Both scripts have affected each other in several ways through the entire design process, which happened within ten years.Palsam has an inviting, approachable, fashionable and humanist look. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The complete Athelas family has been optimised for today’s varied screen uses, along with our entire catalogue. With this release it will only gain a wider and quite appropriate audience. The graceful, elegant curves of the Athelas heritage have remained a hallmark in each script.
With extensive Middle Eastern language coverage and the expected OpenType features, Athelas Arabic is the counterpart for which Athelas Latin, Greek, and Cyrillic have been waiting. Ultimately, both the Latin and Arabic are graceful designs based on classic proportions, prioritising the beauty, tranquility, and fluid nature of the wordsmith’s art. Finally, the spacing and connections in the Arabic were considered to achieve comparable colour as the Latin in a block of text. First, the Arabic letter sizes were readjusted so as to not appear larger next to the Latin, then weight and contrast were changed in the same way.
So it was decided to give Athelas Arabic a thorough reworking to make them appropriate companions while maintaining the natural aesthetic qualities of Arabic. Originally designed independently, it worked entirely on its own and yet already seemed a good fit for Athelas. The last part of the presentation will include examples of Square Kufic typefaces and a number of book covers with Square Kufic designs.Athelas Arabic, created by talented Iranian designer Sahar Afshar, is an elegant typeface for fine digital and printed books - perfect for Arabic literature’s captivating forms. I will then review a little known phenomenon where Square Kufic is composed using fleurons and other typographic ornaments, that originated in Europe, to produce ornate title pages for printed books published in Cairo between 18. This unique style of Arabic calligraphy is enjoying renewed interest due to its clean, minimalist forms and the geometric beauty.Īfter a brief overview of the history of Square Kufic and the principles of the script, I will present some of its most attractive traditional motifs and the script’s use in medieval manuscripts. Developed in the 12th century and reached its highest level of popularity in the 15th and 16th centuries, it covered the façades of entire buildings such as mosques and palaces during the Timrid dynasty in Samakand and other cities of Central Asia. Square Kufic calligraphy is one of the simplest styles of Arabic calligraphy.
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