The Current State of Arabic Newspaper Type and Typography
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Developing an Arabic Typography Course for Visual Communication Design
Developing an Arabic Typography course for Visual Communication Design Students in the Middle East and North African Region A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Basma Almusallam May, 2014 Thesis written by Basma Almusallam B.F.A, Kuwait University, 2008 M.F.A, Kent State University, 2014 Approved by ___________________________ Jillian Coorey, M.F.A., Advisor ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents TABLE OF CONTENTS………………………………………………………………...... iii LIST OF FIGURES……………………………………………………………………….. v PREFACE………………………………………………………………………………..... vi CHAPTER I. INTRODUCTION…………………………………………………………. 1 The Current Issue………………………………………………….. 1 Core Objectives……………………………………………………. 3 II. THE HISTORY OF THE ARABIC WRITING SYSTEM, CALLIGRAPHY AND TYPOGRAPHY………………………………………....………….. 4 The Arabic Writing System……………………………………….. 4 Arabic Calligraphy………………………………………………… 5 The Undocumented Art of Arabic Calligraphy……………….…… 6 The Shift Towards Typography and the Digital Era………………. 7 The Pressing Issue of the Present………………………………….. 8 A NOTE ON THE PROCESS…………………………………………………………….. 10 Applying a Framework for Research Documentation…………….. 11 Mental Model……………………………………………………… 12 Proposed User Testing……………………………………………. -
Language Culture Type 2.Indd
Arabic script and typography is alphabetical; the direction of writing is from right to left; within a word, most letters form connected groups. AOne expects an alphabet to consist of a few dozen letters repre- senting one unique sound each. The Arabic alphabet evolved somewhat away from this ideal: although most letters correspond to a sound, a few letters are ambivalent between two or more sounds. Some letters don’t represent sound at all: they have only a grammatical function. For modern office use there are 28 basic letters, eight of them only differentiated from other letters by diacritics, and six optional letters for representing vowels. Older spellings made less use of diacritics for dif- ferentiating; on the other hand, to facilitate Qur’an recitation, additional vowel signs occur, along with elaborate cantillation marks. To acknowl- edge slight variations of the received text, some Qur’an editions have ad- ditional diacritics, discretely adding or eliminating consonant letters. As the Arabic script evolved into a connected script, it developed an elaborate system of assimilations and dissimilations between adjacent letters. Outside a small group of connoisseurs and calligraphers who study the principles established by the Ottoman letter artists, surpris- ingly little is understood of the efficiency and subtlety of this system,¹ and modern industrial type designs follow the approach found in el- ementary Western teaching materials.² There, beginners in Arabic script are given a maximally simplified scheme. While simplification is totally sound from a pedagogical perspective, it provides too narrow a basis for the development of professional typography. The Arabic script stems from the same source as the Latin, Greek, and Hebrew writing systems: Phoenician (figure 1).³ The underlying proto- alphabet had some two dozen characters; there were no vowels. -
Towards a More United & Prosperous Union of Comoros
TOWARDS A MORE UNITED & PROSPEROUS Public Disclosure Authorized UNION OF COMOROS Systematic Country Diagnostic Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized ABBREVIATIONS & ACRONYMS i CPIA Country Policy and Institutional Assessment CSOs Civil Society Organizations DeMPA Debt Management Performance Assessment DPO Development Policy Operation ECP Economic Citizenship Program EEZ Exclusive Economic Zone EU European Union FDI Foreign Direct Investment GDP Gross Domestic Product GNI Gross National Income HCI Human Capital Index HDI Human Development Index ICT Information and Communication Technologies IDA International Development Association IFC International Finance Corporation IMF International Monetary Fund INRAPE National Institute for Research on Agriculture, Fisheries, and the Environment LICs Low-income Countries MDGs Millennium Development Goals MIDA Migration for Development in Africa MSME Micro, Small, and Medium Enterprises NGOs Non-profit Organizations PEFA Public Expenditure and Financial Accountability PPP Public/Private Partnerships R&D Research and Development SADC Southern African Development Community SDGs Sustainable Development Goals SOEs State-Owned Enterprises SSA Sub-Saharan Africa TFP Total Factor Productivity WDI World Development Indicators WTTC World Travel & Tourism Council ii ACKNOWLEDGEMENTS We would like to thank members of the Comoros Country Team from all Global Practices of the World Bank and the International Finance Corporation, as well as the many stakeholders in Comoros (government authorities, think tanks, academia, and civil society organizations, other development partners), who have contributed to the preparation of this document in a strong collaborative process (see Annex 1). We are grateful for their inputs, knowledge and advice. This report has been prepared by a team led by Carolin Geginat (Program Leader EFI, AFSC2) and Jose Luis Diaz Sanchez (Country Economist, GMTA4). -
Public Broadcasting in North Africa and the Middle East
Published by Panos Paris Institute and Mediterranean Observatory of Communication © Consortium IPP-OMEC Date of publication May 2012 ISBN 978-84-939674-0-6 Panos Paris Institute 10, rue du Mail - F-75002 Paris Phone: +33 (0)1 40 41 13 31 Fax: 33 (0)1 40 41 03 30 http://www.panosparis.org Observatori Mediterrani de la Comunicació Campus de la UAB 08193 Bellaterra (Cerdanyola del Vallès) Phone: (+34) 93 581 3160 http://omec.uab.cat/ Responsibility for the content of these publications rests fully with their authors, and their publication does not constitute an endorsement by the Generalitat, Irish Aid nor the Open Society Foundations of the opinions expressed. Catalan publication: Editing: Annia García Printing: Printcolor, s.l French, English, Arabic publications: Editing: Caractères Pre-Press Printing: XL Print Photo Credits Front Cover: istockphoto.com Team responsible for the regional report This book owes much to the teams of the Panos Paris Institute (IPP), the Mediterranean Observatory of Communication (OMEC) and to the project partners in the countries of the MENA region: the Algerian League for the Defence of Human Rights (LADDH Algeria), the Community Media Network (CMN, Jordan), Maharat foundation (Lebanon), the Centre for Media Freedom Middle East North Africa (CMF MENA, Morocco) and the AMIN Media Network (Palestine). Coordination of the regional report Charles AUTHEMAN (IPP) Coordinator Olga DEL RIO (OMEC) Coordinator Latifa TAYAH-GUENEAU (IPP) Coordinator Editorial committee Ricardo CARNIEL BUGS (OMEC) Editor Roland HUGUENIN-BENJAMIN (associate expert IPP) Editor Authors of the national reports Algeria Belkacem MOSTAFAOUI Professor, National Superior School of journalism and information sciences, Algiers Abdelmoumène KHELIL General Secretary, LADDH Egypt Rasha A. -
Designing Software to Meet the Needs of International Users
DESIGNING SOFTWARE TO MEET THE NEEDS OF INTERNATIONAL USERS A Project Report Presented to The Faculty of the Department of Anthropology San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by David Mohr December 2013 © 2013 David Mohr ALL RIGHTS RESERVED SAN JOSÉ STATE UNIVERSITY The Undersigned Graduate Committee Approves the Project Report Titled DESIGNING SOFTWARE TO MEET THE NEEDS OF INTERNATIONAL USERS by David Mohr APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY _____________________________________________________________________________ Dr. Chuck Darrah, Department of Anthropology Date _____________________________________________________________________________ Dr. Roberto Gonzalez, Department of Anthropology Date _____________________________________________________________________________ Professor Awad Awad, Middle Eastern Studies, Department of Humanities, Date Arabic Coordinator, Department of World Languages and Literatures Abstract Most software applications are designed and built in North America, catering to English- speaking, North American users. Ethnography is commonly used to ensure the product addresses the needs of domestic customers, but there is no analogous research with regard to foreign consumers. As a result, often times the features in these applications fail to sufficiently address the needs, expectations, and workflow of non-English-speaking users. Although software engineering manuals minutely detail the technical aspects of bringing an English application to -
Authentic Arabic: a Case Study 2. TECHNICAL and AESTHETIC CHALLENGES
Authentic Arabic: a case study 2. TECHNICAL AND AESTHETIC CHALLENGES Thomas Milo, DecoType, Amsterdam, the Netherlands Before the invention of photography, 19th century travelers often were accompanied by artists. Their meticulous drawings reveal an interesting blind spot in these observers’ minds. The famous David Roberts R.A. does not depict a single letter of Arabic1. Others seriously try to reproduce Arabic script with varying success: this drawing of the interior of the Hagia Sophia Church, alias Aya Sofya Mosque2, includes some of the large calligraphic tableaux with the names of the caliphs (visible are the names of: Ali, Umar, Husain, Hasan and Abu Bakr). The delicate beauty of the building is captured with an eye for subtle detail. None of that subtlety remains of the Arabic calligraphies. What does remain is the visual equivalent of Beethoven’s Für Elise as played by a cell-phone. This alarming lack of perception still pervades all attempts to deal with Arabic script. 1 See for instance David Roberts R.A., The Holy Land, 123 coloured facsimile lithographs & The Journal from his Visit to the Holy Land, Terra Sancta Arts Ltd, Israel, 1982 (first edition 1842) 2 Caspare Fossati, Die Hagia Sophia, nach dem tafelwerk von 1852, Harenberg Kommunikation , Dortmund 1980. For comparison similar, authentic tableaux are superimposed. They were taken from Nabil F. Safwat, The Art of the Pen, Calligraphy of the 14th to 20th centuries, Volume V of the Nasser D. Khalili Collection of Islamic Art, The Nour Foundation/Oxford University Press 1996. 20th International Unicode Conference Washington DC, January 2002 Authentic Arabic 2 – Technical and Æsthetic Challenges A more recent illustration is a drawing of the interior of the Süleymaniye Mosque in Istanbul3. -
SUSTAINABILITY INDEPENDENT MEDIA in the Middle East INDEX and North Africa 2009 MEDIA SUSTAINABILITY INDEX 2009
algeria egypt iraq jordan bahrain kuwait lebanon morocco libya oman palestine united arab emirates saudi arabia syria iraq-kurdistan tunisia iran qatar yemen DEVELOPMENT MEDIA OF SUSTAINABLE SUSTAINABILITY INDEPENDENT MEDIA IN THE MIDDLE EAST INDEX AND NORTH AFRICA 2009 MEDIA SUSTAINABILITY INDEX 2009 The Development of Sustainable Independent Media in the Middle East and North Africa MEDIA SUSTAINABILITY INDEX 2009 The Development of Sustainable Independent Media in the Middle East and North Africa www.irex.org/msi Copyright © 2011 by IREX IREX 2121 K Street, NW, Suite 700 Washington, DC 20037 E-mail: [email protected] Phone: (202) 628-8188 Fax: (202) 628-8189 www.irex.org Project manager: Leon Morse Assistant editor: Dayna Kerecman Myers Copyeditors: Carolyn Feola de Rugamas, Carolyn.Ink; Kelly Kramer, WORDtoWORD Editorial Services; OmniStudio Design and layout: OmniStudio Printer: Westland Enterprises, Inc. Notice of Rights: Permission is granted to display, copy, and distribute the MSI in whole or in part, provided that: (a) the materials are used with the acknowledgement “The Media Sustainability Index (MSI) is a product of IREX with funding from USAID.”; (b) the MSI is used solely for personal, noncommercial, or informational use; and (c) no modifications of the MSI are made. Acknowledgment: This publication was made possible through support provided by the United States Agency for International Development (USAID) under Cooperative Agreement No. #DFD-A-00-05-00243 (MSI-MENA) via a Task Order by the Academy for Educational Development. Disclaimer: The opinions expressed herein are those of the panelists and other project researchers and do not necessarily reflect the views of USAID or IREX. -
Classifying Arabic Fonts Based on Design Characteristics: PANOSE-A
Classifying Arabic Fonts Based on Design Characteristics: PANOSE-A Jehan Janbi A Thesis In the Department of Computer Science & Software Engineering Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Computer Science) at Concordia University Montreal, Quebec, Canada July 2016 © Jehan Janbi, 2016 Abstract In desktop publishing, fonts are essential components in each document design. With the development of font design software and tools, there are thousands of digital fonts. Increasing the number of available fonts makes selecting an appropriate font, which best serves the objective of a design, not an intuitive issue. Designers can search for a font like any other file types by using general information such as name and file format. But for document design purposes, the design features or visual characteristics of fonts are more meaningful for designers than font file information. Therefore, representing fonts’ design features by searchable and comparable data would facilitate searching and selecting a desirable font. One solution is to represent a font’s design features by a code composed of several digits. This solution has been implemented as a computerized system called PANOSE-1 for Latin script fonts. PANOSE-1 is a system for classifying and matching typefaces based on design features. It is composed of 10 digits, where each digit represents a specific design feature. It is used within several font management tools as an option for ordering and searching fonts based on their design features. It is also used in font replacement processes when an application or an operating system detects a missing font in an immigrant document or website. -
Fighting Words
21472cover_rev 7/13/06 3:15 PM Page 1 FIGHTING FIGHTING WORDS WORDS HOW ARAB AND AMERICAN JOURNALISTS CAN BREAK THROUGH TO BETTER COVERAGE By Lisa Schnellinger and Mohannad Khatib Produced by the International Center for Journalists “Arabs are violent, religious extremists unwilling to consider any point of view that conflicts with their fundamentalist convictions.” “Americans are hedonistic imperialists who have no values and insist on imposing their materialistic culture all over the world.” No doubt many people in the United States and in Arab countries – including many of their leaders – believe these stereotypes. They help widen a dangerous schism between the two worlds that seems unbridgeable. But where do these stereotypes come from? How much FIGHTING WORDS responsibility do media in each region have for promoting them? In late 2005, two dozen Arab and American journalists gathered in HOW ARAB AND AMERICAN JOURNALISTS CAN Wisconsin to talk about how they cover each other’s worlds, and how BREAK THROUGH TO BETTER COVERAGE they can do it better. Over three days, they discussed such topics as using loaded words like “terrorist” and “jihad,” showing provocative images, covering sensitive issues of religion, and handling pressure from governments and advertisers. This manual is an outgrowth of that conference. Written by an American and an Arab who participated in the discussions, it is designed to help International journalists in both worlds think about how they can help minimize the misunderstandings between cultures that perpetuate conflict. The conference and the manual were made possible by the Carnegie Corporation of New York, the Johnson Foundation, the William and Center Flora Hewlett Foundation, Thomas S. -
Multilingual Fonts for Arabic Script Jamil Khan* Department of Computer Science, University of Peshawar, Pakistan
chnology Te & n S o o ti ft a w a m r r Khan, J Inform Tech Softw Eng 2015, 5:3 e o f E Journal of n n I g f DOI: 10.4172/2165-7866.1000154 i o n l e a e n r r i n u g o J ISSN: 2165-7866 Information Technology & Software Engineering Research Article Open Access Multilingual Fonts for Arabic Script Jamil Khan* Department of Computer Science, University of Peshawar, Pakistan Abstract This paper is about developing a multi-lingual font for Pashto, Arabic, Urdu and Persian in such a way that the text for these four languages can be typed in it. Main purpose for developing fonts was to handle and remove many problems faced in earlier fonts. Fonts developed as a part of this work are ligature-based and text for all four languages (Pashto, Arabic, Urdu, and Persian) can be written in a single font. The paper is structured as follows: Shortcomings of existing fonts based on Arabic script and some text editors are discussed in Section-I. Section-II discusses the proposed solution to all those limitations. In Section-III, is about implementation of suggested solution, and Section-IV discusses features of the suggested solution. Section-V concludes the paper and Section-VI discusses future work discussed for Arabic typography. Keywords: Component; Formatting; Style; Styling; Insert manually in Inpage or sometimes with the help of other software such as CorelDraw. Introduction Liwal pashto system for windows During this work, some existing fonts based on Arabic script, including Pashto, Urdu, and Persian, are used in different bilingual text Liwal Pashto System–introduced in 2004 for Windows-98 and editors, and their limitations are pointed out. -
Arabic Type Classification System
ARABIC TYPE CLASSIFICATION SYSTEM QUALITATIVE CLASSIFICATION OF HISTORIC ARABIC WRITING SCRIPTS IN THE CONTEMPORARY TYPOGRAPHIC CONTEXT BY DARIN ABU-SHAQRA | INCLUSIVE DESIGN | 2020 SUBMITTED TO OCAD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN INCLUSIVE DESIGN TORONTO, ONTARIO, CANADA, 2020 i ACKNOWLEDGEMENTS I wish to express my sincere appreciation to both my primary advisor Richard Hunt, and secondary advisor Peter Coppin, your unlimited positivity, guidance and support was crucial to the comple- tion of this work. It was an absolute honour to have two geniuses in their fields as my advisors. Enriching my knowledge of typography and graphic design and looking through the lens of inclusive design and cognitive science of representation shaped a new respect for the cultural and experiential power of typography in me. My sincere gratitude goes to the talented calligraphers and graphic designers whom I have interviewed back in Jordan. Thank you, for your valuable time, and for allowing me to watch the world from different angles, and experiences. This project owes a lot to your motivation. My heartfelt thanks goes to my family - my late father Khalid, who, although is no longer with me, continues to inspire every step I have to take, my mother Nadia for being the symbol of strength and persistence, my siblings Yasmin, Omar, Ali and Abdullah for always believing in my dreams and doing whatever it takes to make them come true. A special thanks goes to the one who made those two years possible, Ra’ad thank you for being the definition of a life companion and a husband. -
P a G E | 1 Expressions of Arabic Calligraphy in Arabic Typography
P a g e | 1 Expressions of Arabic Calligraphy in Arabic Typography for a Cultural Identity of the Visual Arabic Script Aysha Khalid Mahmood Doctoral Researcher Arabic Typography and Visual Culture Nottingham Trent University www.ashkdesign.wordpress.com [email protected] Abstract - The aim of this paper is to discuss the visual further comments that typography is the embodiment of a cultural expressions filtering between Arabic calligraphy and cultures identity. When it comes to cultural identity of the Arabic typography by visually exploring the landscape of the Arabs, Arabic calligraphy has, and continues to represent a two in Qatar, and compares the effects the modernising social strong Arab and Islamic identity. and economic culture is having on the transition between the Arabic typefaces in production have generated criticism from two. Qatar is a distinctive example of an Arab country focusing design industry professionals on their creativity disapproving to define national and cultural identity through challenging that they are either too westernised or too close to the creative accomplishments of the Arab world including calligraphic tradition. One explanation however becomes introducing new visual typographic trends to boost its lead in apparent as research progresses, and that is the lack of the Arab world economy and culture to claim itself as “Brand structural system for designing Arabic typefaces has a lot to Qatar”. learn from the calligraphic systems, however not in their Arabic calligraphy has maintained itself as a timeless craft form purest principals as calligraphic structures, as they are with a subjective relationship to the Arab culture and the outdated to be compatible for contemporary technical Islamic heritage.