Unique+Dynamic Arabic Font / Unik+Dinamik Naskh

AzizMostafa's picture

Dear Friends,
Referring to the MRALLAH.jpg that comprises all the Arabic Characters from Hamza-to-Ya, I would like to highlight the Smart, Attractive + Space-saving Features of the Arabic Script first.

Needless to say, the Arabic letter Ha has 4 shapes: the flower-like initial, the 8-like middle + the final that looks like either o or q depending on the letter coming before.

That's right: Virtually, Arabic letters Change shape —Tails not heads— in such a way that they:
1. join (connect) appropriately to neighbouring letters through short curves or straight lines. See (S+J) in Sojjadan + As-Sojood and how J joins D in the first and WAW in the latter.
2. form easy-on-the-eye + self-explanatory Combinations (Ligatures) of 2 or more letters, not only at the beginning, but also at the mid & end of words.
See (S+J) in Sojjadan and As-Sojood and (M+H+M) of Mohammed and explore more...
3. need no space between the words: one would simply understand where a word ends and the next one starts.
That's clearly seen in virtually all the Arabic Calligraphy (AC) of the "Qol Howa Allaho Ahad" where the Ha of the "Howa" overlaps the Lam of "Qol". Since the Lam takes the final shape and Ha the flower-like shape, then the space between the 2 words "Howa and Qol" is narrowed to minus.
—————— 03.2003 Start bulding my Naskh with 5+1 TTFs ——————
As the strength of a chain lies in its weakest link, the Quality of an Arabic font lies in its poorest feature: Ligatures , Diacritics Positioning Kerning?
By Applying my own technique, I finished designing -9 months ago- a new font of AC with the help of which I successfully completed building up the most Challenging Arabic Text of the Glorious Quran—3 years of hard work...


As the MRALLAH.jpg shows, my font is distinguished by:
• Ligatures of upto 4 Consonants, not only at the beginning, but also at the mid + end of words.
• Smart Joiners: Straight and curved Tails for Consonants and ligatures.
See (S+J) in Sojjadan and As-Sojood and how J joins D in the first and WAW in the latter.
• Full Kerning by shifting up and/or right any letter that follows, R,D,WAW and likewise. See (D+Alif) in Ashidda and (R+T) in Maghfiratan.
• Four (4) baselines for Consonants & 7 lines for Vowels (Diacritics).
See the 3 lines in (M+H+M) of Mohammed and the fourth in (Y+N) of Allazina.
• Accurate Vowels Positioning. They —Vowels (Diacritics or Marks) are:
1 horizontally centered, slightly above or below the letters they belong.
2 distributed in harmony with the ligatures,
3 neither touching the letters to which they belong, nor transgressing neighbors.
• WAW Discrimination: The word WAW (AND) is lowered and attached to the next word. See (WAW+R) in WaRizwana.
• Compatibility with any software that runs on 98/2000/XI & reads RTF.

That's right: In order to achieve all the possible ligatures of AC, and accurately position diacritics, I:
• Designed (5+1) TTFs comprising more than 1100 Glyphs and
• Translated the Rules of AC into Word-Macros to juggle 5 TTFs accordingly.

Finally, worth mentioning that Virtually, the Arabic Text (AT) of All the PC & TV Programs of the Glorious Quran
• is too small and/or does not match the poorest AC.
• does not always start and/or end meaningfully in the same screenshot,
• and/or does not always go in line with Recitation and/or Translation.
In summary: My Font solves all the Screen and Paper Publishing problems
————————— 08+09.2010 Aziz Naskh = A single TTF —————————
Aziz Unique+Dynamic Ballpen Naskh is being finalized to go with
MaryamSoft Arabic Calligrapher. I have typeset the above sample in Word 2003 and printed it to a PDFile (attached) in 2 colors, Glyphs in Black and the separable Dots + Marks in blue to emphasize the point mentioned by khaledhosny.
——————————————————————————————
Thanks Typophiles for the Input + Feeback with Flowers.

AttachmentSize
Naskh Aziz.pdf68.1 KB
AzizMostafa's picture

On 19 April, 2006 Hrant wrote :
> "The main thing I notice about this is its extreme tightness."
Then, on 26 April, 2006, he added:
> Arabic is as feminine as writing gets.
Say: Precisely!
Feminineness and Tightness go hand in hand and shoulder to shoulder?!
Many thanks for your complementary comments Hrant

hrant's picture

> Feminineness and Tightness go hand in hand

Interesting. I wasn't sure I agreed with that, but then
I remembered that I think blackletter (especially the
Fraktur substyle) is highly feminine.

hhp

AzizMostafa's picture

I love blackletter too. And the reason I love the Fraktur substyle most of all is encapsulated in its “o”: it incorporates the dual nature of Life?!

hrant's picture

Did you seriously think of that independently?!
Because that's exactly what I've said about Fraktur.
Wow.

hhp

AzizMostafa's picture

Copyrighted?!
It seems that we are of the same wavelength.
You are too sweet Hrant

AzizMostafa's picture

Have you seen this work?
http://qurankareem.info/a/OthmanyFonts.zip
http://qurankareem.info/a/othmanyQuran.zip

Here are the differences between mine and theirs:
_Mine : Kerning fully applied
Theirs: No Kerning.

_Mine : Full Ligatures up to 4 Characters
Theirs: Partial Ligatures up to 2 Characters

_Mine : Full Ligatures at the beginning, middle and end of words
Theirs: Partial Ligatures at the beginning of words Only.

_Mine: Each Word has One and Only Structure
Theirs: A single Word has 2 or more Structures (Fully or partially Ligated)

Let alone the beauty and accuracy of fonts.

AzizMostafa's picture

Adding new variants to my (5+1) fonts, I have modified my macros of Arabic Calligraphy to bring about:
1 Twisted Ya in words free from R,Z and Waw (Lower Left couple of words)
2 Swashed Ya — seen, sheen, sad, Zad as well as Qaf— if followed by words with no letter below the baseline (Lower Right couple of words)

It should be noted that:
1 Priority is given to swashing as it is more space-saving and more beautiful.
2 The Samples here are made out with another font (not mine) for the sake of illustration only.

Cheers?! Still No Sponsor?!

AzizMostafa's picture

A Malaysian friend sent this to me a while back, and I'm happy to share it with you because I was impressed with the ingenuity of what non-Arabs Can do With Arabic Calligraphy.

Hacen's picture

In Arab world typography is still unknown, marketing fonts in Arab region is a failed mission, so it's better to spread the word first about typography in those countries, letting people (designers and users) understand the value of Arabic type.. This happens when we offer free stuff for them with a bit of information about the importance of protecting copyright and selling fonts as a "software product" as most of Arabic users dont know about that at all.
Give the chance to make a real development of Arabic type industry in Arab countries by offering the information on typography in Arabic and engaging in the Arab communitites..
Is there one mere Typography forum in Arabic?..
Is there a site discussing Type in Arabic?..
Is there a site selling the fonts in Arabic?..
.. Arabic fonts are for Arabic language.. you the Arabic type pros dont care about Arabic; all your sites and studies are non-Arabic.. how could you ask for protecting and selling your fonts in Arab world and no one has information about you and your work??...
...
excuses for my bad language.

John Hudson's picture

Is there a site discussing Type in Arabic?

http://hibastudio.com/ (server may be slow)

Arabic fonts are for Arabic language

...and Arwi, Balochi, Bedawi, Comorian, Dari, Fula, Hausa, Kashmiri, Kazakh, Kurdish, Kyrgyz, Malay, Mandinka, Pashto, Persian, Sindhi, Tajik, Tamazight, Turkish, Uighur, Urdu, Wolof...

AzizMostafa's picture

> In Arab world typography is still unknown
Well-Known, but since the know-how refuses to dance on the rope,
they go hiding lest they should be made to dance below the rope.

> marketing fonts in Arab region is a failed mission,
Mission accomplished?!
http://milafat.online.fr/arfonts/

> so it’s better to spread the word first about typography in those countries,
> so it’s better to spread the word first about Democracy in those countries?!

> letting people (designers and users) understand the value of Arabic type..
> making people (dancers and Rulers) understand the value of ? type..

> This happens when we offer free stuff for them with a bit of information
about the importance of protecting copyright and selling fonts as a
“software product” as most of Arabic users dont know about that at all.

This happens when we offer cheap stuff for them with a bit of deformation
about the impo(r)tence of protectorate...

> Give the chance to make a real development of Arabic type industry in Arab countries by offering the information on typography in Arabic and engaging in the Arab communitites..

.... I had better suck coffee.

Hacen's picture

In reply to Mr. Hudson:

… I do know that Arabic script is not for Arabic use only, however, professor Aziz is addressing Arabs in his input and replies..
… And, there's also "another" site "discussing" type in Arabic http://www.hacen.net

Mr Aziz:

Are we here to discuss typography or democracy? Should we talk about Arabic dancing or Arabic typography?...

The site you mentioned to http://milafat.online.fr/arfonts/ is quite illegal, but what about the rest? …

If Arabs are all "dancers" rather "rulers" (not users) why do you waste your valuable time in developing "Arabic" type and fonts for such dancers? Why do you develop your fonts for the Holy Quraan to be used by those "dancers and rulers"?

What's your problem with Arabs? I had read many posts by you in forums blaming a nation which is famous in its passion of pen and calligraphy?..

.. Yeah, you'd better suck coffee when it comes to developing type industry in Arab world, but please be aware of sucking Arabic coffee.

Best Regards.

hrant's picture

> why do you waste your valuable time in developing “Arabic” type

Why do any of us waste valuable time developing fonts for any script?

hhp

Hacen's picture

>>> Why do any of us waste valuable time developing fonts for any script? <<<

ask Mr. Aziz Mosftapha.

"Why do any of us waste valuable time developing fonts for any script?" (some) do that to "make" money.. few are doing that for the sake of their passion.

hrant's picture

I'm asking you.

hhp

Hacen's picture

... serious?

regrettably, i dont waste time at all, most of my free time are spent to design Arabic fonts.

hrant's picture

You don't understand my question.

hhp

AzizMostafa's picture

1. Profess that I am not a professor, but about to get PHD.
(PHD= Permanet Head damage).
2. Recommend mentioning Hacen at your page.
3. Though ArabicTypsetting covers many of the scripts mentioned by John Hudson, it is still ArabicTypesetting.
Persian Gulf not Arabic, and Arabic Script is not Persian?!
4. My love for Arabic + Arabs is immeasurable. Have been contributing to more than 20 sites. See the translation of this page into Arabic here.
5. Dancers entertian Rulers and we are here to entertain Typophiles?!
6. Hope you do not mind discussing Democracy in Type not Type in Democracy?!
7. Do you know that the Iraqi Calligrapher was forced into writing the
Glorious Quran in Saddam's blood. Against the ABC teachings of Islam?!
8. You are welcome to post off-topic here, but I am shaking the Cupful?!
9. Regards + Flowers

Hacen's picture

1- Profess that i dont mean acadimic degrees when i say "professor", it's the same tactful word as all Arabs (Dancers) say.
2- No bandwidth usage please.
3- We look at the Gulf saying "Arabian Gulf" from our side, they say "Persian Gulf" but the script is still right-to-left.
4- I know very well your contributions in those 20 sites sir.
5- Rulers became already dancers, dont you know?
6- If there's democracy in type, i vote for you as the Arabic type president (no ruler).
7- Saddam's blood is not the case now. Iraqis' bloods.
8- Mixing typography with dancing might be off-topic.. did i ..?
9- Regards + Flowers + coffee (dont suck it all please).

AzizMostafa's picture

25 April, 2006, Saad Abulhab said:
.... when Arabic or any other script editing and production on computers
requires costly and technically sophisticated technologies we risk loosing
users, markets, global competitions, and a lot of unnecessary expenses.
..... Arab petrol-dollars spent billions to ensure that letters like “Dal”
must have an isolated, initial, medial, and more glyphs. Why?

Now, made so user-freindly and so cheap for the Arabs. Why not?
With Flowers to Hacen

Hacen's picture

Mr Aziz:

The "billion dollars" aftermath is not the case for now, we -as amateurs, not so many- aim at providing quality Arabic typefaces for low cost -rather free. We appreciate the appearance of "Tasmeem" from WinSoft, but take into consideration that this twelve-thousands dollar-cost software has nothing new to deliver to Arabic typography, dont turn around -you, the pros- with your "OpenType" type settings, there's much more coming:

SAY GOODBYE TO THOSE "ALLEGED" IMPROVEMENTS FOR "ARABIC" (DANCE). Now we are working to deliver REAL typographic system not OTF nor TTF it's proudly HSF (Hacen Smart Fonts) which will stop this turning around and fooling "Arabic" users (dancers)..

SEE IT SOON.

WinSoft Tasmeem's picture

Dear Hacen,

Following your comment I am taking the liberty to inform you that Tasmeem family now includes three product members with three different price. Each of them has been tailored to specific user group requirements. Tasmeem Limited Edition is dedicated to every customer who wishes to use Tasmeem fonts, Aridi ArtWorks, and open and print documents created by Tasmeem products. Tasmeem Creative Edition meets the expectations of designers who create advertisements, front pages, greeting and business cards. Tasmeem™ Publisher Edition takes thing to the ultimate level. The features are dedicated to Publishing Houses. It offers professional tools to create sophisticated Arabic literary and academic books.
More information on www.tasmeem.eu.
Should you require further information, do not hesitate to contact me.
Best regards,

WinSoft
Press & Public relation department
contactpresse@winsoft.fr
www.winsoft.eu

miko02's picture

merci

AzizMostafa's picture

1. Post updated + a PDF file with Aziz Naskh attached.
http://typophile.com/files/Naskh%20Aziz_0.pdf

2. Miko02! Wrong Post? Or Language Barrier?
Writing in Arabic or French is possible here.
I can catch what you write with the help of Google's tool:
http://translate.google.com/?hl=en#fr|en
All the best with Flowers

khalid's picture

> Is there a site discussing Type in Arabic?

http://arabictype.wordpress.com

quadibloc's picture

In looking up information about the Nastaliq style of Arabic script, I found the statement that it originated as a simplification of the previous Naksh style. And so the common Naksh fonts that work with only four forms of each letter indeed do not do it justice. Even the font shown here, with its ligatures, apparently is not doing everything that the Naksh writing style normally includes: in proper written Naksh, while the writing baseline is horizontal, and not diagonal as in Nastaliq, it can still vary in steps because not all letters will always join at the base.

As for Semitic languages and vowels - the story is complex. Basically, because the root of the word consists of consonants, while vowels alter the word grammatically, like suffixes in English, writing vowels as full letters instead of as an annotation is distracting. This is also true of ancient Egyptian, which is believed to be related to the Hamitic languages and perhaps the Semitic ones, but this classification is not certain. So vowels may be a bit less important, but also that their importance, as it may be, is of a different kind. (Of course, spoken Egyptian had vowels, or it could not have been spoken.)

quadibloc's picture

Of course, I'm no expert on Arabic typography, given I can't even spell Naskh properly, but the issue I'm thinking of - "assimilation" rules - is covered in Thomas Milo's tutorial on Arabic typography, which is where I had seen it.

khalid's picture

@quadibloc: "Thomas Milo's tutorial on Arabic typography"

Need to see this tutorial. Grateful for the link.

quadibloc's picture

Here is the legitimate link to the document:

http://www.decotype.com/publications/unicode-tutorial.pdf

I couldn't navigate to it on the DecoType site, but Google turned it up after initial searches gave me more information. When I first tried to search for it, all my results were sites that looked like they could be hosting pirated document files.

khalid's picture

Many thanks, John; this will be very useful. I came across a different set of documents when I tried to search for it myself. The document you reference is exactly what I need.

Upon a quick read, I was surprised to find out how differently Thomas Milo has interpreted the very basic issue of the structure of the Arabic alphabet. I will try to read it more thoroughly, and might come back with a posting.

quadibloc's picture

Incidentally, on this page, there is a link to an article about the complexities of even the simpler approach of typesetting Arabic in metal type without the refinements I've mentioned.

Direct PDF link: http://www.tug.org/TUGboat/Articles/tb18-1/tb54arab.pdf

The same article, but with different formatting, is available from this page as item #40 in the numbered list of publications on that page.

Direct PDF link: http://omega.enstb.org/yannis/pdf/ep96-arabic.pdf

Also, I'm sure that if Thomas Milo has made mistakes in his understanding of how Arabic is traditionally written, he will be most interested to hear of it. I think I accidentally came across his paper when searching for information related to Nastaliq. As there is an open-source Nastaliq font that just happens to be usable only in an obsolete Mac environment, taking its glyphs and making a new open-source Nastaliq font would seem to be a useful service that some Linux enthusiast might perform. The glyphs are there in the package separate from the font in its Mac-specific form; I am going to have to see if it's one that Fontforge is capable of reading.

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