, Beyrouth,
fonts: Beiruti, Kufic, Al-Raya, and Neo-
and Gorot in the 1970s; and PT Naskh
Naskhi. (Smitshuijzen-AbiFares, H. 2007, 10). The new
Ahmad, PT Basra, PT Damascus, PT
waves of simplified or unified typefaces
Nastaliq, and PT Thuluth. (AbiFares 2001, 210)
could serve the modern technologies at this
The new typefaces were mainly revivals of
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AbiFares 2007, 18)

old styles, and didn’t reflect great The matchmaking and the
modernization attempt. Other hybrid wave bilingual techniques ended up with almost
based on remixed of traditional letterforms the same results, where the Arabic and the
with modern typographical treatments. Latin letterforms look similar. Even by
The trail of Yahya Bouteméne in 1952 differ type functions i.e. body text, or
based on totally Latinizing Arabic display, or headline, letterforms should
letterforms, where the traditional indicate the hybrid process in their stroke
proportions disregarded and replaced with qualities and proportion in both scripts in
Latin letterforms that have been filliped, re- the same style, and point size.
combined, and re-modified. (Khoury 2012, 122) The term matchmaking is coined by
In the 1980s and the 1990s appeared serious Huda Smitshuijzen–AbiFares in 2004, and
academic attempts in Egypt, and in has been executed as a project in April 2005
Lebanon. In 1983 commissioned the between a group of Dutch and Arabic type
Ministry of Transport the Egyptian designer designers. (Ibid, 20) The technique based on
F. Gouda to design the traffic signs of designing new Arabic typeface upon the
Alexandria – Cairo desert road, and following criteria:
subsequently applied them on the all 1) “The Arabic font and its Latin
highways of Egypt in the same year. counterpart were to have the same visual
Goudas’ font based not only on simple Kufi size at the same point size.
with unified stoke thickness and curvy 2) The Arabic fonts are to be designed in
edges, but also on his observation for the two weights: a regular or book weight for
way of usage of Grotesk in European running text, and a bold weight for headings
applications. In 1990s published several (excluding italics, which are not a common
Arabic designers their attempts for convention in Arabic typesetting).
modernizing body text fonts that based on 3) The Arabic fonts would have the same
Naskh style. (Abdalla 1997, 266-295) The unified “look and feel” as the Latin font, with
counter-forms, the enlarged loops and the similar design details like stem weight,
excluding of any blocked counter-forms, color, letter contrast and stroke endings.
become a standard. Along with the usage of 4) The results should be truly bilingual
unified x-height, decreased ascenders and fonts.
descenders by matchmaking or bilingual 5) The fonts should accommodate the Farsi
projects of the 2000s, appeared once again as well as the Arabic languages in their
the revived old concept of Arabic-Arabic character set.
mixing method (Naskh with Kufi), side by side 6) The fonts are to be professionally
with the creation of modular typefaces upon produced to work on commonly used
huge variation of grids’ systems. (Abdalla 2017) Arabic DTP software.
7) New Arabic typefaces based on existed
Hybridizations’ techniques Latin typefaces.
8) The Arabic letterforms based partly on
The matchmaking technique
calligraphic traditional techniques. Changes
The three well-known techniques by Arabic could be executed, especially in proportion
font design are the matchmaking, the or/and other characteristics.” (Ibid, 21-22)
bilingual, and the traditional. They are
resulted out of workshops, projects, Master While we can argue about the core concept
and PhD theses, and innovative ideas from by this manifesto, mainly the usage of Latin
European and Arabic type designers, as a benchmark for the Arabic form-quality,
typographers, and calligraphers. (Smitshuijzen – and not as inspiration tool, it’s important to
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mention that most of the results own strong and Latin letterforms, it is now represent a
flavors of the classical styles Kufi and/or verso versa manipulation of characteristics,
Naskh. There is no doubt that Khatt form-spirit, and global visual aesthetics.
foundation is a respectable institution and a The technique depends on much more
platform for outstanding Arabic typeface closer cooperation between designers rather
designers, who are welling to renew the than the one of matchmaking technique.
Arabic typographic language. But for Designers of the two scripts chose certain
emerged designers it will be useful to get class to unify the virtual lines (i.e. the
inspired from its outcome, rather than ladder) in both scripts. In contra to the Latin
following its concept. For example the script, which based on five main heights (x-
typeface “Sada” designed by Pascal Zoghbi, height, cap-height, ascender, descender, and
reflect harmonically combination of two baseline), the Arabic script can only unify
contradict resources. Same while its the descender and ascender lines, but
letterforms’ components based on numbers allowing the multiple heights in the spaces
of rounded and stiff strokes that mirroring a between the baseline and the ascender, and
smoothness beautiful rhythm in the move between the baseline and the descender
from a stroke thickness to another, and from (Figure 3). Unlike the matchmaking, the
one character to another without creating bilingual technique is closely connected to
any visual distortion. Even though the word the time of creating, and with the cultural
image of Sada indicates in its visual environment of the used languages. Only
semantics, a foreign resource, it lives through a deep understanding for the
harmoniously side-by-side to other traditional rules of both scripts, the
traditional with different heights. Zoghbi modernization of Arabic typefaces will be
succeeded to create new word image, a more likely possible. Bilingual technique
style, and even a model, that based on the shouldn’t be seen as equally distributed
skeleton of Arabic archetypal without number of elements in both scripts. The
losing his hybrid way of thinking. However, chosen type class or model in both scripts
the rest of the outcomes reflect well- are the real regulators for any future step.
regulated mixture of Arabic and Latin Hybrid means here as much as removing
typefaces, where each script can be used for contradictories, remixing, and following
its own. The idea of matchmaking invited unified characteristics and proportions
us to learn more about legibility, to simultaneously in the Latin and in the
understand the typographical language of Arabic typeface versions. Designers have
modernism from hybrid perspective, and to the freedom to select any class. They are
gain more knowledge about our Arabic not limited up to certain anatomic rules of
visual readings’ habits. one of the old or the new models.
The Bilingual Hybridization: Latin with The Hybridization Arabic-Arabic

Arabic
Hybridization techniques are not limited up
By the 1990s the demand for multilingual to the relation Latin-Arabic and/or verso
typefaces has been increased, especially in versa. It includes also the relation Arabic-
the fields of corporate branding, online Arabic that includes the renewing of old
graphic design applications and street letterforms upon modern functional needs
signage in the Middle East. The such as newspaper’s headlines, and body
hybridization process crossed the act of text, etc. The newly created class “Modern:
mere simultaneous development of Arabic Semi-Geometric: NasKufi” is a good
example for this technique. (Abdalla 2017, 5)
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Designer’s benefit from the clear form- based on limited number of virtual lines
contrast of the Naskh, and the relatively (between four and five lines), the Naskh is
economic proportion of the simple Kufi. based on at least seven virtual lines. The
Astonishing is that the stiffness of Kufi Arabic-Arabic fonts can include the classes
reflects a lot of common features with the “Naskh-Sahafi”, “Naskh-Linear”, “Naskh-
linear Grotesk, and the idea of modern Jadid” and “Kufi-Jadid”. (Abdalla 2017)
typography. (Abdalla 1997, 120) While the Kufi
Figure 2: The traditional Arabic calligraphic terms. Gacek (2001), Bahnasi (1995), Jaburi
(1999).
Abdalla 2016.
Elements: Letterform, type anatomy, proportion

The Letterform
A Letterform is composed out of one or Letterforms remind us with other images of
several strokes that acquired especial many objects. They are somehow iconic
qualities to build an “archetype”. An and originally derived from pictographic
archetype is the model of a particular letter, drawings-like the hieroglyphs of the ancient
and is what distinguishes it from other Egyptians-representing real-world objects.
letters and makes it recognizable. (Aicher 1988, But from the time of Heidelberg till today,
166-167)
A group of letters or archetypes that there was enough time for the western
share common characteristics are described typographers and type designers to
as alphabet or script. understand the image of a letter as a
Each script has its own specific system of preeminent over its pictorial origin. The
writing, and physical construction or visual qualities of the Latin form drove
anatomy. A script contains of certain modern typography at every level: Starting
number of letters that have been codified from the anatomic images of each letter and
and passed along over the generations. giving names for each part of it, till
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structuring the entire typographic grid the Latin letters are based on three main
systems of a printed or displayed page. strokes: Horizontal, Vertical, and Diagonal;
(Touborg 2011, 16-50)
However, because of the and two geometric shapes: The circle, and
relatively short experience with typography the half-circle. Three main criteria
in the Arabic world (almost one hundred
year), different typographic experiments are distinguish the Arabic from the Latin: The
still in progress. Interestingly, the core connections’ system, the writing’s direction
structure or the skeleton of the Arabic and from the right to the left, and the anatomic
nature of some classes. (Figure 1)
The Latin alphabet based on twenty-six in three vowels Alif, Waw, and Yaa, in
letters, which built out of visual system other references the Lam-Alif and increase
contains lines and spaces where letterforms the number to twenty-nine. (Jensen 1925, 130)
described as codes for our understanding of Out of the twenty-eight letters there are
typography. The Uppercases or capital eighteen basic letterforms, and with adding
letters are the oldest forms in the alphabet, the Lam-Alif it will be nineteen. (Bahnasi 1999,
Kühnel 1972
and the most simply drawn. The capital ) The Arabic language uses a
letters are made of a variety of linear forms: miniature letter or small letter-like shape,
straight vertical and horizontal strokes, the hamza, as an addition to an existing
diagonal strokes, and circular strokes whose character to create a few extra characters. In
inherent qualities are simplicity and order to help the pronunciation of the
differentiation, as illustrated in figure 1. The spoken sound, Arabic script contains of four
small letters are more complex and vocalization marks-lines and four
(Milo 2002, 124)
characterized by rounded strokes, with more vocalization miniatures. In a
different heights. few cases vocalization marks are necessary
The Arabic script contains of twenty-eight additions for avoiding uncertainty.
primary letters that have been built out of Therefore, in most cases vocalization marks
visual system contains lines and connection are used only sparsely. For calligraphic
system where letterforms changed their aesthetical function, calligraphers created
shapes according to their position in the embellishment marks, where the Arabic
word. Twenty-three letters have four form- script have marks, some identical to the
variations: isolated, initial, medial, and vocalization marks that are used for making
final. Seven letters have only two the text look nicer such as names, titles, or
alternative forms. In some references, the quotations from the Quran. (Abbott 1938)
Hamza considered as glottal stop that comes
Figure 3: The form construction in Arabic and Latin alphabets. Abdalla 2016.
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The Arabic type anatomy 6) Raas = Head: The Upper part of letters
such as Alif Mim, Sad, Qaf, Waw,
It is hard to believe that Arabic type 7) Qaws = Arch: A curved part of a loop,
designers couldn’t establish a bowl, or an eye in letters Mim, Sad, Qaf,
comprehensive and agreeable Arabic type Waw.
anatomy. Most of the new Arabic typefaces 8) Sinn = Tooth: A half-nib of a calamus
are inspired or designed through intensive that indicate as well all small vertical
cooperation between foreign type designers, strokes of the Seen, Baa-mid, Yaa-mid, etc.
and Arabic typographers or calligraphers. that are above the baseline and below the
(Smitshuijzen-AbiFares 2007, 17-23)
From one side the Alif. (Gacek 2001, 72)
traditional terms of the Arabic calligraphy, 9) Matmous = Blocked counter: Usually
especially of the rounded or cursive ductus, with style Naskhi and Muhaqaq. Closed the
are not common any more. From other side counters of letters that have a small almond
the huge number of the newly designed knotted shape like the Ain, Mim, and Waw.
Arabic typefaces based on hybrid 10) Sadr = Chest: Usually with rounded
characteristics and anatomy, which have styles. The middle part of the Yaa or Qaf
less to do with the traditional terms. that link the upper part with the lower part
However, in this research an initial attempt together. Function like the “spine” by the
has been created to combine traditional Latin.
terms of Arabic letterforms with the limited 11) Arqafah = Vein: The rounded or
number of recently integrated typographic curvy shape by letters like the Ain, Mim,
terms. Part of the still in use common Yaa, and Waw that linked the upper part
calligraphic terms among professional with the lower one.
calligraphers, have been compared with the 12) Kasah, Hawd = Bowl or Girdle: The
described terms by trusted references such curved lower part of the character that
Abdelkebir (1995)
, Al-Jaburi (1999), Bahnasi encloses the circular or curved parts
(1995), Abdalla (1997), and Gacek (2001). (counter) of some letters such as Nun,
In a new designed infographics, the old Qaf, Sad.
terms will appear side by side to the three 13) Lawzah = Almond-shape: All letters
added terms x-height, loop-height, and that formed in oval figure, such as Sad,
tooth-height. Some of the nineteen Taa, etc. (Gacek 2001, 133)
traditional calligraphic terms of Thuluth 14) Dhail or Thanb = Tail: The curved
have comparable terms in Latin; others are end of the lower part of the character that
generally assigned to the Arabic rounded encloses the circular or open counter of
ductus, the Naskh, as following: Nun, Qaf, Sad, Waw.
1) Asabe = Fingers (pl.): All the stems of 15) Sharah = Stem of Taa.
the letters in Alif, and Lam. 16) Odhon = Ear: The upper part of the
2) Zulf = Serif: A serif-like short diagonal Ha-middle.
stroke mostly by the start of Alif, and Baa. 17) Khatt el-Istawa or Sattr = Baseline.
(Gacek 2001, 63) 18) Nozoul = Descender.
3) Hagib =Eyebrow: The upper-part of the 19) Saed = Ascender.
bow by Ain, Yaa-isolated. Also called half 20) Mistarah: Virtual lines or guidelines
moon = Helal. like ascenders, and descenders (Gacek 2001, 68)
4) Qafaa = Nape: The right backside of the 21) X-height: (Lat.) has no equivalent
neck of Alif, Baa, and Taa. term in Arabic
5) Mahgr or Ain = Socket or Eye: All curvy 22) Loop-height = the height of Fatha or
closed counters like in Feh, Mim. Eye = Ain in Arabic. Assigned to all the
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23) almond shapes or heads of (Waw, letters in one or more action. They know by
Dad, Sad, Taa, and Ain). heart the correct measurement and direction
24) Tooth-height: The term tooth means by which each stroke will be connected to
in Arabic Sinah, and assigned to the letters another stroke to form a letter. (Tselentis 2011, 9-
13)
(Seen, Shin) and all the heights that have
short stems and positioned bellow the Alif. By Arabic and Latin calligraphic
measurements systems, everything starts
The Proportion with the size, angle, and shape of a dot,
which is made out of chosen nib or pen
Without proportion, letterforms will be
width. By the Latin calligraphers create
meaningless. Proportion describes the
number of points out looks like a ladder,
division of strokes within certain glyph or
where the chosen nib width determines the
space and establishes visual balanced from.
(Puhalla 2011, 112) proportional relation between the baseline
Proportion means as much as
and the lowest descending and the baseline
compering one stroke to another, or one
and the heights ascending. The Arabic
letter to another. To construct a letter, to
script compiles letters–exactly like the
form it, or to shape it, are three different
Latin- out of strokes with different sizes
actions by scribing, or designing a
and shapes. (Gacek 2001, 25) The only different
letterform. Talented calligraphers have
is that each stroke is measured in relation to
skills and abilities to use reed or quill pens,
the Alif height, and not upon the unified
or speed roll nibs to construct and to form
Latin ladder system. A compiled letter
called "Harf Mujmaa”, where every stroke
is measured upon numbers and size of a dot
(nib-width). (Bahnasi 1995, 13) This way known
as dot system=Nidham Noqtah. (Figure 6)
Figure 4: The Arabic type anatomy. Abdalla 2017.

The main measuring system by the Arabic intensive study about the aesthetical rules of
calligraphy has been created by Ibn Muqlah the Arabic script by Ibn Muqlah, explained
(885-940 A.D.), and known as the circle Maher Raef (1929-1999) (1972) how Ibn
system (Nidham Al-Dirah). The height of the Muqlah connected between the proportion of
Alif determines the diameter of the circle, the letterforms with the human anatomy, and the
width of the letter “Baa” and the proportion musical notes. His interesting argument
for the rest of the letters. (Fig. 5) In his based on three main recourses: Al-
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Qalqashandi (1355-1418), Rasail Ikhwan al between the 8th and the 10th century A.D.),
Safa (the Brethren of Sincerity or Purity, and the calligraphic style of the pioneer
Egyptian calligrapher Said Ibrahim (1897-
1994).
Figure 5: The Latin type anatomy. After Close 2012, Aicher 1988, and Ambrose 2005. Abdalla 2016.
Conclusion: Steps of designing new font

In conclusion, there are many issues can be processes, where designers can partly reject
discussed about hybridization within Arabic to run behind fashionable or strange
typeface design: The misunderstanding for letterforms, instate focusing on the
the core of matchmaking techniques, the functions of their future typefaces. From
enhancement of the used font design practical point of view, the research do
methods, the finding of new ways of suggest design steps, which started with the
typographic visual expressions, etc. finding of type design project, and ended up
Through the search for conventional with designed typefaces, as following:
writings like graffiti and alike, and also go 1) Searching after typographic a design
back to own history, and re-read the quality project
of old profane Arabic documents, a future 2) Writing a design Brief
integration of foreign characteristics will be 3) Creating a dynamic mood-board, and
limited up to the inspiration level and not mind-map
taken as a benchmark for contemporary 4) Analyzing type classes, and finding the
form-quality. proper model.
These ideas, among others, shape the 5) Sketching, and writing on the guidance
most challenging issues that need to be of font metric or grid.
researched, revived, or clarified. Therefor, 6) Digitalizing, and creating the first digital
the results of the paper is a small step that draft.
can help emerged graphic designer, 7) Creating transferable sheet.
students, and lectures of Arabic typography, 8) Testing and Offering your font to
and typeface design, to understand foundries.
hybridization have different concepts and
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Searching for typographic design project letterforms and typefaces are available than
All Arabic and Latin type classes including ever before. New styles have been created
the calligraphic ductus, the aesthetical and and can be used as models, and big numbers
the technical aspects are subjects of type of font foundries offering Arabic typefaces
design research. Today’s Arabic typeface online. Therefore emerged Arabic typeface
designers are more fortunate. The technical designers don’t have to follow previous
obstacles by programming Arabic generations, and repeat their previous
characters have been solved. Historical and efforts. Former type designers’ generations
technical references about Arabic saw themselves as paleographers,
epigraphers, art historian, type historian,
and typeface programmers.
Figure 6: The proportional Circle system after Rayef (1975).

Abdalla 2016.
From a market point of view, there are relation to certain Zeitgeist, letterforms
needs for every kind of typefaces, starting remain the core of any type design problem.
with body-text, corporate, display, and The design research is not limited up to
headline. The Arabic modular typefaces that reading, and writing, but it includes
based grids like square Kufi are still in observations of reader’s behaviors, testing
demand. Unquestionably, there is massif reading’s quality, surveys, imagining and
needs to create bilingual or multilingual getting inspired, are tools can be used,
typefaces that based on traditional analyzed and revised simultaneously side
typographic treatments of chosen scripts: by side to sketching and lettering.
such as the Latin and the Arabic. Through Writing a design brief
narrowing down the project problem and A typeface design brief embrace a
limiting its objectives, the research will lead background overview, defines the
to better results. Even with the integration objectives, and indicates the characteristics
of aesthetical and semantical perspectives in of the new typeface. By the background
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overview the motivations behind starting languages, the readers and their
the design project will be described. It could backgrounds, the form-function as body text
be aesthetical such as the inspiration from or headline, and the medium is it for
nature, or geometric pattern, or old displaying online/offline or for printed
typeface; or functional such as discovering matters.
shortage in number of certain type class or The brief can go further and suggest a set of
enhancing specific type function; or characteristics e.g. a visual profile that
experimental, where certain typographic based on keywords that best describe the
rules will be broken or modified upon new aimed design, and can build understandable
criteria. Type design objectives can clarify imaginary such as: Oriental, calligraphic,
briefly what is aimed or sought. It can be familiar, sturdy, crisp, legible, serious,
supported with asking questions such as: rational, sincere, honest, approachable,
How the future typeface can solve certain contemporary, simple, charming, direct,
typographic problem? Or which balanced. In many cases it is to advice to
communicative function will be fulfilled? write short sentences include the
Such as fulfilling aesthetical requirements, competitors and describe their weakness,
or serving commercial activity, or certain and end up with schedule, and budget,
local language and cultural environment. where a timeline and suggested fees can be
The objectives can contain number of added.
Figure 7: Digital drafts for Taha typeface, 2009.

Abdalla 2016
Creating a dynamic mood board and stories and reflects the design stages. A
mind map mood-board can include also sketches, and
A dynamic mood board allows to change objects based on the main criteria of the
and replace, or to overlay different photos, mind map. It is to advice to split the board
to integrate materials, and to display traced into unequal four main sections that
letters and specimens. It delivers different include: A) A chosen class with similar
(ISSN 2537-1061) (Print)
12
specimens to what aimed to be designed; B) alphabet vary. The reason behind is the
Successful typographical weaves in graphic calligraphic treatments that create legible
design; C) Any designed object(s),
including architectural design; D) Photos body text typefaces. The typographic
from nature or/and natural materials that understanding for the writing rules, where
reflect organic lines, shapes, relations, from grids or patterns are firmly rejected, create
which you can get inspired. It to advice to “wavy” relation between form and space:
have well-written caption for every Letterforms will vary in their proportions,
specimen, figure, and photo as following: and through optical illusion, a harmonic
title, or class-name and generics name, group of letters will be built, and not
calligrapher or typographer, material, date, illegible group of beautiful letters.
and place. However, according to the brief’s content
and its objectives, the identification of
Analyzing type classes and category, to which the targeted design will
understanding form-language belong, can narrowing down the number of
examined type classes or grid-systems.
Visual phenomena like “natural” symmetry Especially by the un-modular typefaces, it
are closely linked with typeface design. is much easier for designers to choose out
They appeared innately by lettering and of Vox classification for Latin, or Abdalla
causing optical illusions. For example, classification for Arabic a class (2017), and
readers will consider a freely written letter analyzes its typefaces.
such as the O-form, accurate in its The process of visual analysis of modular
symmetrical image, whilst a designed O- typefaces is mainly focuses on the micro
form in which the left half is reversed geometric unite that create series of
mirror-like from the right half, will look letterforms and not on the entire gained
optically wrong! The non-natural or impressions of repeated patterns. There
mechanical adjustment by type design has three main types of grid systems: A)
the consequence of the elimination of what Straight overlapped lines: based on vertical
can be called the “rhythmical” movement. and horizontal lines (like Caro paper), or
Rhythm is the magical keyword by the two vertical, horizontal, and diagonal lines; B)
main extremes the modular and the un- Circles: overlapped or beside each other
modular typefaces. In an extreme case, drawn circles like the rosette pattern; C)
modular letterforms can be constructed out Lines and circles: Overlapped circles and
of small and limited number of repeated and lines. (Figure 9)
identical strokes like the digital letters that By the bilingual design projects, the visual
based on simple grid. Other modular analysis of modular or un-modular
letterforms are shaped out of more typefaces and the variations in-between can
complicated and overlapped diagonal, use any Arabic group of letters beside the
vertical, and horizontal lines such as the Lain “Handglovery”. The Arabic group of
Islamic patterns. In mechanical-like letters can includes the main nineteen
movements, modular strokes are regularly letters, such as the Abgad Hawaz Hata
repeated and creating almost unified Kalmin etc., or an understandable free of
letterforms that needs time to be identified. choice sentence, like in figure 4. The
In contra, the un-modular typefaces have examination primarily focuses on the
natural rhythmic movements reflecting skeleton and secondly on the shapes and the
harmonic effects, where the combinations endings of letters. The side-by-side analysis
of repeated strokes within the entire of both scripts will show all needed
information about the main characteristics
(ISSN 2537-1061) (Print)
13
and getting an idea how to change, enhance,

or even to innovate a new class. The
analysis examines as well the color i.e. the
dark or light effect that stands out the stroke
thickness and form-construction.
Kufic
INSPIRATION
S quare Kufic
MYFONT
STYLE
Modern
PROPORTION A lmost the same a s
S K just added one
extra descender line in
the grid & for the let ter
APPLICATIONS CHARACTERISTICS "3ein", # w idth same
height.
USAGE
SHAPE
Geometric
EDGES
SK was originally made up of S harp
bricks and t iles and used on a
large scale in archit ecture STROKE
S ame st roke
- Taking it back to its length in all
SYSTEM OF MYFONT
originality, MS K w ill be used let ters, follow ing

for furniture brochure, product s, the grid.
architecture designs.
removing lines f rom the descender or A ll let ters have just one rule
a scender applied to them, except for the
let ter "seen" has t wo. A lso since in
removing the line above the baseline arabic, all let ters have variations
thickness to them (initial, medial, final and
isolated), not the same rule is
removing bet ween the let ters
applied to each variation.
removing the tooth of the let ter
24
Figure 8: Example of mind map for new Kufi.

Nadeen Ashkar 2016.
Sketching and lettering (baseline, ascender, descender, the different

How to start sketching? Is there is any heights). By the Arabic ascent and descent
particular letter to stat with? Sketching can may or may not include distance added by
start with lettering or with writing certain accents or diacritical marks. After every
sentences that contains most of the nineteen trial write clearly one or two lines with your
main Arabic letters. (Refer to chapter 3). new typeface. In case of designing modular
Letters could be performed with pencils, typeface: Extracting and analyzing the
nibs, or with any other tool on tracing or different grids of typefaces. For
Caro or plain paper. By hybrid Arabic- experimental type design, 3-D letters can be
Arabic typeface the typographic proportion formed out of clay, noodles, or any other
of the “Mistarah” e.g. the virtual lines martial. (Compare Lupton and Phillips 2008) The
(ISSN 2537-1061) (Print)
14
qualities of the used materials will be working lines or ladder. Write initial words
reflected in the shape and form of each that can include the main Arabic letterforms
letter, and can include the textures. In case beside the Latin “Handglovery”.
of bilingual it is good to sketch both scripts
using the same nib width and virtual
Figure 9: Taha typeface components.

Abdalla 2014.
Digitalizing, and creating the first digital background layer. Instate of the Mistarah,
draft designers will redraw the grid or the pattern
digitally. It is useful to multiply the gird and
The transferring process can be performed make few trails by using the “Live paint
through scanning or redrawing the sketched Bucket” tool. Grids could be changed and
letters with digital pen tablet in a program adjusted upon the needs for bold/light,
like Illustrator. The new illustrator file stiff/rounded, etc. In addition to the
should use point as measurement unit, and background grid or Mistarah, there are other
created three layers: First for grid or ladder helpful tools could be created in illustrator
or Mistarah; second for scanned letters; to adjust and finalize the new typeface, such
third for the newly created and digitally as:
adjusted. Transferred letter-shapes may
look incorrect and need enhancement. The 1) Components: The used strokes that
same used techniques by manual sketches formed all characters of the typeface.
(modular or un-modular) will be repeated in 2) Protractor: Angled-Guide for the endings
digital environment. By un-modular and characters in the typeface.
typefaces, the Mistarah or the ladder will be 3) Shapes: Are the basic geometrical forms
redrawn with all the virtual lines, preferably used to shape a stroke (part) such as: Line,
in saved in separate layer. The first digital triangle, square, Half Circle/ellipse.
file will adjust all transferred letterforms 4) Blind text: In Latin (Lorem ipsum dolor
through reducing the number of anchor sit) and in Arabic can be created or copied
points and unifying letter thicknesses. from one of the known websites.
The transferring process of modular
typefaces has the same steps like the un-
modular with one exception, which is the
(ISSN 2537-1061) (Print)
15
Creating transferable file

A transferable file is an Illustrator file with
one art board in a size of 1000x1000pts. It 3. Abdelkebir Kh., Mohammed S.
is created in order to export every letter 1995. Die Kunst der Islamische
from Illustrator to one of the font Kalligrafie. Köln: Dumont.
applications (FontLab, Fontographer, 4. Abdalla, M. H. 1997. Analyse der
Glyphs) through copy and past the character Arabischen Schriftformen.
into the open glyph window. Characters Wuppertal: Bergische Universität.
will be automatically positioned correctly, 5. Abdalla, M. H. 2014. “Designing
with the dimensions situated nicely on the Arabic typeface between global and
baseline. There are many explanations traditional norms.” In 3rd world
about exporting characters on the internet, conference on design, arts and
but one of the most important steps is to education.
create a layer for each letter and rename it 6. Abulhab, S. 2004. “The Mutamathil
with the position of the letter in the word Type Style.” In academia. Accessed
such as by the letter Sheen: Initial = sheen- November 2016.
ar.init; medial = sheen-ar.medi; Final = https://www.academia.edu/1958605/
sheen-ar.fina; Isolated = sheen-ar. The_Mutamathil_Type_Style_Towa
rds_Free_Technology-
Testing and Offering the font to Friendly_Arabetic_Types
foundries 7. Aicher, O., and Rommen, J. 1988.
Typographie. Berlin: Druckhaus
When all characters are carefully exported
Maack.
into any of the above mentioned font
8. Al-Jaburi, K. S. 1999. Encyclopedia
program, general adjustment should be done
of Arabic Script. Beirut: El-Hilal
in order enable to save as a font and test it.
Library and Publishing house.
Checking the anchor points and generally
9. Ambrose, G., Harris, P. 2005. Basic
all points can be followed with adjustment
Design 03, Typography. Singapore:
of kennings, which takes more time by
AVA Book Production Pte. Ltd.
Arabic script and needs expertise, like by
10. Bahnasi, Afifi 1995. A Dictionary of
hinting or instructing font. Finally,
Arabic Calligraphy-Terms and
designers can offer her/his font to big font
Calligraphers. Lebanon: Librairie du
foundries, like Linotype, or through direct
Liban Publishers.
sale on the Internet.
11. Close, Stephen 2012. The Anatomy
REFERENCES of Type. England: Quid Publishing
Ltd.
1. Abbott, Nabia. 1938. The Rise of 12. Eliason, C. “The history of
the north Arabic script and its ‘humanist’ type.” In ATYPI
Kur’anic development, with a full Association
description of the kuràn 13. Typographique Internationale.
manuscripts in the Oriental Institute. Accessed November 2016.
Volume L. Chicago: Illinois. https://www.atypi.org/type-
2. Abbott, Nabia. 1939. “The typography/the-history-of-
Contribution of Ibn Muḳlah to the 2018humanist2019-type
North-Arabic Script.” In American 14. Friedrich, J. (1966). Geschichte der
Journal of Semitic Languages and Schrift. Heidelberg: Carl Winter.
Literature 56.1. 70-83. USA: 15. Gacek, Adam 2001. The Arabic
University of Chicago. manuscript tradition- A glossary of
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16
technical terms and bibliography. D. Berry, 112-127. New York,

Leiden: Brill. USA: ATypl.
16. Gauthier, J. 2010. Calligraphy 101: 29. Accessed October 2016.
Master Basic Skills and Techniques, 30. http://www.islamicmanuscripts.info/
Easily through Step-by-step 31. reference/books/Type-2002/Milo-
Instruction. Minnesota: Creative 2002-Arabic-script-typography.pdf
Publishing international. 32. M. Puhalla, Dennis. 2011. Design
17. Gelb, I.J. 1952. Study for Writing. elements: Form & space. Singapore:
London: Routledge & Kegan Paul Rockport Publication
Ltd. 33. Rayef, Ahmad Maher. 1975. Die
ästhetischen Grundlagen der
18. Gürtler, André 1997. Experiments arabischen Schrift bei Ibn Muqlah.
with Letterform and Calligraphy. Ph.D. Thesis. Köln.
Liechtenstein: Niggli AG. 34. S. Graves, Margaret ed. 2011.
19. Hans Jürg Hunziker, Untitle booklet Treasures of the Aga Khan Museum
about his Arabic type work in - Arts of the Book and Calligraphy.
Morocco, Switzerland. Istanbul: Sakip Sabanci Museum
20. Jensen, H. 1925. Geschichte der and Sabanci University.
Schrift. Hannover: Orient- 35. Smitshuijzen-AbiFares, H. ed. 2001.
Buchhandlung. Arabic Typography. London: Saqi
21. Downer, J. 2003. “Call It What It Books
Is.” In Emigre Fonts. Accessed 36. Smitshuijzen-AbiFares, H. ed. 2007.
November 2016. Typographic matchmaking. The
www.emigre.com/Editorial.php?sect Netherlands: BIS Publishers.
=2&id=1 37. Smitshuijzen-AbiFares, H. ed. 2010.
22. Khoury Nammour, Y. 2012. Nasri The Typographic Matchmaking in
Khattar Khatt – A Modernist the City. Amsterdam: Khatt Books.
Typotech. Amsterdam: Khatt Books. 38. Smitshuijzen, E. ed. 2013. Arabic
23. Kühnel, E. 1972. Islamische Font Design for Beginners.
Schriftkunst. 2nd ed. Austria: Amsterdam: Khatt Books.
24. Touborg, S., Griego, B., Parrotta, J. 39. Smitshuijzen, E. ed. 2015. Arabic
eds. 2011. A type primer / John Font Specimen Book. Amsterdam:
Kane. 2nd ed. China: Pearson Khatt Books.
Education Inc. 40. Spiekernann, E, Ginger, E. M. 2003.
25. Longman dictionary 2009. England: Stop stealing sheep and find out how
Pearson Education Limited type works. California: Adobe press.
26. Lupton, E., C. Phillips, J. 2008. 41. Tselentis, Jason 2011. Type, form &
Graphic Design: The new basics. function: A handbook on the
New York: Princeton Architectural fundamentals of typography.
Press Massachusetts: Rockport Publishers,
27. Majidi, M. 1986. Geschichte der Inc.
arabisch-persischen Schrift.
Hamburg: Buske.
28. Milo, Thomas. 2002. “Arabic Script
and Typography-a brief historical
overview.” In Language Culture
Type (International Type Design in
the Age of Unicode), edited by John
(ISSN 2537-1061) (Print)
17
‫المجلد السادس العدد األول يناير ‪2019‬‬
‫الملخص‪:‬‬
‫إن النقد المكثف لعوامل الوضوح والقراءة للخطوط التيبوغرافيا العربية أدي إلي ظهور أنواع متعددة من تقنيات‬
‫التهجين التيبوغرافية‪ .‬تبعاً‪ ،‬توالدت تفسيرات مختلفة لمعني التهجين‪ .‬فتوجد مجموعة فسرت التهجين على أن الحلول‬
‫التيبوغرافية بالخط الالتيني هي األساس لبناء خطوط عربية طباعية‪ ،‬وعرفت تلك التقنية بالمزواجة التيبوغرافية‪.‬‬
‫وهناك من فسره علي أساس بناء خطوط عربية والتينية بالتوازي على أسس متداخلة وجامعة لتيبوغرافيات األبجدية‬
‫العربية والالتينية‪ ،‬وتعرف تلك التقنية بالثنائية اللغوية‪ .‬كما يوجد فريق ثالث تفهم التهجين على أنه دعوة للخوض في‬
‫اإلرث البصري والثقافي للخطوط الكاليجرفية واألستفادة من تركيبة أجزاء الحروف‪ ،‬أو إبداع خطوط جديدة قائمة علي‬
‫وحدات قياس أو أنماط قديمة مثل الزخارف اإلسالمية الهندسية‪.‬‬
‫وتتحدد مشكلة البحث في تنوع تلك التفسيرات مع عدم وجود توضيح لها يشتمل علي المزج بين النواحي الثقافية‬
‫والسيميوطيقية‪ ،‬والعملية‪ ،‬مما أدي إلي قصور في تدريس مواد التيبوغرافيا والخطوط العربية‪ ،‬وإلي تحديد دور مصمم‬
‫الخط العربي علي المزاوجة التيبوغرافية‪ .‬فيهدف البحث إلى الكشف عن تلك الجوانب التيبوغرافية بأبعادها التاريخية‬
‫والتقنية‪ ،‬وتقديم لطالب الجرافيك ومصممي الخطوط العربية الجدد‪ ،‬تفسيرات لمعني التهجين (الفصل األول) وملخص‬
‫عن تشريح الحرف العربي والالتيني (الفصل الثاني)‪ .‬وينتهي البحث بوضح مقترح لخطوات تصميم حرف طباعي‬
‫عربي جديد‪ ،‬يستطيع تلبية متطلبات تيبوغرافية جديدة‪ ،‬مثل خطوط الشاشة‪ ،‬والعناوين‪ ،‬وغيرهما من خطوط تخدم‬
‫احتياجات القارئ للغة العربية‪.‬‬
‫الكلمات المفتاحية ‪:‬‬
‫تقنيات تصميم الخط المهجن المطبوع‪ ،‬الخط الطباعي المنمذج (الموديول) ‪ ،‬تصميم الخط العربي المطبوع‬
‫‪Journal of Applied Art and Science - International Periodical Scientific Peer Reviewed - Issued By Faculty of Applied Arts - Damietta Univ. Egypt‬‬
‫)‪(ISSN 2537-1061) (Print‬‬
‫)‪(ISSN 2537-107X) (Online‬‬
‫‪18‬‬

The Hybrid Techniques by Arabic Typeface Design

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2019 ‫المجلد السادس العدد األول يناير‬

‫تقنيات التهجين في تصميم الخطوط الطباعية العربية‬

Hybridization: History, letterform, and combining different varieties of organisms

Figure 1: The form construction in Arabic and Latin alphabets

AbiFares 2007, 18)

The Bilingual Hybridization: Latin with The Hybridization Arabic-Arabic

Elements: Letterform, type anatomy, proportion

Figure 4: The Arabic type anatomy. Abdalla 2017.

Conclusion: Steps of designing new font

Figure 6: The proportional Circle system after Rayef (1975).

Figure 7: Digital drafts for Taha typeface, 2009.

and getting an idea how to change, enhance,

originality, MS K w ill be used let ters, follow ing

Figure 8: Example of mind map for new Kufi.

Sketching and lettering (baseline, ascender, descender, the different

Figure 9: Taha typeface components.

Creating transferable file

technical terms and bibliography. D. Berry, 112-127. New York,

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