typography
This approach required a preliminary script which would search through the typeface and locate all the anchors to be connected. After several attempts, Erik van Blokland developed a working script, so we could test the first working version of Thuraya Slanted. I was extremely delighted and had a lot of fun typing my first slanted texts. And since it was now possible to test the slanted version properly with all the possible combinations, I was able to work out a lot of bugs, especially problems with rough connections. Curved Baseline One of the main characteristics I wanted Thuraya to have was a completely curved baseline with high, tight curves. Creating one smooth curve out of two separate connecting curves requires coordinating the width and radius of the downstroke with those of the upstroke. Since both depend on the structures of the letters themselves, the key is to find a balance between all the possible downstrokes and upstrokes, shifting the optical connecting point slightly to the right, since the typeface has a vertical slant to the left. Dealing with the connections of the slanted version followed the same principle as the straight version, with the additional dimensions of the width and radius of the downstrokes and upstrokes adjusted for the slanted baseline.
Other ligatures were designed either to achieve a smoother connection, as in the case of feh-alef or qaf-alef, or to solve the problem of overlapping diacritic dots, as in the case of yeh-yeh.
Titling Alternates
Ligatures To keep a harmonious calligraphic flow and a rhythmically curved baseline, several letter combinations were designed as ligatures. This is because of some letters like reh, zayn, yeh, alef maksura and alef maksura hamza, which don’t connect on the baseline, and other letters like waw, waw hamza, feh and qaf which were difficult to connect smoothly while preserving the slanted vertical axis. The 660 ligatures (included in both styles) include every combination of the terminal forms of waw, waw hamza, feh, veh, qaf, yeh, alef maksura, alef maksura hamza, reh, zayn and jeh, with the initial and medial forms of all the other letters.
Some letters connect vertically. This is an important calligraphic feature which I also decided to implement in Thuraya. Therefore a set of alternates mainly intended for titles was designed for an even more authentic calligraphic expression. Thuraya explores the intersection of the historic Diwani calligraphic style and a digital typeface. With its 2 styles, it is a contemporary yet faithful interpretation of the Diwani style with extensive calligraphic features. 1 huda smitshuijzen abifarès, arabic typography, a comprehensive sourcebook, saqi books 2001, london
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