RGB FONT

TV CAPTIONS HEADLINE TYPEFACE | DESIGNED BY SARAH RAGAB | 6TH SEMSTER | ARABIC FONT DESIGN | SUPERVISED BY DR.HAZEM TAHA

RGB is an extra-Bold sans serif Kufic inspired typeface, It is more of a callobration of the modern kufic script with some naskhi featuresgiving it a more friendly look. The reduced contrast in stroke thickness and height gives the typeface a more modern look.

RGB unique featres are : its simplicity which originates from the elimination of ornaments and details and the calligraphic naskhi stroke endings which gives it a friendly modern look.Its boldness makes it more suitable for TV captions headlines and large graphics abstraction.

01 origins of arabic font

Aracic Calligraphy Examples

Introduction Calligraphy is taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as beautiful (hand) writing of the Arabic language. The Arabic term for what we call calligraphy invites closer inspection as in the Arabic language the transliterated word Khatt’ is derived from line design and construction.

Many cultures that have a writing system based on cursive scripts (and graphemes) the calligraphic practice is actually their the model for type design Arabic, as one of the Semitic languages, is part of these cultures hat have a writing system based on cursive scripts.Historically Arabic script has undergone different reformations, as well as influences of regional and epochal writing styles — The philological connotations got lost in the translated mainly as the result of conquests, and conversions to term calligraphy From a type design perspective I Islam, which resulted into todays type design. think this rather an astonishing difference. Yet there’s a difference between Calligraphy & Typography but i will go through the devolopment of arabic script from no doubt that In the beginning traditional type design the preislamic period till nowadays to have a better took its cue from calligraphic technique overview of todays Arabic Type design.

CHAPTER 01 ORIGINS OF ARABIC FONTS 01

01 The origin of the Arabic script The origin of Arabic script goes back to the first alphabet created by the Phoenicians.

The Phoenicians were living on the coastal areas of Lebanon, Palestine, and Syria. Since the Phoenicians were traders sailing throughout the Mediterranean, their alphabet influenced all Mediterranean cultures and nations. The fact that the Middle East was located at the center of the Ancient World, between East and West, also had played an essential role in the spread of the Phoenicians’ alphabet.

That is why the Phoenician alphabet is the mother of both Latin and Arabic scripts.Very old Arabic language samples have been found, albeit written/engraved in non-Arabic scripts such as pre-Islamic Arabic poetry

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written in Nabataean, Aramaic, Thamudic, Epigraphic South Arabian scripts eThe Arabic Script was developed from the Nabataean script, which was itself derived from the Aramaic script south of Damascus and dated to the 5th century.

Pre Islamic Inscriptions There are seven pre-Islamic Jazm inscriptions available to researchers today. The earliest one was found in Jabal al-Ramm east of Aqabah where It dates back to 328 CE. The secound next earliest inscriptions are the two found in Sakākah of northern Saudi Arabia.

They were dated to the 4th or may be early 5th century. A possible second earliest inscription may also be the Arabic Umm al-Jimāl inscription.

01. Modern Latin 02. Early Latin 03. Early Greek 04. Pheoenician 05. Early Aramaie 06. Nabataean 07. Early Arabic

funery inscription speaking of the famous preislamic peot Imru-l-Qays

01 Preislamic Arabic Scripts These few arabic scripts are important tocomplete the picture of how the Arabic Scripts looked like before the islamic civilization, The 6 Scripts includes Naksh Haran Alnagah, Nakhsh Ases, Nakhsh zabd, Om el Jammal, Nakhsh Ram temple

Naksh Haran Alnagah

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Nakhsh Ases

Nakhsh zabd

As stated before There are seven pre-Islamic Jazm inscriptions available to researchers today. The earliest one was found in Jabal al-Ramm east of Aqabah. It dates back to 328 CE. The next earliest inscriptions are the two found in SakÄ kah of northern Saudi Arabia.

Om el Jammal

Om el Jammal 2

Nakhsh Ram temple

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MOTSEL

SABA’I

LIHYANI

table of Musnad shapes of various Arabic Musnad styles & Arabic Jazm

THAMODI

SAFAWI

GAZM

NEBTI

MOTSEL

SABA’I

LIHYANI

table of Musnad shapes of various Arabic Musnad styles & Arabic Jazm f

THAMODI

SAFAWI

GAZM

NEBTI

01 Theories of kufic script origin

Orientalists Theory ARABIC FONT DESIGN Final font booklet 08

Arabic Scientists Theory

The development of the kufi script from Masnad Script

01 The origin of the Kufi Arabic

Development Of Arabic language & script

It was only during the middle of the first century that the early Arabic alphabet began to appear in Kufa, Iraq.

The revelation of Islam had a major impact on the development of Arabic language &Script.

The Qur’an became the driving force behind the unification of all Arabic scripts found in Arabia.

A well-structured Arabic script with 29 letters was developed for the writing of the holy scripts of the Qur’an in 17th AD. Primarily the Qur’an was written with the Quranic Kufi script and later it with the Quranic Naskh style.

The Archaic Kufic Inscriptions The old Kufi or Archaic Kufi consisted of about 17 letterforms without diacritic dots or accents.

Afterwards, the diacritic dots and accents were added to help readers with pronunciation, and the set of Arabic letters rose to 29, including the Hamza.

old Kufi script without dots or accents

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Islamic kufic inscription

Samarqand codes in uniform kufic style

same codex in extended kufic bit far more boldly

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02 Post Islamic Scripts

Postislamic scripts development

Post Islamic scripts They were developed in various Arabian cities, The nourishment of the Arabic scripts was due To : 01. Glorification & Beautifing God’s words 02. As a form of worship 03. As a spiritual activity 03. Artistic 04. Decoration 05. Identity

There are Over 100 Styles with different writing techniques and writing tools. with 6 primary styles heir Artisic forms named based on 6 Primary Styles 01. width of the pen - Thuluth 02. usage - Nasakh 03. curvature of style - Yabis 04. place of development– Kufi 05. the name of creator - Yaqut

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02 The Kufic arabic script Kufi (Old Kufi and Ornamented Geometric Kufi): the name “Kufi” originated from the city Kufa in Iraq.

It was devolped in the 8th century and it’s noted for its proportional measurements, angularity, and squareness.

Kufic is still a common script, geometrically constructed with compass and ruler.

Since it needs very accurate planning its calligraphers were and still are more like architects of the layout, the lettering and decoration.

Kufic is one of the earliest styles to be used to record the word of God in the Qur’an. One of the early kufic inscriptions can be seen inside the Dome of the Rock in Jerusalem. It marked a clear traceable typographic approach within Islamic history.

Kufic is still considered a script of lettering, known for the lengthy time to ‘write’ it.Fourteen centuries ago, with the rise of Islam, a script was needed to fit the pace of conversions, and the cursive and more handwritten scripts developed as they are written so much faster than the constructed Kufic.

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02 The Kufic characteristics 01. Angular letter shapes 02. Short, broad vertical strokes 03. long extended horizontals 04. Written on a horizontal baseline 05. Usually drawn on a grid 06. Some early Kufic scripts did not use vowels or dots 07. Colored dots were sometimes used around the letters to aid with pronunciation

kufic grid and guidlines

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Notes Kufic is difficult to write because its letters must be drawn in with a pen rather than written as a series of pen strokes, that’s why Kufic is mostly obsolete today because it is difficult to write any text of length. It is occasionally still used for titles of manuscripts or in architectural inscriptions

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Square kufic phrases doing a Maze formation

02 The Naskhi arabic script Nasakh means “copy” in Arabic, is one of the earliest scripts, redesigned by Ibn Muqlah in the 9th century A.D., using a comprehensive system of proportion.

It is noted for its clarity to read and write, and was used to copy the Qur’an.so it is known as the script of the Qur’an and is the most ubiquitous; therefore, at times it is mistakenly referred to as the Arabic script.

Naskh eventually replaced Kufic as the script of choice for the Koran; now more Korans are written in Naskh than in all other scripts combined

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The Naskhi characteristics

Notes

01. Small script, neat and balanced 02. Letter shapes are more fluid and curved than rayhani 03. Letters lean slightly to the left 04. Descending letters end in an upward hook 05. Equal division between flat and round shapes and 06. heavy and light strokes 07. Highly legible, clear and quick to write

Writing in Naskhi requires a round thin device, such as a point pen. A medium expansion of the hand movement follows above and below the writing line.

The script has voweling dots and all the letters follow beside each other from right to left.

Popular for writing books because of its legibility Adapted for printing, it is still the most common font in printed Arabic.

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02 Al Thuluth arabic script Thuluth means “one third,� referring to the proportion of the pen in relation to a previous style called Tumaar.

It was first formulated in the 7th century A.D., and fully developed in the 9th century. It is noted for its cursive letters and its use as an ornamental script..

Its most important letter is the Alif, the letter dedicated to Allah. The script has an x-height of one third of the reoccurring patterns of the long stems/ verticals (Alif).

Thuluth is often considered the most powerful and versatile script. Some experts say you are not a calligrapher until you can write thuluth.

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The Thuluth characteristics 01. Vertical strokes have a leftward slant, 02. horizontals have a deep curve 03. The ends of most descending letters come up in a hook 04. Often written so the letters interlace 05. Many alternate letter forms exist in this script

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02 Thuluth and Naskhi Thuluth is most often written in conjunction with naskh. Naskh, however, is not based on the Thuluth script, it is merely a smaller companion script

Naskhi and Thuluth resemblance

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Muhammed in Thuluth PBUH in Naskh

02 , Ta liq (farsi) Arabic script Ta’liq means “hanging,” referring to the shape of the letters, it’s a cursive script developed by the Persians in the early part of the 9th century A.D., and it is also called Farsi (Persians).

Tal’iq came from Persian culture (having a whole history before the influence of Islam), and was absorbed through religious conversion.

Tal’iq was used for official correspondence in the royal court,writing books and letters, transcribing literary works and sometimes used for poems and calligraphy specimens

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Notes Developed in the 9th century, but it had its peak in the 14th / 15th century:Tal’iq has the most significant recognition in the long drawn letter shapes extending the word image. Tal’iq is written tilted towards the right along a baseline, only rarely crossing it.

Another hallmark of the script is its rhythmic pattern of wide-shaped horizontals and slim and narrowdrawn verticals. The writing tool should be a broad-nip pen or bamboo pen.

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02 , The Ta liq characteristics 01. Letters that don’t connect on the left are often connected in this script (unauthorized ligatures) 02. Descending strokes appear as loops 03. Letters are rounded with extreme contrasts in letter spacing 04. Wide spaces appear between lines 05.Lines ascend upward as they move from right to left.

Ta’liq guidlines

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Naskhi Ta’liq phrase

02 Diwani Arabic script Diwani was developed by the Ottomans from the Ta’liq style. This style became a favorite script for writing in the Ottoman chancellery, its name was derived from the word “Diwan,” which means the “Royal Court.”

Developed in the 10th century but its peak was in the 17th century:It peaked owing to the Ottomans, who highly admired it and used it extensively.

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Notes It is easily recognized by its distinguished curves. This script is not written with dots, but rather it shapes different forms for each letter’s recognition.

Divani is difficult to read and write in its large form because of its extreme stylization and the number of unauthorized connections. This made Divani an ideal script for court documents, becaue it insured confidentiality and protected them from forgery

CHAPTER 02 POSTISLAMIC ARABIC FONTS 29

02 Diwani characteristics 01. Wide spaces appear between lines 02. Lines ascend upward ,they move from right to left 03. When written in large (djali) form, the empty spaces in the script are filled with small dots in a veil of decorative detail 04. Letters and words that don’t connect on the left are often connected in this script 05. The consonants can be arranged beside each other or on a tilted axis of 45°..”

45°

Diwani guidlines

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created on treated handmade paper, using calligraphy ink, in the Jali Divani style. Work by Wissam Shawkat. Iraq/U.A.E.

02 Riq’a Arabic script Riq’a is a style that has evolved from Nasakh and Thuluth in the 9th century: It is noted for its simplicity and its short horizontal stems.

The word Riq’a means “a small sheet,” which could be an indication of the media on which it was originally created.

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Notes It is a handwritten style still commonly used. The writing occurs only above the writing line. Certain consonants are written above each other before they hit the baseline.

The writing device should be wider and flatter than the one used for Naskher. Voweling lines, though no dots, indicate the pronunciation, but the letter shapes can alter significantly from Naskher.

CHAPTER 02 POSTISLAMIC ARABIC FONTS 33

02 Riq’a characteristics 01. A simplification of the diwani script 02. Constructed from short strokes 03. Letters are more straight than rounded

Diwani & Riq’a guidlines

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Phrase Al Ahzab -Ayat 40-

02 Tughra’ Arabic script Tughra’ was used by the Ottoman sultans as their signature. It was supposed to be impossible to imitate, It was more of a calligraphic approach than a type design. ex: The sultan- Abd alaziz han bin mahmud el Muzaffer- signature in tughra’ script.

Signature of an Othoman Sultan ARABIC FONT DESIGN Final font booklet 36

ABD

AL AZIZ

HAN

MAHMUD

EL MUZAFFER

DAMMA

BIN

SUPPLEMENTRY LINES

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02 Pictorial Calligraphy Words are manipulated and structured into the shape of a human figure, a bird, an animal or an object.

Prayer in a form of a Lion “Ali bin abi Talib”, the victorious lion of God (RAA)

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“I testify that there is no god, but God and Muhammad is a messenger of God” The Basmalla “I testify that there is no god, but God and Muhammad is a messenger of God”

02 The modern market The modern market of global branding is today claiming the dierent calligraphic styles for reasons of typographic hierarchy. Thus the writing styles are not just calligraphic styles anymore, but have been absorbed into typography and are now also type classifications.

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Ibrahim Hamdi’s Typographic pieces

03 Arabic font Guideline

Aracic Type guidelines

Guidlines for Arabic Type There are some guidlines that’s followed inorder to achieve proportional and harmonious Arabic letters.

Traditional Arabic Calligraphy schools base their teachings on three writing systems created by the Arabic calligrapher “Ibn Muqlah” in the ninth century.

The three systems are: 01. Nizam Al-Dairah 02. Nizam Al-Nuqat 03. Nizam Al-Tashabuh.

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03 Nizam Al Dairah & Al Nuqat Nizam Al Dairah (system of the circle) bases all the letterforms on a circle. The diameter of the circle is determent from the height of the letter “Alef”.

Nizam Al-Nuqat (system of the dots) bases the proportions of the letters on dot counts.

Thuluth style has the longest “alef” while the Ruqâa and Persian styles have the shortest “alef”.

Both Nizam Al-Dairah and Nizam Al-Nuqat initiate from the height of the “alef” and the Arabic calligraphic style, then all the other letters and drawn accordingly.

The rhombic dot is determent from the thickness of the calligraphic pen used, whereas the dot count of each letter is dependent on the Arabic calligraphic style chosen.

Nizam Al dayrah in comparison with nizam Al Nuqat

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Nizaam Al nuqat in Thuluth style - The thuluth has the longest Alef -

03 Nizam Al Tashaboh The third system, Nizam Al-Tashabuh (system of similarity), is based on similar pen strokes used in several letters.

For example, the “seen.final” and “sad.final” share the same ending stroke, the “waw.isol” and “qaf.isol” share the same starting loop or eye, the “ain.isol” and “hah.isol” share the same ending stroke and so forth for all the letters Seen and Noon share the same ending stroke

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Nizaam Al nuqat in Thuluth style - The thuluth has the longest Alef -

03 Achieving Balance & harmony 01. choose a calligraphic style to refer to while drawing the letterswhich dependeds on the purpose and use of the typeface.

02. follow the guide lines: a-baseline stroke thickness (which is also linked to the overall stroke thickness) b- the loop height/s, c- the tooth height/s, d- the ascender height/s and the descender height/s.

Sada type proportions ( Naksh style based)

03. Drawing the basic components for the whole typeface.

Mix Arab proportions (Kufi style based)

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Combinations of Letters

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03 Testing Words Unlike Latin, there are no standard testing words or testing sentences (Pangram) for the Arabic script.

Its impossible to have all the Arabic letters and there dierent shapes according to their position in the words in one sentence. That is why there is no standard testing words or pangrams for Arabic.

Sada pangram

Each Arabic type designers creates his/her own words and sentences according to the type project They should have letters with ascenders ( ), descenders ( ), eyes ( ), loops ( ) and teeth ( ) Mix Arab Pangram

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Conclusion Calligraphy is taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as beautiful (hand) writing of the Arabic language. The Arabic term for what we call calligraphy invites closer inspection as in the Arabic language the transliterated word Khatt’ is derived from line design and construction.

The philological connotations got lost in the translated term calligraphy From a type design perspective I think this rather an astonishing difference. Yet there’s a difference between Calligraphy & Typography but no doubt that In the beginning traditional type design took its cue from calligraphic technique

But like other cultures as in europe the the transition from calligraphic handwriting to punchcutting and letterpress printing occurred made them more ineed of type designers so valuing them more, that shift started to happen in our arab world No doubt that Arabic type design in a similar context to the interwoven development of type design and calligraphic influence.

ArabType design surely builds upon calligraphic writing styles, and it nowadays receives more attention.

Though the broad public shows little awareness, the modern development of Arabic type has caused a new interest in the future state of its typography.

The shift and merge from traditional calligraphy to a mature Type design will be a most interesting development to observe.

Mostafa Al Abasiry Falak Font

CHAPTER 03 ARABIC FONTS GUIDELINES 51

04 TV Captions Research

Tv Channels Fonts

Tv Channels Fonts

Street Signage fonts and further inspirations

04 Font Features 01. Font family: mainly kufic inspired 02. Form: a. simple and basic outline b. eliminting details and no ornaments used c. large letter counters d. overall stroke thickness is uniform ( no stroke dierence) e. proportional measurements, angularity, and somehow squareness. f. most letters are going on the baseline g. the diaccritic dots are mainly circular

03. Function: a. High legibility at: b. Motion : text is in motion (Tv captions) c. High speed: (Road signs) d. Technical> Aesthetic 04. Guidlines: a. Short Ascender and descenders b. with only one ascender and descender not varous like Naskh and other styles c. All letters going on the baseline d. One loop and tooth height e. Less is more Basic font features

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Zommed in letters from various channels

05 The Sketching Phase

Design Pens for Arabic Font Design

Moodboard and brainstorming sheet

Sketches 01

Sketches 02

Sketches 03

Sketches 04

Sketches 0

06

Digitalizing final phase

Aracic Type guidelines

Font Features The Extrabold version of Tv captions Font RGB is an extra-Bold sans serif Kufic inspired typeface, It is more of a callobration of the modern kufic script with some naskhi featuresgiving it a more friendly look. The reduced contrast in stroke thickness and height gives the typeface a more modern look.

RGB unique featres are : its simplicity which originates from the elimination of ornaments and details and the calligraphic naskhi stroke endings which gives it a friendly modern look.

Its boldness makes it more suitable for TV captions headlines and large graphics abstraction.

RGB Font Features

CHAPTER 06 RGB FONT DIGITAL PHASE 73

06 Font Analysis Initial approach to final phase That phase involved a compariosn between the initial form of the font till the final phase , to reach a final critique of its form.

Initial and Final Sen

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Some letter forms needed dramatic changes like the Sad, Raa’, Waw, Caf and Noon because the letter ending didn’t fit the characteristics of the font , While other letters needed some justification in the width and height.

Font Development from initial to final

06 3.1 x

Font Analysis Identifying the x That phase involved using the circle system in refining the form of font, where the x is equivilant to the width of the alif 0.9x

0.8x 0.9x

0.9x

2.6x

Initial and Final Sen 3.1 x

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3.1 x

3.1 x

0.8x

2.6x 4.8x

1.5x

3.1 x

0.9x

0.9x

1.5x

xcm 0.3x

1.2x

0.8x 4.7 x

X is equivalent to the width of the alif

xcm

2.7x

06 Font Analysis Using modules to unify the stroke width That phase involved unifying the font guidelines, by determining the horizontals width , the verticals width and loop width

Ascender

Loop / Tooth height

Baseline

Descender

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Ascender

Loop / Tooth height

Baseline

Descender

CHAPTER 06 RGB FONT DIGITAL PHASE 77

Overview of the isolated letters

Font Guidelines Isolated letters Guidelines In the following pages an overview over the 26 isolated letter forms of the alphabet.

Ascender

Loop / Tooth height

Baseline

Descender

Isolated Letters

CHAPTER 06 RGB FONT DIGITAL PHASE 73

06 Font Analysis Joined letters Guidelines In the following pages an overview over the 26 joined letter forms of the alphabet.

Ascender

Loop / Tooth height

Baseline

Descender

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Overview of the whole Alphabet

06 Font Features The Letters Endings The letters endings are mainly squarish and sharp edged while the initials in the verticals ( alef, lam, ra’..) are some how curved.

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06 Font Analysis Diacritic Marks Guidlines These are the guidlines should be followed while placing the diacritc marks.

ARABIC FONT DESIGN Final font booklet 110

Letter Counters The letter counters include those four different forms (feh, kaf, heh isolated, waw) (sad, tah) (ha2 marbotah and ta’ marbota ending) share the same forms.

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06 Font Legibility Testing the font legibility from 16 points to 28 points depending on the scale of the Tv screen.

ARABIC FONT DESIGN Final font booklet 112

16 POINTS

19 POINTS

23 POINTS

25 POINTS

28 POINTS

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06 Font In Application Headlines & Large Graphics Its boldness makes it more suitable for TV captions headlines and large graphics abstraction.

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Program anouncements using RGB font

Program anouncements using RGB font

06 Font Presentation Typespecimen Posters Posters with an overview of RGB character set to have a better overview over the font.

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Program anouncements using RGB font

Typespecimen Posters

Typespecimen Posters

Citation http://29letters.wordpress.com/2007/07/17/arabic-glyphs-proportionsand-guidlines/ https://29letters.wordpress.com/2007/05/28/arabic-type-history/ http://www.schriften-lernen.de/Schrift/Arab/Arab9a.htm http://commons.wikimedia.org/wiki/File:Tughra_Mahmud_II_bw.png http://arabetics.com/public/html/more/History%20of%20the%20 Arabic%20Script_article.htm http://historyview.blogspot.com/2013/01/brief-guide-to-development-ofarabic.html http://ilovetypography.com/2008/07/10/arabic-calligraphy-as-atypographic-exercise/

TV CAPTIONS HEADLINE TYPEFACE | DESIGNED BY SARAH RAGAB | 6TH SEMSTER | ARABIC FONT DESIGN | SUPERVISED BY DR.HAZEM TAHA