We Need More Arabic Fonts

c ‫۞ اخلط‬ ‫۞ العربي‬ ۞ ۞ WE NEED MORE ARABIC FONTS Designed by Hania Afifi

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We need more Arabic fonts An interview with Hussein Alazaat by Hania Afifi

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Content

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An interview with Hussein Alazaat ۞ Introduction ۞ Interview ۞ works

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An interview with El Seed ۞ Introduction ۞ Interview ۞ works

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An interview with Mohamed Samir ۞ Introduction ۞ Interview ۞ works

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An interview with Khajag Apelian ۞ Introduction ۞ Interview ۞ work

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Interview with Hussein Alazaat

An interview with Ibraheem Abbas ۞ Introduction ۞ Interview ۞ works

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An interview with Sally Mallat ۞ Introduction ۞ Interview ۞ works

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An interview with Mobius Studio ۞ Introduction ۞ Interview ۞ works

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An interview with Wael Morcos ۞ Introduction ۞ Interview ۞ work

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We need more arabic fonts

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Interview with Hussein Alazaat

Introduction

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Introduction: Hussein Alaazat Biography

Hussein is a multi-disciplinary designer, instructor, calligraphy artist, and typography enthusiast from Jordan.

He founded ALAZAAT Design in 2008, and has worked since then for various clients in diverse industries from the UK, Portugal, Germany, Australia, Turkey, the USA and the MENA region.

Hussein believes in the power of Arabic calligraphy in modern brands and products; he also emphasizes contemporary treatment in his typographic works.

We need more arabic fonts

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Interview with Hussein Alazaat

Interview

If you imagine the Arabic type design school of your dreams, how would it function? What would be the main focus of the school? And who would teach there?

I believe that the functioning of the school should have the following criteria: ۞ 30% Arabic Writing history ۞ by learning how to do ۞ and theories ۞ contemporary lettering ۞ 30% Understanding and ۞ 5% New Alphabet ۞ practicing the classical ۞ ۞ concept sketching ۞ Arabic Calligraphy styles ۞ 5% Software learning and ۞ 30% Breaking the rules ۞ producing end results ۞ they’ve learned, The main focus of the school would be learning about the past and thinking in the future. Additionally, I would have professors teaching various aspects of typography and calligraphy. They are categorised as following: Classical calligraphers from different parts of the Islamic world: ۞ Omid Rabbani (Iran) ۞ Abdulraheem ۞ Kolen (Morocco) ۞ Davut Bektas (Turkey) Classical to contemporary: ۞ Mounir al-Sha’arani (Syria) Contemporary calligraphers: ۞ Nja Mahdaoui (Tunisia) ۞ Samir Sayegh (Lebanon) ۞ Ali Omar Ermes (Libya)

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Interview with Hussein Alazaat

Type design theories and research: ۞ Huda Abifares ۞ (Lebanon, Netherland) Classical typographers: ۞ Mamoun Sakkal (Syria) ۞ Fathi Gouda (Egypt) ۞ Mourad Boutrous (Lebanon) Editorial designers: ۞ Kameel Hawa (Lebanon) Printmaking designers and professionals: ۞ Rayan Abdula (Iraq) ۞ Erik Spiekermann (Germany)

Some people tend to matchAarabic typography to Latin typography and believe that certain arabic typefaces such as Kufi are just a simplification of shapes imposed by the rigidness of Latin typography. what is your view on the westernization of Arabic typography?

Is it a positive thing?

I might have a different opinion, I look at the Arabic letters as a living creature, a universal citizen, a dynamic personality!

We’ve seen very local treatment on the Arabic letters from the smallest islands of Indonesia to the farthest point of Senegal, each culture gave its unique imprint to the Arabic letters, and that’s a powerful side of the Arabic typography!

I don’t see a problem of learning from the west or building on their knowledge, after all, our grand ancestors absorbed the Byzantine and Persian art and science and built over it, it’s a healthy aspect of every successful culture. I don’t mind seeing more matchmaking projects, but I’d love seeing the opposite direction as well, forming a Latin font based on the Arabic concept (But not the Alaadin/Sinbad shapes for sure).

What are the main characteristics of Arabic fonts in demand right now?

And why? ۞ Modernity, because we live ۞ in the 21st century ۞ Various styles, because we ۞ need to feed all of the ۞ hungry purposes ۞ Generous count of ۞ weights, what I can do ۞ with an Orphan regular ۞ body text font?

We need more arabic fonts

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Latin companion, especially for body text Legibility for small and screen purposes Madness for display weights!

Constant experimentation

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Arabic calligraphy legacy is significantly diverse and inspiring. How can we use this broad heritage today?

Which calligraphy styles are waiting to be reinterpreted through typography? Why do you think young type designers shy away from pushing the boundaries of calligraphic rules?

Many actually, during the Abbasid era, the number of Calligraphy styles reached to be around 140! Unfortunately, some of those we know their names and characteristics only, no visual examples of them! But, we could dig in the old manuscripts and in the museums’ collections to find many uncredited styles for sure.

I believe because they lack the fundamental education of the classical Arabic calligraphy.

Any recommendations to young graphic designers who are interested in expanding their knowledge in Arabic typography? Could you list five resources (books, websites, conferences)?

Here are some sources that i would definitely recommend: ۞ All of Khatt books ۞ Arabesque 2 ۞ That nice book about ۞ An Introduction to ۞ bilingual design between ۞ Arabic Calligraphy ۞ Arabic and Latin ۞ A Handbook of Early ۞ Arabesque 1 ۞ Arabic Kufic A webside I would suggest looking up is http://khtt.net/.

In terms of conferences worth checking out, ISType - Istanbul Typography Conference, Granshan 14

Interview with Hussein Alazaat

The current technological advancements in the field of type design have positively influenced the production of Arabic fonts. Some experts claim that designing Arabic fonts is now as easy as designing Latin fonts. However, we still can’t see rapid growth in Arabic font development.

Do you agree or disagree with this observation?

Can you elaborate?

It naturally differs in scale and in scope, since I have mostly been working on exhibitions and urban rehabilitation projects in Bahrain or representing Bahrain. This is one of the first occasions where I am working on a project that is very locally rooted in Jordan yet with a more regional perspective which I’m very excited about. Ultimately though, I think that the preoccupations that you have as an architect or curator remain the same regardless of the medium, whether it is a built project, an exhibition or in this case a group exhibition; the scale or reach may vary but in the end I think the ambition is to create a compelling and relevant moment, an experience that will in some way or another challenge the viewer.

The current technological advancements in the field of type design have positively influenced the production of Arabic fonts. Some experts claim that designing Arabic fonts are now as easy as designing Latin fonts. However, we still can’t see rapid growth in Arabic font development.

We need more arabic fonts

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Do you agree or disagree with this observation?

Can you elaborate?

It naturally differs in scale and in scope, since I have mostly been working on exhibitions and urban rehabilitation projects in Bahrain or representing Bahrain. This is one of the first occasions where I am working on a project that is very locally rooted in Jordan yet with a more regional perspective which I’m very excited about. Ultimately though, I think that the preoccupations that you have as an architect or curator remain the same regardless of the medium, whether it is a built project, an exhibition or in this case a group exhibition; the scale or reach may vary but in the end I think the ambition is to create a compelling and relevant moment, an experience that will in some way or another challenge the viewer.

Arabic calligraphy legacy is significantly diverse and inspiring. How can we use this broad heritage today?

Which calligraphy styles are waiting to be reinterpreted through typography? Why do you think young type designers shy away from pushing the boundaries of calligraphic rules?

Many actually, during the Abbasid era, the number of Calligraphy styles reached to be around 140! Unfortunately, some of those we know their names and characteristics only, no visual examples of them! But, we could dig in the old manuscripts and in the museums’ collections to find many uncredited styles for sure.

I believe because they lack the fundamental education of the classical Arabic calligraphy.

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Interview with Hussein Alazaat

Some people tend to match arabic typography to latin typography and believe that certain arabic typefaces such as Kufi are just a simplification of shapes imposed by the rigidness of Latin typography. what is your view on the westernization of Arabic typography?

Is it a positive thing?

I might have a different opinion, I look at the Arabic letters as a living creature, a universal citizen, a dynamic personality!

We’ve seen very local treatment on the Arabic letters from the smallest islands of Indonesia to the farthest point of Senegal, each culture gave its unique imprint to the Arabic letters, and that’s a powerful side of the Arabic typography!

I don’t see a problem of learning from the west or building on their knowledge, after all, our grand ancestors absorbed the Byzantine and Persian art and science and built over it, it’s a healthy aspect of every successful culture. I don’t mind seeing more matchmaking projects, but I’d love seeing the opposite direction as well, forming a Latin font based on the Arabic concept (But not the Alaadin/Sinbad shapes for sure).

The current technological advancements in the field of type design have positively influenced the production of Arabic fonts. Some experts claim that designing Arabic fonts is now as easy as designing Latin fonts. However, we still can’t see rapid growth in Arabic font development.

We need more arabic fonts

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Do you agree or disagree with this observation?

Can you elaborate?

It naturally differs in scale and in scope, since I have mostly been working on exhibitions and urban rehabilitation projects in Bahrain or representing Bahrain. This is one of the first occasions where I am working on a project that is very locally rooted in Jordan yet with a more regional perspective which I’m very excited about. Ultimately though, I think that the preoccupations that you have as an architect or curator remain the same regardless of the medium, whether it is a built project, an exhibition or in this case a group exhibition; the scale or reach may vary but in the end I think the ambition is to create a compelling and relevant moment, an experience that will in some way or another challenge the viewer.

The current technological advancements in the field of type design have positively influenced the production of Arabic fonts. Some experts claim that designing Arabic fonts is now as easy as designing Latin fonts. However, we still can’t see rapid growth in Arabic font development.

Do you agree or disagree with this observation?

Can you elaborate?

It naturally differs in scale and in scope, since I have mostly been working on exhibitions and urban rehabilitation projects in Bahrain or representing Bahrain. This is one of the first occasions where I am working on a project that is very locally rooted in Jordan yet with a more regional perspective which I’m very excited about. Ultimately though, I think that the preoccupations that you have as an architect or curator remain the same regardless of the medium, whether it is a built project, 18

Interview with Hussein Alazaat

an exhibition or in this case a group exhibition; the scale or reach may vary but in the end I think the ambition is to create a compelling and relevant moment, an experience that will in some way or another challenge the viewer.

The current technological advancements in the field of type design have positively influenced the production of Arabic fonts. Some experts claim that designing Arabic fonts is now as easy as designing Latin fonts. However, we still can’t see rapid growth in Arabic font development.

Do you agree or disagree with this observation?

Can you elaborate?

It naturally differs in scale and in scope, since I have mostly been working on exhibitions and urban rehabilitation projects in Bahrain or representing Bahrain. This is one of the first occasions where I am working on a project that is very locally rooted in Jordan yet with a more regional perspective which I’m very excited about. Ultimately though, I think that the preoccupations that you have as an architect or curator remain the same regardless of the medium, whether it is a built project, an exhibition or in this case a group exhibition; the scale or reach may vary but in the end I think the ambition is to create a compelling and relevant moment, an experience that will in some way or another challenge the viewer.

Arabic calligraphy legacy is significantly diverse and inspiring. How can we use this broad heritage today?

We need more arabic fonts

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Whichcalligraphy styles are waiting to be reinterpreted through typography? Why do you think young type designers shy away from pushing the boundaries of calligraphic rules?

Many actually, during the Abbasid era, the number of Calligraphy styles reached to be around 140! Unfortunately, some of those we know their names and characteristics only, no visual examples of them! But, we could dig in the old manuscripts and in the museums’ collections to find many uncredited styles for sure.

I believe because they lack the fundamental education of the classical Arabic calligraphy.

Some people tend to match arabic typography to latin typography and believe that certain arabic typefaces such as Kufi are just a simplification of shapes imposed by the rigidness of latin typography. what is your view on the westernisation of arabic typography?

Is it a positive thing?

I might have a different opinion, I look at the Arabic letters as a living creature, a universal citizen, a dynamic personality!

We’ve seen very local treatment on the Arabic letters from the smallest islands of Indonesia to the farthest point of Senegal, each culture gave its unique imprint to the Arabic letters, and that’s a powerful side of the Arabic typography!

I don’t see a problem of learning from the west or building on their knowledge, after all, our grand ancestors absorbed the Byzantine and Persian art and science and built over it, it’s a healthy aspect of every successful culture.

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Interview with Hussein Alazaat

I don’t mind seeing more matchmaking projects, but I’d love seeing the opposite direction as well, forming a Latin font based on the Arabic concept (But not the Alaadin/Sinbad shapes for sure).

Arabic calligraphy legacy is significantly diverse and inspiring. How can we use this broad heritage today?

Whichcalligraphy styles are waiting to be reinterpreted through typography? Why do you think young type designers shy away from pushing the boundaries of calligraphic rules?

Many actually, during the Abbasid era, the number of Calligraphy styles reached to be around 140! Unfortunately, some of those we know their names and characteristics only, no visual examples of them! But, we could dig in the old manuscripts and in the museums’ collections to find many uncredited styles for sure.

I believe because they lack the fundamental education of the classical Arabic calligraphy.

We need more arabic fonts

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Interview with Hussein Alazaat

Works

One of his designs and calligraphy works to the situation in Syria. this composition is known as freedom.

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Interview with Hussein Alazaat

We need more arabic fonts

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Proposed this lettering study for the FB fan page of the late Egyptian film director and Artist Shadi Abdel Salam (1930 - 1986)

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Interview with Hussein Alazaat

We need more arabic fonts

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Translusent Caligraphy. Corporate keywords written in my modern Arabic calligraphy style, done with ink on paper for a law institution in Bahrain.

Pen size: 24mm Artwork size: 35cm x 50cm.

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Interview with Hussein Alazaat

We need more arabic fonts

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A combination between calligraphy and metal works.

He uses his classical Arabic Calligraphy works in the form of modern furniture pieces and wall art. In collaboration with product designer Iyad Naja.

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Interview with Hussein Alazaat

We need more arabic fonts

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۞ Arabic ۞ Fonts ‫ي‬ WE NEED MORE ARABIC FONTS ۞ Hussein Alaazat is a multi-disciplinary designer, instructor, calligraphy artist and typography enthusiast from Jordan. This Publication is an interview with Hussein in regards to the importance of arabic typography.

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Interview University with Hussein Alazaat American of Sharjah.

Produced in the year 2020