Nastaliq Font Generator

[Isabella Kells]

Hellowith Islamic tradition assalamu alaikum

i am a software programmer and i have accepted a challenge to make nastaliq font.i have a glyphs of nastaliq. some tell me how to add in to font.i know glyphs app sport arabic but arabic in naskh. urdu and Farsi is in nastaliq which have more than one medial glyph.

some one help me

Thank (Wslam)

If you have more than one glyph per position, how do you decide which you need? Probably there is some context defining that? This page explains all aspects of the Adobe Feature file that is used by glyphs to compile the features: _feature_file_syntax.html

Hello with Islamic tradition assalamu alaikum

i know the positions of glyphs. in the given example is try to show the different form of beh and more over naskh is written in straight line but nastaliq is in slant line. how i change the glyphs with required form of beh

eg. when bea alif than bey form is that and when bay ray than bay form is that

text4244.jpg1028726 84.5 KB

see arabic font production tutorial 1 and 2

1 is about naskh and second one on nastaliq

Thank (Wslam)

Slam

brother i want to say that bey with jem is different and bey with bey (tay ,say etc) is different and also bey with alif is different

so brother help me to solve this problem.

Blessing of god on every one.

Thanks (Wslam)

By following these updated steps, utilizing Glyphs software, refining the glyphs, creating ligatures, making shaping adjustments, testing, and exporting the font, you can successfully create your Nastaliq font.

Nastaliq (/ˌnstəˈliːk, ˈnstəliːk/;[2] نستعلیق, .mw-parser-output .IPA-label-smallfont-size:85%.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-smallfont-size:100%Persian: [nstʰʔliːq]; Urdu: [nəst̪ɑːliːq]), also romanized as Nastaʿlīq or Nastaleeq, is one of the main calligraphic hands used to write the Perso-Arabic script and it is used for some Indo-Iranian languages, predominantly Classical Persian, Kashmiri, Punjabi (Shahmukhi) and Urdu. It is often used also for Ottoman Turkish poetry, but rarely for Arabic. Nastaliq developed in Iran from naskh beginning in the 13th century[3][4] and remains widely used in Iran, Afghanistan, and Pakistan, and other countries for written poetry and as a form of art.[5]

It must be known that nastaʿliq is derived from naskh. Some Shirazi [scribes] modified it [naskh] by taking out the flattened [letter] kaf and straight bottom part of [the letters] sin, lam and nun. From other scripts they then brought in a curved sin and stretched forms and introduced variations in the thickness of the line. So a new script was created, to be named nastaʿliq. After a while Tabrizi [scribes] modified what Shirazi [scribes] had created by gradually rendering it thinner and defining its canons, until the time when Khwaja Mir ʿAli Tabrizi brought this script to perfection.[7]

Thus, "our earliest written source also credits Shirazi scribes with the development of nastaʿliq and Mir ʿAli Tabrizi with its canonization."[7] The picture of origin of nastaliq presented by Elaine Wright was further complicated by studies of Francis Richard, who on the basis of some manuscripts from Tabriz argued that its early evolution was not confined to Shiraz.[7] Finally, many authors point out that development of nastaʿliq was a process which takes a few centuries. For example, Gholam-Hosayn Yusofi, Ali Alparslan and Sheila Blair recognize gradual shift towards nastaʿliq in some 13th-century manuscripts.[4][8][9] Hamid Reza Afsari traces first elements of the style in 11th-century copies of Persian translations of the Qur'an.[10]

The most famous calligrapher of the next generation in eastern lands was Mir Ali Heravi (d. 1544), who was master of nastaliq, especially renowned for his calligraphic specimens (qitʿa). The eastern style of nastaliq became the predominant style in western Iran, as artists gravitated to work in Safavid royal scriptorium. The most famous of these calligraphers working for the court in Tabriz was Shah Mahmud Nishapuri (d. 1564/1565), known especially for the unusual choice of nastaliq as a script used for the copy of the Qur'an.[14] Its apogeum nastaliq achieved in writings of Mir Emad Hassani (d. 1615), "whose style was the model in the following centuries."[10] Mir Emad's successors in the 17th and 18th centuries had developed a more elongated style of nastaliq, with wider spaces between words. Mirza Mohammad Reza Kalhor (d. 1892), the most important calligrapher of the 19th century, reintroduced the more compact style, writing words on a smaller scale in a single motion. In the 19th century nastaliq was also adopted in Iran for lithographed books.[15] In the 20th century, "the use of nastaliq declined. After World War II, however, interest in calligraphy and above all in nastaliq revived, and some outstandingly able masters of the art have since then emerged."[4]

Nastaliq was also adopted in Ottoman Empire, which has always had strong cultural ties to Iran. Here it was known as taliq (Turkish talik), which should not be confused with Persian taliq script. First Iranian calligraphers who brought nastaliq to Ottoman lands, like Asadullah Kirmani (d. 1488), belonged to the western tradition. But relatively early Ottoman calligraphers adopted eastern style of nastaliq. In 17th century, student of Mir Emad, Darvish Abdi Bokharai (d. 1647), transplanted his style to Istanbul. The greatest master of nastaliq in 18th century was Mehmed Yasari (d. 1798), who closely followed Mir Emad. This tradition was further developed by son of Yasari, Mustafa Izzet (d. 1849), who was a real founder of distinct Ottoman school of nastaliq. He introduced new and precise proportions of the script, different than in Iranian tradition. The most important member of this school in the second half of the 19th century was Sami Efendi (d. 1912), who taught many famous practitioners of nastaliq, like Mehmed Nazif Bey (d. 1913), Mehmed Hulusi Yazgan (d. 1940) and Necmeddin Okyay (d. 1976). The specialty of Ottoman school was cel nastaliq used in inscriptions and mosque plates.[18][16][19]

Shekasteh or Shekasteh Nastaliq (Persian: شکسته نستعلیق, شکسته نستعلیق, "cursive Nastaliq" or literally "broken Nastaliq") style is a "streamlined" form of Nastaliq.[20] Its development is connected with the fact that "the increasing use of nastaʿlīq and consequent need to write it quickly exposed it to a process of gradual attrition."[4] The shekasteh nastaliq emerged in the early 17th century and differed from proper nastaliq only in so far as some of the letters were shrunk (shekasteh, lit. "broken") and detached letters and words were sometimes joined.[4] These unauthorized connections "mean that calligraphers can write shekasteh faster than any other script."[21] Manuscripts from this early period show signs of the influence of shekasteh taliq; while having the appearance of a shrunken form of nastaliq, they also contain features of taliq "due to their being written by scribes who had been trained in taʿlīq."[4] Shekasteh nastaliq (usually shortened to simply skehasteh), being more easily legible than taliq gradually replaced the latter as the script of decrees and documents. Later, it also came into use for writing prose and poetry.[4][21]

The added frills made shekasteh increasingly difficult to read and it remained the script of documents and decrees, "while nastaʿliq retained its pre-eminence as the main calligraphic style." The need for simplification of shekasteh resulted in development of secretarial style (shekasteh-ye tahriri) by writers like Adib-al-Mamalek Farahani (d. 1917) and Nezam Garrusi (d. 1900). The secretarial style is a simplified form of shekasteh which is faster to write and read, but less artistic. Long used in governmental and other institutions in Iran, shekasteh degenerated in the first half of the 20th century, but later again engaged the attention of calligraphers.[4][26] Shekasteh was used only in Iran and to a small extent in Afghanistan and Ottoman Empire. Its use in Afghanistan was different from the Persian norm and sometimes only as experimental devices (tafannon)[4][19]

Modern Nastaliq typography began with the invention of Noori Nastaleeq which was first created as a digital font in 1981 through the collaboration of Ahmed Mirza Jamil (as calligrapher) and Monotype Imaging (formerly Monotype Corp & Monotype Typography).[27] Although this employed over 20,000 ligatures (individually designed character combinations),[28] it provided accurate results and allowed newspapers such as Pakistan's Daily Jang to use digital typesetting instead of an army of calligraphers. It suffered from two problems in the 1990s: its non-availability on standard platforms such as Microsoft Windows or Mac OS, and the non-WYSIWYG nature of text entry, whereby the document had to be created by commands in Monotype's proprietary page description language.

In 1994, InPage Urdu, which is a functional page layout software for Windows akin to QuarkXPress, was developed for Pakistan's newspaper industry by an Indian software company Concept Software Pvt Ltd. It offered the Noori Nastaliq font licensed from Monotype Imaging. This font is still used in current versions of the software for Windows. As of 2009, InPage has become Unicode based, supporting more languages and the Faiz Lahori Nastaliq font with Kasheeda has been added to it along with compatibility with OpenType Unicode fonts.

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