Primitive Kufic
North African Kufic
challenge internationally. The relationship between the structure of the script and the technologies at its service is key. Until recently, all technologies supported only limited use of Arabic script (due to problems with writing direction and glyph identification during changes in platform, country or software). However, nowadays, OpenType format and Tasmeem extension have resolved most of these issues.
Styles and forms
“Flat” Kufic
Oriental Koranic Kufic
Primitive Koranic Kufic
Thuluth
Ruq’a
Diwani Al-Jeli
Diwani
Examples of the variety of Arabic scripts before the advent of typeface design. Source: Khatt Foundation.
Arab-Muslim civilisation has always favoured calligraphic art and its diversity of techniques, forms and media. Consequently, Arabic script, besides its importance in the visual world of Islam, has retained immense formal variety and richness. Whereas in Latin there is a clear and perceptible distinction between everyday writing, calligraphy and typography, the Arabic disciplines seem less differentiated. Although it is hard to draw up a typographic classification, one can discern, among the abundance of calligraphic styles, two major families around which the design and writing of today’s Arabic letters have been sculpted: Kufic and Naskh. Kufic, an angular script, is characterised by geometric forms adapted to motif art. And this script alone includes many variants ranging from primitive Koranic forms to balanced, airy classicism; from extremely geometric, logotype-like forms to baroque profusion of decorative elements. Naskh, which is more cursive, was originally used for profane and practical texts. Then, in the ninth century, it became the script for everyday writing, as it combined ease of drawing and elegance. A harmonious compromise between geometric norms and expressive cursiveness, Naskh relegated Kufic scripts to a titling role. Other styles are equally noteworthy for the potential of contemporary interpretations they offer. Ruq’a, originally used to facilitate administrative writing, stands out for highly economical movement of the kalam and the elimination of all stylistic effects. While its drawing speed and ease of line have made it a popular script in the Arab world, its simplicity also echoes the sobriety of Western type designs. In contrast, more ornamental styles such as Thuluth, mainly used for chapter headings and titles, and Diwani, for official texts, give type designers great inspiration. Contemporary typography has directly tapped these formal distinctions in order to tweak them or apply them to current applications. Like any typographic rule, these principles – fusing geometric rigour, calligraphic variations and formal analogies of language – still leave plenty of latitude for novel and creative interpretation.
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