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 Type design theories different parts of the and research: Islamic world: ۞Huda Abifares ۞Omid Rabbani (Iran) ۞ (Lebanon, Netherland) ۞Abdulraheem ۞ Kolen (Morocco) ۞Davut Bektas (Turkey) Classical typographers: ۞Mamoun Sakkal (Syria) ۞Fathi Gouda (Egypt) Classical to contemporary: ۞Mourad Boutrous (Lebanon) ۞Mounir al-Sha’arani (Syria) Editorial designers: Contemporary calligraphers: ۞Kameel Hawa (Lebanon) ۞Nja Mahdaoui (Tunisia) Printmaking designers and ۞Samir Sayegh (Lebanon) professionals: ۞Ali Omar Ermes (Libya) ۞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? ۞Latin companion, especially ۞ for body text ۞Legibility for small and ۞ screen purposes ۞Madness for display weights! ۞Constant experimentation

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

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.

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.

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.

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,

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?

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.

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.